FirstAmendmentGirl

Sailor by Tsarouchis Yannis, 1938, National Gallery - Alexandros Soutsos Museum (Athens, Greece)
#Art #ModernArt

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Depictions of soldiers and sailors define Tsarouchis' work. Widely acclaimed as a painter of the Greek people, his work attempted a reconciliation of Western and Eastern pictorial traditions. Like many of the Greek avant-garde intellectuals and artists of his time, Tsarouchis became actively involved with the popular art movement and the search for the Greek in art. He travelled extensively in Greece, Turkey, Asia Minor and France, where he studied Byzantine music, painting and textiles, and was particularly inspired by the works of Matisse and Demetrios Galanis.
One of the most important representatives of the Thirties Generation, Tsarouchis embodied in his work the ideal of 'Greek'. With a multiplicity of influences from Hellenistic and Byzantine art, the art of the Renaissance as well as the work of Matisse, Theophilos and Kontoglou, and the figures of Karaghiozis shadow puppets, he created a unique personal style and depicted landscapes, still lifes, nudes and allegorical scenes.

11:01 AM - Apr 28, 2024

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Sharon with Peonies by Neeta Madahar, 2009, Kemper Museum of Contemporary Art (Kansas City, MO)
#Art #ContemporaryArt #Photography

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Flora comprises 17 photographs of female friends alongside plants whose names, e.g. Orchid, Poppy or Primrose, have been adopted as women’s names. Many of the sitters are fellow artists, photographers and writers.
For more on this series, see https://www.neetamadahar.com/statemenflora

07:58 PM - Apr 27, 2024

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Good advice

06:51 PM - Apr 27, 2024

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Snuffing Out Boney! by George Cruikshank, 1814, Harvard Art Museums/Fogg Museum (Cambridge, MA)

#Art #Etching

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10:15 AM - Apr 27, 2024 (Edited)

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The West Façade of the Church
of Saint Mary in Utrecht by
Pieter Jansz Saenredam, 1662, Museo Nacional Thyssen-Bornemisza (Madrid, Spain)
#Art #DutchGoldenAge #Baroque

This superb panel is illustrative of the innovative approach adopted by Saenredam, who was the first architecture painter to represent existing buildings using a peculiar new working method. First, he would take measurements and
make sketches of buildings on site; these would then be used to produce detailed construction drawings in the studio. Finally, after several years, he would complete the oil paintings transferring his delicate drawings to the appropriate support. In this way
Saenredam sought to create
impeccable portraits of buildings, though his quest for perfection occasionally led him to modify reality. The solid, monumental quality of his work is conveyed through simple, bright architectural settings and the use of a palette of pale colours for lighting purposes.

07:53 PM - Apr 26, 2024

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Lady at the Virginal with a Gentleman, "The Music Lesson" by Johannes Vermeer, c.1662-1665, Royal Collection Trust (London, UK)
#Art #DutchGoldenAge #Baroque

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The composition is characterised by the rigorous use of perspective to draw the eye towards the back of the room where the figures are situated - the young woman rather surprisingly seen from the back. The viewer is at first more aware of the jutting corner of the table, the chair and the bass viol than
of the figures themselves, whose privacy is thereby protected. The back of the room, dominated by the
virginal comparable with those made by Andreas Ruckers the Elder, is like a grid of verticals and horizontals into which the figures are carefully locked. Light is admitted through the windows on the left and fills the room, casting only soft, subtle shadows. A striking feature of the composition in this part is the mirror on the wall where the slightly blurred reflections include the young woman's face, part of the table and the legs of an artist's easel. The
implication of this glimpsed easel is that Vermeer shares the same space as the figures he is depicting, but as a result of this...

10:14 AM - Apr 26, 2024 (Edited)

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The Titan's Goblet by Thomas Cole, 1833, The Metropolitan Museum of Art (New York City, NY)
#Art #Romanticism

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The culmination of Cole's romantic fantasies, this work echoes the artist's other works of the period in its Italian derived scenery and its attempt to illustrate themes dealing with the grandeur of the past, the passage of time, and the encroachment of nature. Rejected by Cole's patron, Luman Reed, and subsequently owned by the artist John M. Falconer, the work defies full explanation. The massive, vegetation encrusted goblet around whose rim are found classical ruins, and on whose glassy surface boats sail, has been linked to Norse legend and Greek mythology. Theophilus Stringfellow, Jr. described it as a self-contained, microcosmic human world in the midst of vast nature, while Falconer linked the monumental stem of the goblet to the trunk of the Norse world-tree; he likened the cup to "the ramifying branches ... which spread out and hold between them an ocean dotted with sails, surrounded by dense forests and plains." Other theories tie the fantastic forms to J. M. W. Turner's "Uly...

08:02 PM - Apr 25, 2024

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06:43 PM - Apr 25, 2024

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Posters at Trouville by Raoul Dufy, 1906, Georges Pompidou Center (Paris, France)
#Art #ModernArt #Fauvism #PostImpressionism

Turning his back on the sea, Dufy chose the invasion of advertising as his subject. ln the summer of 1906, he was joined by Albert Marquet in Trouville, where they painted together. They both represented the same fence covered with advertising posters alongside the beach. This very innovative subject resulted in one of the versions painted by Dufy in a charming composition characterised by the contrast between the gaudy signs of the posters and the luminous blacks of the passers-by. Dufy cast a new eye on the transformations of urban society.

10:12 AM - Apr 25, 2024

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Yellow Curve I by Ellsworth Kelly, 1972, Guggenheim Bilbao (Bilbao, Spain)
#Art #ContemporaryArt #Minimalism

Kelly's work features prominently in 20th-century abstraction. It eludes classification according to the categories of the time, although similarities and connections with contemporary movements can be found, especially Hard-Edge painting and Minimalism. He created his own universe, where the traditional figure/ground dichotomy gets blurred.
The long, elegant curve traced by the velvety bright yellow inside a diamond- shaped canvas transforms the white surface of Yellow Curve I in a concave curve. The yellow oil draws a bulky horizon that seems to be produced by canvas distortion rather than by a deliberate gesture of the artist. In so doing, it poses a question about the relationship between figure and ground, and which comes first. With different corporeal realities, the yellow and the white paints vie for the painting's space, but this can only be appreciated in a close, meticulous look at the work - an approach in which Kelly was not particularly interested. Instead, he preferred f...

07:55 PM - Apr 24, 2024

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Yesterday, here and on BlueSky and Post, I talked about Kent State. Some suggested I was overreacting. I think not.

Photo by Lily Kepner of the Austin American-Statesman

07:08 PM - Apr 24, 2024

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For 3 days I've wondered why my toothbrush quit working and resorted to treating it as a manual brush. Today it dawned on me to charge it. It works fine now.

04:43 PM - Apr 24, 2024

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Canyon in the Yellowstone by John Henry Twachtman, 1895, Private Collection
#Art #ModernArt #Tonalism

10:03 AM - Apr 24, 2024

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Charles Street, Boston by Maurice Prendergast, c. 1895, Private Collection
#Art #ModernArt #Impressionism

Prendergast's work was strongly associated from the beginning with leisurely scenes set on beaches and in parks. His early work was mostly in watercolor or monotype, and he produced over two hundred monotypes between 1895 and 1902. He also experimented with oil painting in the 1890s, but did not focus on that medium until the early 1900s.
He developed early in his career and continued throughout his life to elaborate a highly personal style, with boldly contrasting, jewel-like colors, and flattened, pattern-like forms rhythmically arranged on a canvas. Forms were radically simplified and presented in flat areas of bright, unmodulated color. His paintings have been aptly described as tapestry-like or resembling mosaics.

07:55 PM - Apr 23, 2024

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San Antonio River by Robert Jenkins Onderdonk, 1886, San Antonio Art Museum (San Antonio, TX)
#Art #ModernArt

The play of light on water, through leaves and off masonry, animates this quiet scene of a house on the
banks of the San Antonio River on West Commerce Street downtown (today, in the heart of the city's Riverwalk). One of San Antonio's earliest professional artists, Onderdonk moved to Texas in 1879 after art school in New York. He became one of the city's most influential artists, both for his teaching as well as for his images documenting the characters and charm of his adopted city.

09:42 AM - Apr 23, 2024

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I would love to think the campus protests will end just fine, but I'm a Boomer. I know what happens. Look up Kent State.

09:45 PM - Apr 22, 2024

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Pond with Water Lilies by Claude Monet, 1907, The Israel Museum (Jerusalem, Israel)
#Art #ModernArt #Impressionism

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During the 1890s, Monet renovated the garden at his home in Giverny, introducing improvements that allowed him to cultivate water lilies in a pond on his property. Around this time he embarked on a cycle of tranquil and contemplative
waterscapes to which he would devote himself for the last 25 years of his life. The first series of these paintings, exhibited in 1899,
had the pond as its main motif and included the Japanese footbridge that spanned it. By 1903, however, Monet was concentrating almost
exclusively on the pond and its reflections, focusing more and more on the water surface alone. Pond with Water Lilies presents a sectionof the pond, omitting the surrounding landscape completely. The water extends to all four edges of the canvas, leaving only the
foreshortened lily pads to orient the viewer. On the calm surface of the water, reflections of clouds, sky, and trees provide reference points. True to the Impressionist credo of an unadulterated presentation of the visual, Monet m...

08:01 PM - Apr 22, 2024

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Sail: In Two Movements by Charles Demuth, 1919

I've found that it is listed as owned by the Whitney Museum in New York, or by Crystal Bridges Museum in Bentonville but neither museum lists it on their website, so maybe it's privately owned now
#Art #ModernArt #Precisionism #StieglitzGroup

Demuth was a principal member of the Precisionism, the first indigenous modern art movement in the United States. Challenging the boundaries of race, class, sexuality, and artistic tradition, he digested the shifting social landscape around him and left behind a memorable body of work that defies categorization.

10:49 AM - Apr 22, 2024

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Untitled (Women Carrying Flowers) by Alfredo Ramos Martínez, 1940/1945, The Mexican Museum (San Francisco, CA)
#Art #ModernArt #MexicanModernism

Mural with two women carrying flowers on 60 ceramic tiles

08:25 PM - Apr 21, 2024

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The Poor Poet by Carl Spitzweg, 1837, Neue Pinakothek (Munich, Germany)
#Art #Biedermeier

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The Biedermeier period was an era in Central Europe between 1815 and 1848 during which the middle classes grew in number and the arts began to appeal to their sensibilities. The period began with the end of the Napoleonic Wars in 1815 and ended with the onset of the Revolutions of 1848.
The term is used mostly to denote the unchallenging artistic styles that flourished in the fields of literature, music, the visual arts and interior design.

10:00 AM - Apr 21, 2024

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Mount Fuji by Tani Bunchō, 1802, Harvard Art Museums (Cambridge, MA)
#Art #EdoPeriod #LiteratiPainting

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Literati painting spread eastward from Kyoto to Edo, where it was shaped by the tastes of the shogunal capital and through the syncretic work of Bunchō. He studied a wide range of classical Japanese, continental Asian, and Western works; he also adopted nature sketching techniques, selective realism, and an emphasis on ornamentalism from Maruyama-Shijō painting. This monumental painting of the sacred peak of Mount Fuji is a "true view" -- an image rooted not in optical reality but in the subjective
experience of a site. Bunchō likely based the work on his own encounters with the volcano. He takes pains to convey the specificity of the mountain's contours and surrounding topography using modeling and subtle spatial recession, while at the same time allowing his inky brushwork to reveal the trace of his hand, a trademark of literati painters.

09:19 PM - Apr 20, 2024

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Pink Nude or Large Reclining Nude by Henri Matisse, 1935, Baltimore Museum of Art (Baltimore, MD)
#Art #ModernArt #Expressionism

Most of Matisse's major works of 1935 and 1936 are nudes. In 1936 Lydia Delektorskaya, who also helped with paper cutouts, was the model for Pink Nude, a painting which for all its modesty of scale achieves a sense of the monumental. The woman's arms and legs are bent but still they are trimmed by the edge of the canvas. As in the Merion 'Dance', the viewer's imagination is urged beyond the spatial limits. The painter has come up to his model as if for a close-up, and the background is a mere setting, with no perspectival depths.
The background is no more than a pattern, and the nude a sketch of the human body. What gives the woman her considerable clarity of impact is the emphatic exaggeration of the limbs, the frontal angle of the head, and the suggestion of the two breasts. A balance has been struck between organic and geometric form, smooth and modelled surfaces, curved lines and straight, colours warm and cold, and it is a balance arresting in its simplicity. The paint has a dry, ...

10:07 AM - Apr 20, 2024

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The Thunderstorm by Jan van Goyen, 1641, Legion of Honor Museum (San Francisco, CA)
#Art #DutchGoldenAge #Baroque

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Van Goyen would begin a painting using a support primarily of thin oak wood. To this panel, he would scrub on several layers of a thin animal hide glue. With a blade, he would then scrape over the entire surface a thin layer of tinted white lead to act as a ground and to fill the low areas of the panel. The ground was tinted light brown, sometimes reddish, or ochre in colour.
Next, van Goyen would loosely and very rapidly sketch out the scene to be painted with pen and ink without going into the small details of his subject. This walnut ink drawing can be clearly seen in some of the thinly painted areas of his work. For a guide, he would have turned to a detailed drawing. The scene would have been drawn from life outdoors and then kept in the studio as reference material. Drawings by artists of the time were rarely works of art in their own right as they are viewed today.
On his palette he would grind out a colour collection of neutral grays, umbers, ochre and earthen greens that looke...

08:00 PM - Apr 19, 2024

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Africa by Rosalba Carriera, 1673/1757, Old Masters Picture
Gallery, Dresden State Art Museums (Dresden, Germany)
#Art #Rococo

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Carriera was the first female painter to initiate a new style in the art community. The Rococo style emphasized the use of pastel colors; spontaneous brush strokes, dancing lights, subtle surface tonalities and a soft, elegant and charming approach to subject matter.
Among the many allegorical representations of the “four continents” created by European artists, Carriera’s contribution stands out. Little is known about the circumstances of the commission, though art historians suspect that she created her series sometime after her formative trip to Paris in 1720. In translating this allegorical tradition to the intimate format of pastel portraiture, however, Carriera brought to the continents an unusual attention to the specificity of each face, paying unique attention to differences in complexion.

09:54 AM - Apr 19, 2024

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Head of an "Ancestor" Statue,
Artist Unidentified, Pre-Pottery Neolithic B, 9,000 years ago, The Israel Museum (Jerusalem, Israel)
#Art #Archaeology

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This nearly life-sized plaster head statue, found in an early village of ancient Jericho, probably represented a mythological ancestor of the community or another mythical being.

07:58 PM - Apr 18, 2024 (Edited)

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El rebozo blanco (The White
Shawl) by Raúl Anguiano, 1983, Inter-American Development Bank (Washington, DC)
#Art #ContemporaryArt

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Anguiano, a second-generation muralist, followed the modernist aesthetic principles of the "the three great ones" - Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros. An important figure in Mexican graphic art, Anguiano was among the founders of the People's Graphic Workshop, established in 1937, which spread the political ideals of young artists in the post- revolutionary period. Anguiano is admired for his strengths as a draftsman and portraitist, skills seen in The White Shawl. The figure has been rendered with great realism. The pattern of thick, crosshatched lines that forms the shawl's drapes creates a visual contrast with the soft lines and shading that define the features of the woman's face. Indigenous women are a constant theme in Anguiano's work, which often represented and celebrated Mayan culture.

09:54 AM - Apr 18, 2024

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