Archive for the ‘Art’ Category
Banksy (1974 — ) is a graffiti artist from Bristol, UK, whose artwork has appeared throughout London and other locations around the world
Some believe that his stencilled graffiti provides a voice for those living in urban environments that could not otherwise express themselves, and that his work is also something which improves the aesthetic quality of urban surroundings
A common technique in Banksy’s art is to play on the perspective and edges of the item on which he is stencilling.
The first major exhibition of the artist’s work in Paris in a decade! Wih paintings made on an iPad and iPhone!
On display you’ll see a number of new paintings created on the iPhone and iPad, mostly using the Brushes app. Not only will the painting already finished be put on display, but Hockeny will be e-mailing in new ones during the time of the show so that they can be seen too. How very 2.0 and 21st century!
Hockney, who has been an important contributor to the Pop Art movement of the 1960s, has created some of the most memorable works of painting, photography and design of the 20th century
more on this exhibition :
These images, by photographers of the Farm Security Administration/Office of War Information, are some of the only color photographs taken of the effects of the Depression on America’s rural and small town populations. The photographs are the property of the Library of Congress and were included in a 2006 exhibit Bound for Glory: America in Color.
more pictures here
Lucian Freud is a painter of german origin, born in 1922.
He is the grandson of Sigmund Freud, the famous psychnalyst.
Here are some of his paintings.
Freud’s subjects are often the people in his life; friends, family, fellow painters, lovers, children. To quote the artist: “The subject matter is autobiographical, it’s all to do with hope and memory and sensuality and involvement, really.
” I paint people,” Freud has said, “not because of what they are like, not exactly in spite of what they are like, but how they happen to be.”
more paintings here
Shown at the Tate Britain from 23 September 2009 to 31 January 2010. To be shown at the Prado, Madrid from 22 June to 19 September 2010.
The British landscapist J.M.W. Turner (1775-1851) was highly unusual in that he responded to the works of the old Masters and his contemporaries throughout his lengthy career. This often anxious, pernickety, deliberately competitive but always fertile exchange was an integral part of his work as a painter. Turner emerged in the mid-1790s as a particularly gifted and ambitious watercolourist, rivalling his greatest contemporaries (including his friend Thomas Girton (1775-1802)) but also eager to improve his painting technique by studying the Welsh landscapist Richard Wilson (1713-1782) and visiting private collections.
At first he faithfully applied the methods of the budding English watercolour tradition. When he turned to oil painting, he took inspiration from the Dutch landscape painters in the Rembrandt tradition, using a narrow, sombre colour range. The stimulating and already classical example of his great predecessor Richard Wilson led him, towards the turn of the century, to tackle classical landscapes of broader scope and brighter colours. At the same time he studied the art of the great landscape painters working in Italy in the 17th century: Salvatore Rosa (1615-1673) and Nicolas Poussin (1596-1665). Far from producing pastiches of these great models, Turner let powerful, turbulent energy upset the perfection of their harmonious compositions and came close to launching the masterly British tradition of fantastic landscapes with The Deluge (1805, Tate) directly inspired by the painting of the same name by Nicolas Poussin (1664, Louvre).
The two canvases will be shown side-by-side in the exhibition. Turner’s few sallies into history painting (The Holy Family, 1803, Queen’s collection, or Venus and Adonis: Adonis departing for the chase circa 1805, private collection) used richer, deeper colours influenced by Titian (circa 1490-1576) (Virgin with a Rabbit circa 1530, Louvre) and Claude Lorrain. His small figure paintings rival with lesser known masters from the period such as Watteau (1684-1721) (What you will!, 1822, Williamstown, Clark Institute) or his most famous rivals such David Wilkie (1785-1841). The fruitful dialogue with the landscape artists of the following generation, Bonington (1802-1828) (French Coast with Fishermen 1826, Tate) and Constable (1776-1837) (The opening of Waterloo Bridge, 1829, Tate) amplified the freedom of Turner’s brushwork and tone (Calais Sands, Low Water, Poissards Collecting Bait, 1830, Bury Art Gallery or Beached Boat circa 1828, Tate).
After 1820, his discovery of Venice (Venice from the Porch of the Madonna della Salute, 1835, New York, Metropolitan Museum) and a more intensive study of Claude Lorrain led to more sophisticated colour and a mastery of multiplane, vaporous compositions (Palestrina Composition, 1828, Tate). As Turner himself wished, the exhibition will compare one of his most complex masterpieces, The Decline of the Carthaginian Empire (1817, Tate) with two of Claude Lorrain’s magnificent visions which inspired it: Sunset at sea (Louvre, 1639) and Le Débarquement de Cléopâtre à Tarse (Louvre)
By deliberately engaging with other painters, Turner developed his dazzling freedom to paint which reached its apogee in the last decade of his career (Snow Storm, Steam-Boat Off a Harbour’s Mouth, 1842, London, Tate).
“Turner and the Masters” is an illustrated demonstration of the way Turner constructed his remarkable vision throughout his long career. It brings together a hundred paintings and graphic works (studies, engravings) from major British and American collections, the Louvre, the Prado and the Tate Britain.
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Il fait notamment référence à Edward Curtis dont voici quelques photos. Allez également lire l’article.