Posts Tagged ‘Art’
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 :
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.
By Tobias Grey
Published: October 9 2009 22:15 | Last updated: October 9 2009 22:15 in The Financial Times
|Pierre Soulages: ‘There are people who refuse to accept that you can create light on a black canvas’|
Standing over six feet two inches tall and dressed in his habitual black, Pierre Soulages looks as though he’s just stepped out of one of his monumental all-black canvases, suspended like cavernous portals from the ceilings of Paris’s Pompidou Centre. It is a banner year for Soulages, who never fails to oversee the hanging of his paintings.
The Pompidou’s autumn show, which anticipates Soulages’s 90th birthday on December 24, is the biggest it has ever mounted for a living French artist. It looks back over more than 60 years of his painting, with emphasis on more recent developments in his work, which have led to him being dubbed the “painter of black and light”.
The exhibition brings together more than a hundred significant works dating from 1946 to the present, from the revolutionary walnut stain works painted between 1947 and 1949 to the “beyond black” oil paintings of recent years, most of the latter being shown for the first time.
At the same time, the Louvre is exhibiting a 300x235cm canvas that Soulages completed in July 2000. He specifically chose Le Salon Carré to display this luminous, striated work where black- and-white lines converge on an all-black background of broad, horizontal brush-strokes.
“I picked this room because the paintings are a mixture of Byzantine and Renaissance works,” Soulages says. “I wanted to underline the rupture, not only between Byzantine and Renaissance art, but also between Renaissance figurative art and my own style.”
One would venture to describe this style as “abstract” but Soulages disagrees. “Abstract art is a general term which is incredibly vague,” he says. “I wanted to call my first painting ‘concrete’ not ‘abstract’. But people told me concrete art designates paintings made up of geometric shapes. I replied, ‘If that’s how you define ‘concrete’ art, then you better find another term for ‘figurative’ art because geometric shapes are like figures.’ ”
With these words a smile creeps on to Soulages’ lips: he knows there are some battles that are not worth fighting. A confirmed “individualist”, Soulages has never aligned himself with any art movement or school, shunning the distraction of urban mondanities, or anything that might lead him to neglect his art.
“I’ve got nothing against people who are part of a group but I don’t like being bossed around,” he says. “Groups are interesting for sociologists or historians but artistically it’s a mistake because by grouping artists together you only become focused on what they share. What did artists like Manet or Sisley have in common? Impressionism; but what’s much more interesting is what makes each unique.”
It is one of the reasons Soulages has always looked to fabricate his own painting materials. Not content with the kind of “chic material” sold in art shops for “specific purposes”, he appropriates builder’s paintbrushes, book-binding tools, tanning knives, pieces of cardboard – even the soles of his own shoes.
Meanwhile, Soulages’s fascination for the artistic possibilities of the colour black dates back even further than he can remember: “A cousin of mine, who is 100 years old, told Pierre Encrevé, the curator of this exhibition, that when I was a boy I dipped my paintbrush in the ink-well and began to paint swathes of black on a white sheet of paper. When my family asked me what I was doing, apparently I replied: ‘Painting snow’. Of course that made everyone laugh. But I was a shy child and not trying to show off. Looking back now, I think I was trying to make the white paper appear whiter by laying down the black.”
As a boy growing up in the southern French town of Rodez, Soulages liked to paint the stark black branches of leafless trees. He used to visit centuries-old caves such as those of Pech-Merle in the Lot or Font-de-Gaume in the Dordogne, where prehistoric hunting scenes worked in crushed charcoal had been made on the walls.
“It astounded me that for 340 centuries men have been painting in black in some of the most obscure places on earth, caves pitched in absolute darkness,” he says. “I wrote once that black is the colour of painting’s origin. I don’t think it’s possible to refute this.”
By his own recollection, Soulages started painting seriously in 1940. His first major exhibition was in Germany in 1948 as part of a collective of abstract painters. It was the first exhibition of abstract art in a German city since the rise and fall of the Nazis. At 27 years old, Soulages was easily the youngest artist to be exhibited. “There was Kupka, Domela, Hartung, Schneider,” he says. “[Gerard] Schneider would be 112 years old now, [Frantisek] Kupka 143 years old.”
But it was Soulages’s distinctive walnut stain painting that was chosen for the exhibition’s poster, a copy of which is on display at the Pompidou Centre. “It’s interesting because most American painters of the time got to know my work because of that poster,” he notes.
By 1954 the influential American art dealer Samuel Kootz was selling Soulages’s paintings all over the US, to large museums, but also to European expatriate filmmakers such as Billy Wilder and Otto Preminger. Such precocious success by a Frenchman was not universally welcomed by the American art world. But Soulages, who had been forewarned by the French painter and poet Francis Picabia that he would not want for enemies, shrugged it off.
“When you’re noticed very young you’re bound to have enemies; there is jealousy – it’s inevitable,” says Soulages, who last year sold a canvas for €1.5m, a record price for a living French artist. “There are also those who dislike you on an aesthetic level: people who don’t accept abstract art, for example, or who refuse to accept that you can create light on a black canvas.”
It was this last discovery, the result of an ultimately happy accident, that has sustained and nourished the past 30 years of the artist’s career. “It happened in 1979,” says Soulages, whose powers of recall are of a rare precision. “I was working on a painting and floundering around in a morass of paint, unable to understand what I was doing, but with something deep inside me compelling me to continue.”
Finally Soulages went to bed. When he woke up, what he saw “was not just a black painting any more but a painting where reflected light had been transformed and transmuted by the black surface. When I realised that light can emanate from the colour which has the biggest absence of light, I was both perturbed and profoundly moved. From that moment my eye changed and I’ve worked in this way ever since.”
The patient and deliberate way in which Soulages sets about creating continuity in his art goes hand-in-hand with his private life. Always there to give objective advice or provide le mot juste is Colette, his wife and muse of 67 years’ standing.
“I met a person with whom I have had a conversation that has never ceased,” says Soulages. “She had the same tastes as me, was interested in the same things, and we’ve continued to live together. I didn’t think it was going to last so long, but here we are.”
Earlier this year, the green light was given to a Soulages museum in the artist’s native Rodez; it is scheduled to open in 2012. For Soulages, that is just one more thing to look forward to. “I don’t live in the past,” he says. “What interests me is the next toile I want to do or the one I’m already working on.”
see also : http://ow.ly/uqKW
Soulages at the Pompidou Centre, Paris, October 14-March 8 2010.
Soulages at the Louvre, Paris, October 14-January 18 2010.