The art you like thread.
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Making sense of art history eBook : University, The Open: Amazon.co.uk: Kindle Store
Making sense of art history eBook : University, The Open: Amazon.co.uk: Kindle Store
www.amazon.co.uk
Art and visual culture: Medieval to modern eBook : University, The Open: Amazon.co.uk: Books
Art and visual culture: Medieval to modern eBook : University, The Open: Amazon.co.uk: Books
www.amazon.co.uk
Art in Renaissance Venice eBook : The Open University: Amazon.co.uk: Books
Art in Renaissance Venice eBook : The Open University: Amazon.co.uk: Books
www.amazon.co.uk
This is my favourite sculpture:
Unique forms of continuity in space, by Umberto Boccioni 1913
Unique forms of continuity in space, by Umberto Boccioni 1913
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That’s a very heavily muscled athlete! Great piece. Never seen it before. Thank you for sharing.
bmd
Island in the stream.
Just found the 4K tour of the Van Gogh museum! It's great!
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Somewhere on urban there's a list of virtual tours of museums and galleries. I think it was on the coronavirus forum of things to do while in lock down.
Found it: Links to all Online/Virtual Tours of Museums and Tourist Attractions
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That’s a very masculine quite threatening thing
(I’ve started reading the Berger whilst my flapjacks cook. God I proper love a Sunday when I’m not at work
)
not-bono-ever
meh
David Hepher: the landscape artist obsessed with London's tower blocks – in pictures
To mark a new exhibition and his 80th birthday, David Hepher offers a personal perspective on the urban artworks that characterise his celebrated career
www.theguardian.com
David Hepher
Cool. I didn’t think people painted that kind of viewDavid Hepher: the landscape artist obsessed with London's tower blocks – in pictures
To mark a new exhibition and his 80th birthday, David Hepher offers a personal perspective on the urban artworks that characterise his celebrated career
David Hepher
View attachment 211869
edit: just googled him. I love his paintings!
not-bono-ever
meh
i was lucky enough to get one of his smaller ones a while ago - he lives on camberwell grove
his usual stuff is metres big. utterly stunning
his usual stuff is metres big. utterly stunning
not-bono-ever
meh
this un
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I love this one:
although his other cityscapes are interesting and challenging.
I like how they make you rethink what landscape are/should be. The way that it moves away from the chocolate box standard is particularly interesting. I would like to see them in the flesh as it were. I’m sure that would open up new challenges to perception of landscape.
although his other cityscapes are interesting and challenging.
I like how they make you rethink what landscape are/should be. The way that it moves away from the chocolate box standard is particularly interesting. I would like to see them in the flesh as it were. I’m sure that would open up new challenges to perception of landscape.
not-bono-ever
meh
he is unknown to many but his brutalist graffed stuff says a huge amount to me about the capital, specifically S london. i think he is one of those artists that will only be really appreciated after his own lifetime.
bmd
Island in the stream.
Here is today's. Edward Hopper's Cape Cod Evening.
Edward Hopper painted Cape Cod Evening in 1939 in Truro, a small fishing village on Cape Cod in Massachusetts. The artist stated: “It is no transcription of a place, but pieced together from sketches and mental impressions of things in the vicinity. […] The dry, blowing grass can be seen from my studio window in the late summer or autumn. In the woman I attempted to get the broad, strong-jawed face and blond hair of a Finnish type of which there are many on the Cape. The man is a dark-haired Yankee. The dog is listening to something, probably a whippoorwill [sic] or some evening sound.” According to his wife, the painting was originally to have been titled Whippoorwill, after the nocturnal bird known for its distinctive song.
Several aspects of the scene are disturbing: typical of the human protagonists of Hopper's paintings, the man and woman—presumably a couple—are self-absorbed and oblivious to each other's presence; the uncut grass and encroaching locust grove are out of character with the well-maintained house; the dog's alert stance seems a portent of some imminent danger; and the advancing darkness of evening imparts a melancholy mood. In Cape Cod Evening, Hopper presents an assemblage of carefully orchestrated dissonances that convey a generally pessimistic, skeptical attitude toward human identity and humanity’s relationship with nature.
P.S. Have a great (though not pessimistic) Monday! Visit theaters and cinemas in Edward Hopper’s paintings here. <3
I put this at the start but then I thought it might colour your views so it's here instead. The bloke loves his dog more than the woman and she knows it. Standard.
Edward Hopper painted Cape Cod Evening in 1939 in Truro, a small fishing village on Cape Cod in Massachusetts. The artist stated: “It is no transcription of a place, but pieced together from sketches and mental impressions of things in the vicinity. […] The dry, blowing grass can be seen from my studio window in the late summer or autumn. In the woman I attempted to get the broad, strong-jawed face and blond hair of a Finnish type of which there are many on the Cape. The man is a dark-haired Yankee. The dog is listening to something, probably a whippoorwill [sic] or some evening sound.” According to his wife, the painting was originally to have been titled Whippoorwill, after the nocturnal bird known for its distinctive song.
Several aspects of the scene are disturbing: typical of the human protagonists of Hopper's paintings, the man and woman—presumably a couple—are self-absorbed and oblivious to each other's presence; the uncut grass and encroaching locust grove are out of character with the well-maintained house; the dog's alert stance seems a portent of some imminent danger; and the advancing darkness of evening imparts a melancholy mood. In Cape Cod Evening, Hopper presents an assemblage of carefully orchestrated dissonances that convey a generally pessimistic, skeptical attitude toward human identity and humanity’s relationship with nature.
P.S. Have a great (though not pessimistic) Monday! Visit theaters and cinemas in Edward Hopper’s paintings here. <3
I put this at the start but then I thought it might colour your views so it's here instead. The bloke loves his dog more than the woman and she knows it. Standard.
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I've had the good fortune to see a lot of Hopper's work. It is stunning. His use of light is second to none. His subjects all show a level of loneliness and sadness.
Apparently all the women in his paintings are his wife. I believe she had jealousy issues if he painted other women.
My favourite Hopper:
9
The narrative is, I think, the woman is waiting for someone, maybe her lover or boyfriend. They're late which is why she is a bit sad and looking into the distance. She has dressed in her best summer dress and hat because this date is important to her. It's a hot day but there's a breeze fluttering the net curtain in the window.
When you see the painting you see there's bows on her shoes which are all painted in shades of black. All the prints I have seen miss this fine detail. The net curtain seems to be moving and draws the eye to it. Her dress is see through. The paint has been applied in such a way that this is clearly visible in the portrait. The delicacy of the painting and the detail are wonderful.
Apparently all the women in his paintings are his wife. I believe she had jealousy issues if he painted other women.
My favourite Hopper:
9The narrative is, I think, the woman is waiting for someone, maybe her lover or boyfriend. They're late which is why she is a bit sad and looking into the distance. She has dressed in her best summer dress and hat because this date is important to her. It's a hot day but there's a breeze fluttering the net curtain in the window.
When you see the painting you see there's bows on her shoes which are all painted in shades of black. All the prints I have seen miss this fine detail. The net curtain seems to be moving and draws the eye to it. Her dress is see through. The paint has been applied in such a way that this is clearly visible in the portrait. The delicacy of the painting and the detail are wonderful.
Yeah, many works of art have limited impact in reproduction, but really blow your mind in the flesh.
I went to an exhibition last year of paintings by the Scottish artist Alison Watt - she does these incredible photorealistic paintings of pieces of cloth, feathers, ropes, folded paper, etc (and great nudes). They look nice enough on the screen or in a book - but their scale, the way they fool the eye, the way they seem to glow in the light only works in the flesh (although I suppose a full-size reproduction in a gallery might have a similar impact)
So:
this image of the artist in her studio gives an idea of the scale:
I went to an exhibition last year of paintings by the Scottish artist Alison Watt - she does these incredible photorealistic paintings of pieces of cloth, feathers, ropes, folded paper, etc (and great nudes). They look nice enough on the screen or in a book - but their scale, the way they fool the eye, the way they seem to glow in the light only works in the flesh (although I suppose a full-size reproduction in a gallery might have a similar impact)
So:
this image of the artist in her studio gives an idea of the scale:
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I think the most disappointing show I ever saw was Sensations. A lot of the art didn’t, to me, merit being called art. There was the animals in formaldehyde collection by Hirst, and Tracy Emin’s bed. Another piece was photocopies of a woman’s genitalia. It was from a porn magazine and enlarged to form a big picture on the wall. The dominant sensation was of being conned.
I quite like Tracy Emin, and her bed is a great work of art IMO. Not one that requires a prolonged amount of time spend drinking in the beauty of it, but that's ok - art fulfils lots of different functions.
She does brilliant nudes too - there was a great exhibition of these at the Liverpool Tate last year.
She does brilliant nudes too - there was a great exhibition of these at the Liverpool Tate last year.
bmd
Island in the stream.
I was looking at a Dutch bloke's hyper real, or whatever they're called, paintings like the cloth and rope and he has done a massive fried egg. I was wondering what the point was but then someone explained it in more detail and I really liked the thought of seeing it on a wall.
Manohar's Emporer Jahangir with Sons and Attendants.
These kinds of paintings make me think of servitude and sycophancy and being rich and powerful and how shit hot their clothes are.
In this painting, Emperor Jahangir appears seated under an ornate canopy or shamiana as he is served food and drink by two of his sons, Khusrau and Parviz. Two other attendants are flanking the shamiana and a young page stands behind the Emperor's throne holding a flywhisk. The setting is a garden; Mughal gardens, like Mughal arts and architecture, were carefully planned creations of wonder! There are ducks in the fountain and birds on branches on what appears to be an overcast day. The painting is also rich with detailed patterns on the clothes, the shamiana, the carpets and the ornate border. Below Jahangir's feet is the name of the painter, Manohar.
Mughal emperors encouraged the creation of lifelike portraits, not only of themselves but also of members of their court. All five figures in this painting are rendered in the usual style of Mughal portraiture, with their bodies in three-quarter view and their heads in full profile.
Manohar's father Basawan was a master painter in the Mughal atelier, where Manohar grew up. His father most likely instructed him, and later Manohar became a court painter as well. He first served in the court of Akbar before joining the service of his son, Jahangir. Manohar was noted for his outstanding manuscript illustrations, portraits, and animal studies. His works frequently depicted the royal family and life at court. He made at least ten portraits of Jahangir.
Maya Tola
P.S. Get to know more on the miniature paintings of the Mughal Empire here!
Manohar's Emporer Jahangir with Sons and Attendants.
These kinds of paintings make me think of servitude and sycophancy and being rich and powerful and how shit hot their clothes are.
In this painting, Emperor Jahangir appears seated under an ornate canopy or shamiana as he is served food and drink by two of his sons, Khusrau and Parviz. Two other attendants are flanking the shamiana and a young page stands behind the Emperor's throne holding a flywhisk. The setting is a garden; Mughal gardens, like Mughal arts and architecture, were carefully planned creations of wonder! There are ducks in the fountain and birds on branches on what appears to be an overcast day. The painting is also rich with detailed patterns on the clothes, the shamiana, the carpets and the ornate border. Below Jahangir's feet is the name of the painter, Manohar.
Mughal emperors encouraged the creation of lifelike portraits, not only of themselves but also of members of their court. All five figures in this painting are rendered in the usual style of Mughal portraiture, with their bodies in three-quarter view and their heads in full profile.
Manohar's father Basawan was a master painter in the Mughal atelier, where Manohar grew up. His father most likely instructed him, and later Manohar became a court painter as well. He first served in the court of Akbar before joining the service of his son, Jahangir. Manohar was noted for his outstanding manuscript illustrations, portraits, and animal studies. His works frequently depicted the royal family and life at court. He made at least ten portraits of Jahangir.
Maya Tola
P.S. Get to know more on the miniature paintings of the Mughal Empire here!
bmd
Island in the stream.
Last time I went to Edinburgh I went to the portrait gallery, museum or whatever it's called. That place is fucking amazing. The exhibits are just fantastic. There's one of Mapplethorpe that got me into his stuff. I also saw a Bridget Riley exhibition there. She is my favourite artist by a country mile.
Georges Suerat was a huge influence on her, which fits with the way of seeing theme that we've talked about. Here's his The Bridge at Courbevoie from 1886/87. Love this, really love it.
Can't post the image for some reason, so here's a link instead.
Georges Suerat was a huge influence on her, which fits with the way of seeing theme that we've talked about. Here's his The Bridge at Courbevoie from 1886/87. Love this, really love it.
Can't post the image for some reason, so here's a link instead.
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Our days were a joy and our paths through flowers, 1971-72 by David Inshaw
'Our days were a joy and our paths through flowers' was painted for an exhibition at the Arnolfini Gallery in Bristol. The title comes from Thomas Hardy's poem, After a Journey, about a dead lover whose spirit lives on in the sights and sounds of nature. The girl, Gillian Matthews, was a ceramics student at Bristol: "I felt her face perfectly reflected her sweet nature. I thought if anybody had the right to live on and on, as Hardy described, Gillian's nature must survive. I was very sad when I painted it".
'Our days were a joy and our paths through flowers' was painted for an exhibition at the Arnolfini Gallery in Bristol. The title comes from Thomas Hardy's poem, After a Journey, about a dead lover whose spirit lives on in the sights and sounds of nature. The girl, Gillian Matthews, was a ceramics student at Bristol: "I felt her face perfectly reflected her sweet nature. I thought if anybody had the right to live on and on, as Hardy described, Gillian's nature must survive. I was very sad when I painted it".
bmd
Island in the stream.
Saint Sebastien by Guido Reni.
Sebastian was a Roman soldier who aided Christians and was condemned to death by arrows by the Emperor Diocletian. This initial execution attempt was not fatal; he was nursed back to health by a pious lady before being clubbed to death. It was this miraculous recovery from the arrow wounds that led to his veneration as a source of protection in times of plague.
Reni's painting was one of the most celebrated at Dulwich in the 19th century, but by the turn of the 20th century its authenticity was in doubt. It is now accepted as one of two autograph replicas of an original in the Prado, the other being in the Louvre. Both replicas differ from the Prado picture in the inclusion of Sebastian's left hand, in the more revealing loincloth, and in the figures added to the landscape.
The story of Sebastian’s martyrdom made an ideal candidate for a male nude, and the startling eroticism of Reni’s Saint Sebastian has been a source of fascination for centuries. In the Dulwich version, a pentimento (alteration) shows that the loincloth has been reduced, whereas the Prado version was censured at some point in the 18th century so that more of the saint’s thigh and abdomen were hidden. The latter version is the inspiration for a voyage of sexual self-discovery in Yukio Mishima’s Confessions of a Mask. A century before that, the novelist Charles Kingsley describes his character Alton Locke as being moved to tears before the Dulwich painting.
See this work in high-resolution as part of the Dulwich Picture Gallery’s Online Collection.
P.S. Have you ever wondered why St Sebastian is a gay icon? The answer is here!
I find it quite interesting that there are 3 of these paintings, each thought to be the original and that they were regarded as extremely erotic in their day. I guess that the availability of porn has dulled our senses to pictorial eroticism, to a greater or lesser degree. It just looks like a bloke with an unlikely expression on his face, to me. He was sentenced to death by arrows, that might have something to do with it. He has the look of a Michaelangelo statue too.
Sebastian was a Roman soldier who aided Christians and was condemned to death by arrows by the Emperor Diocletian. This initial execution attempt was not fatal; he was nursed back to health by a pious lady before being clubbed to death. It was this miraculous recovery from the arrow wounds that led to his veneration as a source of protection in times of plague.
Reni's painting was one of the most celebrated at Dulwich in the 19th century, but by the turn of the 20th century its authenticity was in doubt. It is now accepted as one of two autograph replicas of an original in the Prado, the other being in the Louvre. Both replicas differ from the Prado picture in the inclusion of Sebastian's left hand, in the more revealing loincloth, and in the figures added to the landscape.
The story of Sebastian’s martyrdom made an ideal candidate for a male nude, and the startling eroticism of Reni’s Saint Sebastian has been a source of fascination for centuries. In the Dulwich version, a pentimento (alteration) shows that the loincloth has been reduced, whereas the Prado version was censured at some point in the 18th century so that more of the saint’s thigh and abdomen were hidden. The latter version is the inspiration for a voyage of sexual self-discovery in Yukio Mishima’s Confessions of a Mask. A century before that, the novelist Charles Kingsley describes his character Alton Locke as being moved to tears before the Dulwich painting.
See this work in high-resolution as part of the Dulwich Picture Gallery’s Online Collection.
P.S. Have you ever wondered why St Sebastian is a gay icon? The answer is here!
I find it quite interesting that there are 3 of these paintings, each thought to be the original and that they were regarded as extremely erotic in their day. I guess that the availability of porn has dulled our senses to pictorial eroticism, to a greater or lesser degree. It just looks like a bloke with an unlikely expression on his face, to me. He was sentenced to death by arrows, that might have something to do with it. He has the look of a Michaelangelo statue too.
bmd
Island in the stream.
Just so we're clear, I'm not sponsored by any links in this thread. If I was, that would be completely against editor's ethos and a piss take of large proportions. I just need a place to share stuff with people who I can relax around. Thanks dess, I hope it helps.
