#fine art painting apprenticeships

[otrtbs]

hi! could you explain a little bit what you studied and if you did any apprenticeship before you got a job ? a little summary to how you got there ? i’m so curious (and i admire you a lot)

hiya!! sure!!

so back in high school i actually started volunteering at my local art museum when i was 16 (up until i graduated at 18). they had a program specifically designed for teens to volunteer at the museum (i gave guided tours, and helped plan events at the museum, and worked with kids 3-12 in a drop-in studio every saturday where they could make art of their own after looking in the gallery) <- not a lot of museums do this, but you can call and ask if they need volunteer docents for the weekends !! they’ll train you!!

then i majored in art history in undergrad (making sure to focus my courses in modern and contemporary art towards the end of my studies bc that’s what i wanted to do! also i took a LOT of french classes. as in i only needed a few credits to have a minor but the last class was so hard i dropped it) to give yourself a leg up, i recommend studying a language (italian, french, spanish, german) most jobs in ARH require at least a minimal reading knowledge of another language.

while i was in school, i got a job at my university’s art museum as a gallery assistant! (<- fancy way of saying i walked around the galleries and told people not to touch the paintings and answered their questions if they asked and made sure no one was trying to steal the art)

during the summer, i got a summer internship at an art gallery in the biggest city close to my house (bc i moved back home w my parents in the summertime. uni housing was crazy expensive) and that was the *most* instrumental. i learned how to write wall texts, how to install artworks, i made studio visits to artists, updated the gallery website, handled artist contracts, you name it! it was great experience!!

i also got involved in art history/fine arts clubs at my university! i was on the fine arts council at my uni which represented the art and art history department to the student senate and the university at large. and the art historical society.

then i got my master’s degree in history of art theory and display, joined the art historical society at that university, got a degree and entered my FLOP ERA OF THE CENTURY

and by that i mean, i was 6 months unemployed and moved back home w my parents flop era. no one would hire me ,, no one would even give me a call back to tell me they didn’t wanna hire me ,,, and then one day someone did !! rahhh!!!! and i got some of my research approved 4 publishing and now im here!!!! (i say this not to discourage you but to let you know that the job market for art history ppl is tough,, it has always been tough,, but if you love it, it’s never a waste to pursue!)

i would do a few things differently if i had a second go at it, just to get a leg up so here’s some advice that im giving but i DIDNT DO myself:

1) try to minor in something to give you a leg up! a language is good, marketing is good, public relations… something to make you stand out!

2) try to get things published as an undergrad or a grad student! get your research out there if you can (way easier said than done ik ik) have some things you can list under your publications tab on your CV

3) if you find yourself in a 6+ month jobless, flop era period like me, volunteer somewhere at a museum or gallery if you are able. i was bitter as fuck that i had a masters degree and would be working at a museum for free when i needed money so i didn’t do it ,, but when someone finally calls back and you get an interview and they ask what you’ve been up to recently ,,, telling them you spend your time volunteering in museum spaces and working in your desired environment looks so much better than saying “i’ve been job searching” i promise !! (<- also just recognizing the extreme privilege i had to just stay at home and look for jobs in my desired field instead of immediately having to get a job somewhere. but im not gonna lie to you. i put out applications at olive garden and einstein’s bagels and they both rejected me. so. i was scrambling bc my student loans were due and i had zero dollars 2 my name 🧍‍♀️)

okay i rambled on for entirely tooooooo long. but i hope this was helpful somewhat !!! 💗💗

[spritebug]

What do you think the MS characters studied during FCU/at university generally?

Thank you for the ask! ^^

My FCU knowledge is very limited, so I’m sorry if this is ooc or goes against cannon 😅

I’ve also never done something like this, so I hope the layout is okay!

What the main Mystreet characters studied at FCU/College/University

———————————————

Like I say, I don’t remember much of FCU. So this will be based on their MS and PDH personalities!

(Also I’m British so I’m sorry if I mixed anything up!)

Aph

-I strongly think aph went into a creative subject.

-Specifically Graphic Design or Drawing and Painting

-I also think she could have taken Creative Writing, after realising that she could make Fan fiction her entire job if she just “got it published”

-turns out it wasn’t that easy.

-(I think she’d have considered a Veterinary course, but decided against it after realising she’d have to see some of the animals pass on)

Katelyn

-I truly don’t talk about Katelyn enough.

-The easy answer is obviously a sports based course.

-Such as studying/training for volleyball or Sports Coaching.

-BUT I think she also could have done something in Drama, specifically Acting and Performance.

-I think she would have taken up Boxing Lessons during this, either for fun or to try cover her love of Theatre.

Nana(kc)

-Bakery.

-It’s easy, I know. But I really think she probably would have taken a Bakery and Patisserie course.

-If we’re also talking in universe stuff, then I think she might have taken some form of Magics Classes.

-And depending on when her dream of starting a maid cafe started, she could have taken Business Management to try and do that.

-I like to think she had a part time job at the Meif’wa scouts as a scout leader.

-(Probably also considered Veterinary as an option)

Garroth

-This man was way too difficult

-But it’s okay we love him anyway

-I think Garroth would be the type of person who just panicked and applied for a course in whatever he got the best grades in at the end of secondary/high school, even if it’s not what he wanted to do. (Which is valid)

-He probably could have continued in Baseball, but realised he’d rather keep it as a hobby and not a career.

-Garte absolutely offered him an apprenticeship at his business, and definitely tried super hard to get him to accept.

-Thankfully, Zianna pushed for him to do what he wants not what Garte wants. We love zianna.

-But, Garte definitely made him do a part time course in Business Management “just in case”

-Garroth doesn’t know what he wants to do in life yet, and that’s perfectly fine.

Zane

-Ahhh zane. Just as difficult as his brother.

-I think he could have done English Literature or some form of Poetry, gotta get the angst out somehow.

-But other things MCD and the wiki also make me think he could have done Business management to try and please his dad and become the favourite child.

-Garte probably offered him the the apprenticeship after Garroth declined it, but it was too late to accept.

-He probably considered an art course because of his love of MLP 2D animation.

Vylad

-MY BOYYY

-I have so many opinions

-Okay, so for some reason I really think Vylad would take a Photography course. It just makes sense in my mind.

-If not photography, I think he would have taken any course that involved him having to travel in order to study.

-I think Vylad learned at least 1 other language during college/uni.

-Probably took baking classes at one point, but kept eating his projects before he could present them.

-I don’t think Garte got around to offering him the apprenticeship, but he wouldn’t have accepted anyway.

Laurence

-This man. I love him, but his wiki is….lacking compared to everyone else’s.

-But we continue anyway

-I’m tempted to say he didn’t go to Uni/college, and instead helped on his parents farm for a little while or did some form of Apprenticeship.

-if he did I think Laurence could have continued football/soccer, but I think he’d get bored and choose something else.

-I think Laurence would be the type who chooses his courses based solely on what he enjoys doing, without a real plan on what to do afterward. (me too)

-I think he would have taken a culinary course, mainly surrounding savoury food.

-college/uni is probably where he learnt Japanese.

-I think Cadenza would have convinced him to do a part time Fashion and Beauty course “or she’d disown him”.

-Definitely did Babysitting as a part time job.

Dante

-Dante. One of the hardest out of this list.

-I’m honestly so stumped for our dear Danny boy

-I can imagine Dante going into something like Engineering or Film.

-I literally have no idea why, it’s just all I picture when I think about it. I wish I could provide more information

-I think he probably got a job pretty early after leaving Secondarily/High school. Like just something small, not a stable forever job.

-I think College/Uni has to be around the time he toned down his PDH-era flirting.

Travis

-I feel like Travis could have went into Media or something along those lines.

-Or social studies

-He seems like he’d do an apprenticeship somewhere, but I’m not sure where.

-he’s a tricky one

-he definitely did cooking lessons at some point

-I think college/Uni is also where he learnt a martial art

-He defiantly went to the same place as Dante

Aaron

-I think Aaron didn’t have much control over what he studied. I think he was heavily influenced by his parents.

-Definitely took Business Management

-Definitely took some form of Werewolf classes

-And definitely lost interest quickly

-100% made use of the on-campus gym. He probably spent more time there than classes.

Lucinda

-Magic time

-Definitely took multiple Magic Courses.

-Specifically about Familiars and Witchcraft

-Took bakery classes on the side, and tried to mix the two together.

-I think she could have also taken gardening on the side.

Nicole

-I think Nicole’s dad would have tried to convince her to study Law or Politics, but after less than a year she switches.

-I think she would have taken Sport and Exercise Science, to better herself and others.

-I think she could have taken Veterinary part time too, like a wildlife sanctuary or something.

-She probably took martial art classes in between classes.

Cadenza

-CADENZAAA

-yes I’m including our girl

-She absolutely took Fashion Design.

-And possibly Beauty on the side.

-She knew exactly what she wanted in Secondary/High school, and she hasn’t changed her mind since.

-Definitely took self defence classes

-Also helped out at her parents farm for a little while.

———————————————

I hope this was okay, I had to re-do the whole thing three times cause I kept accidentally losing all the progress 😅

[mybeingthere]

Mark Adams was born in Fort Plain, New York in 1925 and died in San Francisco in 2006. He attended the Hans Hofmann School of Fine Arts in New York City in 1945 after studying for two years at Syracuse University. He spent the next few years traveling between New York and California before he settled in the San Francisco Bay Area in 1952. Adams married fellow artist Beth Van Hoesen in 1953, and completed a four-month apprenticeship in Aubusson tapestry with the acclaimed Jean Lurcart in Saint-Cere, France in 1955.

Mark Adams is best remembered for his versatility as an artist, possessing talent in a diverse array of artistic media including tapestry, stained glass, oil painting, mosaic, drawing, watercolor, and printmaking. Early in his artistic career he focused on tapestry and stained glass. By 1962 Adams had two solo exhibitions of his tapestries at the de Young Museum and the San Francisco Museum of Modern Art. He completed tapestry commissions for various institutions, including the San Francisco International Airport. Adams also took an interest in stained glass, which he considered an extension of his work with tapestry and his enthusiasm for liturgical art.

By 1975, Adams grew frustrated with the limitations of his craft and the lack of complete control he had over the actual fabrication of his work. Drawn to the idea of small, intimate, and personal works that he could manage from beginning to end, he began a new venture in watercolour. Adams soon realized he could incorporate his techniques of flat planes of color as he had in tapestry and stained glass by using a wash to create his desired spatial effects, along with continuing his ideas of transparency and luminosity. He favored the quotidian subjects that exemplified his life, depicting them in such a way as to evoke a sense of nostalgia. Adams eventually learned to deemphasize his precise technique as a means to communicate his excitement for the subject he was portraying.

[harperonni]

NSR Oc’s!! here we go lads!! I’m gonna put more info about them under read more bc asdfg I just wanna yell about them! might even open up to questions about them bc I just would love love to share more omg, so feel free to ask about them if you like Also all three are trans and very queer

Left to right: Valli Styrene

She/Her, 29, trans, lesbian

Tattoo artist. Farah was one of her first customers, and her popularity rocketed after she did EVE’s thigh tattoo.

Only has one tattoo, as she’s a big perfectionist. She has lots of ideas on what she’d like, but just can’t seem to follow through on them

Often goes to EVE’s art gallaries when she can. She studied Fine art at uni, though dropped out the course on her last year. Took her a lot of retail jobs and apprenticeships before she got to where she is now. 

Fangs run in the family, but she’s not a vampire. 

Her favourite animals are actually snakes. She has a pet Ball python (despite the place where they’re renting having a no pets policy) and her name is Carmilla

Still paints from time to time, likes using gouache the most.

Farah Sol

They/She, 36, Non-binary, Pansexual

Comes from a biiigg family. Two mums, five siblings, and now five nieces/nephews. Is very close to their family, and frequently visits home (Valli and Speckle have been brought into the familly circle too, given how the three live togehter and had been friends since meeting at uni).

NSR artist - ElectroSwing (Still unsure if they have a district in the future, like if they get that popular. Maybe, only because it would be fun to imagine asdfg) 

They’re also a semi-successful author, though they go by a pseudonym (Sol Bacho) because they want their books to be read becuase they’re good, not because they’re an NSR artist. Some of their best sellers include: Vinyl City, a music foundation, RETDEX: What once was, and  Stars Aline (a romance they honestly hadn’t expected to get popular lol)

Adores cats. If she could have cats in their no pet house they would not hesitate. For now though, she goes to DJ SS’s house and snuggles his cats instead lol

(also kinda shipped them with DJ Subatomic as a joke but now it’s not a joke help)

Speckle Darling

He/Him, 35, Trans, Gay

Architect, has worked outside and in Vinyl city and over saw some of the more lived in areas, (as in, homes where people could live lol) and if I decide Farah’s a charter with their own district, is def the man Farah hires to help design their district.

Arcitecture and DIY is this mans passion! He will talk hours over the differences and imporatnace of specific window panes. 

He also relaxes with simulator games, like the sims (this man would only ever build houses, he never plays with any actual families). He would also unironically enjoy truck simulator too. He’s a simple man with simple pleasures.

He uses a cane to help walk, primarily with his left foot which is robotic. He was born without his left leg, and didn’t really get his first prosthetic until his teens years.

Is a single and divorced dad, too. Maybe a year after Farah becomes a charter, there’s a celebration on one of Farah’s songs being a big hit. Speckle drank too much and woke up in another city, married to a guy he didn’t know. The two enjoyed eachothers company, but decided to divorce. Speckle heads home, vowing to not drink again after all that happened. Three weeks later he finds out hes pregnant, and decides to keep the baby. Then, Sandi Darling was born

He adores his daughter so much, and Farah and Valli are co-godparents to Sandi. They’re reffered to as Aunt Far, and aunt Val

[acheronist]

so this afternoon at work was a tiny bit disappointing becoz i really want to do interesting detailed art asap and my mentor is like. stock image stars and hearts and profoundly simple idiot proof designs ONLY !!!! until i get a better feel for the technique of actually tattooing on skin. which is fine but disappointing for me and my bachelor's degree in illustration.... 📉..... but then like two hours later the shop boss calls me and is like "my husband just bought eight freshly cleaned cow skulls from our buddy who does taxidermy / bone collecting. do you want to draw on one as an apprenticeship project or is that weird" LIKE OEUHIWUHDHOSUHF YES. YES. PLEASE YES. I WOULD LIKE TO PAINT ON THE SKULL YES. DID YOU READ MY DIARY. PLEASE LET ME PAINT ON THE SKULL. 📈📈📈📈📈📈📈

[valkyries-things]

SOFONISBA ANGUISSOLA // ARTIST

“She was an Italian Renaissance painter born in Cremona to a relatively poor noble family. She received a well-rounded education that included the fine arts, and her apprenticeship with local painters set a precedent for women to be accepted as students of art. As a young woman, Anguissola traveled to Rome where she was introduced to Michelangelo, who immediately recognized her talent, and to Milan, where she painted the Duke of Alba. The Spanish queen, Elizabeth of Valois, was a keen amateur painter and in 1559 Anguissola was recruited to go to Madrid as her tutor, with the rank of lady-in-waiting. She later became an official court painter to the king, Philip II, and adapted her style to the more formal requirements of official portraits for the Spanish court. After the queen's death, Philip helped arrange an aristocratic marriage for her. She moved to Sicily, and later Pisa and Genoa, where she continued to practice as a leading portrait painter.”

[cirqueduroyale]

Characters with their hypothetical college majors?

You've unlocked the Cirque College AU

Oh my Vaude, they were roommates.

Anyway, majors:

Claudette: Theatre Major Charlie: Sociology, Social justice/welfare Red: Political Science Quinn: Zoology, with a specialty in tigers and big cats Kingston: Media broadcasting and/or Music Education Leo: He majored in Law but he really wanted to study Astronomy. Quinn would ask him about her zodiac sign just to annoy him. Ron: Wouldn't find university useful for his interests. He'd do a woodworking/furniture-making apprenticeship. Daisy: Botany Cupcake: Culinary arts, baking Will: Liberal Arts. He's just there to join a frat and party. Fred: Creative writing. He hates reading his classmates' writing but enjoys tearing it apart. Penelope: Fashion Design Pascal: Fine art, painting with a minor in aviation Queen Louise: She's not that interested in post-secondary education. Louise would most likely finish high school and take some local home economics classes like cooking, sewing, finance, etc. in order to be a better homemaker. Manet: Culinary arts Matisse: Mat's never been all that interested in school. She might take a few classes and drop out, out of boredom.

[amzmuseum]

THE “FONTANA OSCURA” IN VILLA BORGHESE

Thorald Læssoe 1816-1878, Copenhagen

Oil on paper applied on canvas

20 x 27 cm

Signed lower right: Thorald LÆSSØE

After a brief apprenticeship with Danish “animalier” painter Christian Frederick Carl Holm, Thorald Læssøe occasionally followed courses at the Copenhagen Academy of Fine Arts, to then decide to dedicate himself to painting as a self-trained artist, along with his friends Johan Thomas Lundbye, Jens Adolph Jerichau, and Lorenz Frølich. Between 1845 and 1857 the artist lived in Rome, in a studio at the 33 Margutta Street. He will come back to Rome only in 1866, three years after his wife’s death, to remain until 1868. There is no doubt that the Roman stays had a significant impact on Læssøe’s art: indeed his paintings make an impression thanks to the strong hues and the artist’s ability to convey the Mediterranean light’s atmospheric iridescence, characteristic common to the majority of painters belonging to the Danish painting “Golden Age” of which Læssøe has been a pivotal figure. The work here presented shows the “Fontana Ovale”, one of the two fountains known as “Fontane Oscure” and located in a perspective position with respect to Museo Borghese boulevard sides. It is thought that the name “Fontane Oscure” is due to the trees’ shadow that immersed the fountain creating, during certain time of the day, surreal and magical atmospheres. They belong to the garden’s seventeenth century planning and are one of the villa’s most ancient fountains. The November-December 1977 exhibition at Palazzo Braschi in Rome, dedicated to Danish painters of the nineteenth century, saw exhibited four of his paintings entitled respectively, Le Terme di Caracalla, Veduta di Ariccia, La grotta di Egeria and Una pergola, and coming from the Museum of Fine Art Copenhagen the first two, the Soro Museum of Art the third work, and the last one comes from a Danish private collection.

[thelittlestspider]

sorry i messed up the blackwood character list trying to put pictures in it, so here's the blackwood cast again.

Blackwood School Wip Character Masterlist

Gilly - 18. he/him. ace. Gilly came to the Blackwood School after a werewolf attack left him an orphan. He struggles with being a werewolf and finds it hard to connect with his classmates, fearing he may harm them accidentally during the change. He tries to channel his anxieties into art. He currently resides at Rose House, where he’s being tutored by Leana, Breanna’s cousin. 

Tameka Saurey - 18. she/her. ace. Tameka is an orphan exiled from her village due to her power to manipulate the human body. She is fascinated with death, insects, and poisons. Her fascination with the macabre alienates her from some of her classmates, resulting in her being sent to Rose House to be tutored by Leana, Breana’s cousin. Fc: Ayo Edebiri.

Georgia Starling - 19. she/her. ace. Georgia is one of the girls found in the Labyrinth Museum. Georgia has always had trouble fitting in with other people with her tea parties, dolls, and outdated clothing. They compare her to her sister Andromeda, who is many ways her opposite: popular, charismatic, and fashionable. 

She is a biology/astronomy double major in a rivalry with Leota, another biology/astronomy double major.

Tambra Spritzer - 18. she/her. lesbian. Tambra tries to look on the bright side of life while also being kind of sensible. Her power has been both a blessing and a curse to her. Tambra has the ability to manipulate and communicate with plant life. Fc: Yasmin Finney.

Georgia has the ability to make objects come alive. 

Fc: Khadija Red Thunder.

Jessica Taylor - 18. she/her. ace lesbian. Like Tambra, Jessica has the ability to manipulate plants and communicate with them.

Helena Alan-Rojas - 19. she/her. bi. Helena was exiled from her village after she showed signs of inheriting the ability to do necromancy from her mother (her mother wasn't exiled because she was the goddess's favorite and because they sacrificed her and she came back to life, which scared them). The cult members left her out in the wilderness to die. 

Fortunately Helena was found by a couple camping nearby and was taken back to Blackwood to live with them. 

Carlos - 19. he/him. bi. Carlos is a wizard in training who is flamboyant and exuberant and unapologetic about how much space he takes up. He's in training with a renowned wizard who he's trying to gain an apprenticeship with, dealing with competition from other students, one of which is his rival, Satin Barkridge. Carlos has the ability to open portals to other dimensions (along with other powers). Dating Helena. Fc: Iñaki Godoy.

Selene Kelly - 19. she/her. lesbian. Selene is a moody artistic type who prefers painting and reading poetry over people. Selene has the ability to open portals to other dimensions and create objects with soul energy.

Melissa Kelly - 19. she/her. lesbian. Melissa is a girl who makes it hard to love her. She's bitter, sarcastic, and mean, with a bite just as bad as her bark. Melissa has the gift (curse) of seeing the future.

Leota - 21. she/her. lesbian. Leota is one of the few who doesn't have a power and she's totally fine with that. She has enough to worry about without worrying about supernatural nonsense. Leota is pretty chill for the most part. But something about Georgia brings out the worst in her lol. She's a biology/astronomy double major.

Olivia - 22. she/her. lesbian. Olivia is a film student and one of the girls found trapped in the Labyrinth Museum. She had dreams about being a paranormal documentarian but is afraid to pursue it because of the events that led to her being trapped in the labyrinth. Now when they go out in the field she films everything in addition to their notes, so in the event they go missing someone will find it. Fc: Jenna Ortega.

Andromeda Starling - 21. she/her. lesbian. Andromeda is one of the former wards of a demon who held her and her sister Georgia captive. She's one of the girls found trapped in the Labyrinth Museum.

Andromeda accidentally killed her stepfather who was attacking Georgia, leading her to accepting the offer to become the demon's ward.

She has the ability to manipulate reality, and when she's under stressful conditions or feeling really strong emotions reality warps and changes around her. Fc: Alexa Demie.

Breanna Blackwood - 55. she/her. bi. The new Independent Studies teacher. Breanna is a nervous, yet passionate woman who cares deeply about the welfare of her students and works hard to help them meet whatever goals they have for their education. Unfortunately, many of the trips don't go as she planned, leading her to feel guilty when her students are put in danger.

Leana Rose - 64. she/her. bi. Leana is the matriarch of the Rose family. She's a tall, elegant woman who loves painting, gardening, and spending time with her family. Leana believes in community and visits her neighbors often, helping them out when they need it and being helped in return. Leana has four children with Reginald and two adopted. Breanna's cousin. Fc: Angela Bassett.

Satin Barkridge - 20. she/her. Satin Barkridge is Carlos's rival and a fellow wizard in training. She's considered the It Girl because of her cool demeanor and fashion sense. Satin comes from a family of seamstresses. She has five sisters and one brother. Originally from Bellam city, but came to Blackwood to study the wizard arts. Living with aunts and cousins.

Carter Rose - 19. they/she. bi. Carter is one of Leana's mysterious wards. They are an enigma to most of the townies, presenting themself as different characters depending on what the person wants. Carter is very particular about looking perfect in front of other people and finds it hard to let people see the person underneath. 

Violet Rose - 18. she/her. bi. Violet is one of Leana's mysterious wards. She's a gentle soul who hates violence and is terrified of the paranormal. Violet is initially shy about talking to the townies but soon warms up to them and becomes her naturally extroverted self. She is very charismatic and one of the first to try to rally the town against the Darlingtons.

Nina Rojas - 20. she/her. lesbian. Nina is a shy girl who suffers from perfectionism and anxiety. She finds it hard to make friends and is isolated even further by her abusive boyfriend. Nina is the child of former cult members who fled their village and ended up in Salvation, where they run an inn. She has four sisters and two brothers. Helena is Nina's cousin. Fc: Melissa Fumero.

Tiffany Gupta - 21. she/her. bi. Tiffany is a psychic who was orphaned at an early age when her parents died under mysterious circumstances. She's a bubbly girl with a fiery temper who is loyal to the people she cares about and will fight to protect them. Tiffany has the ability to see memories through touch and see ghosts. She lives with her grandmothers. 

Ezra Alan - 50s. he/him. Ezra teaches woodshop. Helena's father. Married to Martin.

Martin Alan - 50s. he/him. Martin teaches biology and environmental science. Helena's father. Married to Ezra. Fc: Denzel Washington.

Mina Herrera - 40s. she/her. Mina teaches theater and literature. Married to Tristan. Fc: Jessica Chastain.

Tristan Herrera - 40s. he/him. Tristan teaches sports and health. Married to Mina.

Dr. Alice Hansen - she/her. A mad scientist who was kicked out of the school for unethical human experiments. She lives with her undead assistant in Saltwater Pines, a ghost town filled with monsters from when it was a research facility.

Nurse Dread - she/her. Nurse Dread was created out of body parts from Dr. Hansen's victims and brought to life through electrical shock from lightning. Now she is Dr. Hansen's assistant, helping her in her dark research, and disposal of any people who might intrude upon their work.

Starla Wilkins - 21. she/her. lesbian. Starla is kind of a troublemaker lol. She likes fighting monsters out in the mines and around the farm, and showing off for her girlfriend. She likes cooking, tinkering, and working in her garden. She has a gray cat named Duchess.

Milena - 22. she/her. lesbian. an artist. has a sister named maja. has a dog named lizann and a cat named margita.

Ted Wilkins - 24. he/him. bi. Ted is a punk and a stoner. He blasts mcr while he does chores around the farm and sings along at the top of his lungs (much to his partner's annoyance lol). He likes to ride his horse around town and on the trails. He has an orange cat named Beatrice.

Anne Marie Murray - 24. she/they. bi. Anne Marie is studying to be a marine biologist at Blackwood. She's passionate about her field and loves wandering around the beach studying wildlife (which is how she met her wife). She has a dog (i can't remember what i named it). Married to Misery.

Misery Von Stein - 23. she/her. lesbian. Misery is the middle child in a family of scientists. She's shy and soft-spoken and better at tinkering with her projects than dealing with people. She's deeply romantic at heart and yearns for someone to understand her. Married to Anne Marie.

Theo Rojas - 24. he/him. Nina's older brother. Married to Ted.

Odile Peters - she/her. 20. Dating: Francine. Fc: Kiana Madeira.

Odette Peters - she/her. 18.

Francine Richard - she/her. 20. Dating Odile.

Angelica Monét - she/her. 20. Dating Bernadette.

Bernadette Rousseau - she/her. 20. Dating Angelica.

Maevis - they/them. 18.

Lettie - she/her. 18.

Henrietta - she/her. 18.

Justine Kennedy - she/her. 18.

Gem Barkridge - she/her. 18. Satin's cousin.

Maja - 19. she/her.

Bartholomew "Bart" Rose - he/him. 13 or 14. Bart is the youngest of Leana's children.

Gabriela Herrera - she/her. 14.

Socrates - he/him. 13.

Liam Rojas - he/him. 14.

Gabriel "Gabe" - he/him. 14. Grandma owns Tin Horse Art Supplies.

Bennie Herrera - she/her. 10.

Nova Herrera - she/her. 7.

Tommy Herrera - he/him. 6.

Claire - she/her. 6. Gabe's sister.

[mscoyditch]

"Christian Skredsvig (12 March 1854 – 19 January 1924) was a Norwegian painter and writer. He employed an artistic style reflecting naturalism. He is especially well known for his picturesque and lyrical depictions of the landscape. He was born and grew up on the Skredsvig farm in the parish of Modum in Buskerud, Norway.

When he was 15 years old he became a pupil at the drawing and paint school of Johan Fredrik Eckersberg in Christiania. After Eckersberg's death in 1870 he studied with Julius Middelthun at Norwegian National Academy of Craft and Art Industry (Den kgl. Tegneskole) in Kristiania (now Oslo). He followed with four years of apprenticeship (1870–1874) in Copenhagen under the supervision of landscape painter Vilhelm Kyhn at the Royal Danish Academy of Fine Arts.

After several years in Paris he moved back to Norway in 1886 and settled at the Fleskum farm in Bærum. His new home became a gathering place for painters, poets and musicians. Eilif Peterssen, Kitty Kielland, Harriet Backer and Erik Werenskiold all made trips to the farm. Skredsvig's famous neo-romantic painting Seljefløiten (1889) was painted by the Lake Dælivannet in Bærum. He also conducted study trips, to Corsica in 1888 and to southern France in 1891.

In 1894, he moved to Eggedal in Sigdal municipality where he built his home Hagan. In the natural landscape of Eggedal, Skredsvig found inspiration and motives to paint".

> Pomah Konomieub > Painters from the North

[archaicbones]

Arthur/Art/Arty

About Me:

Artist/Crafter/Science Enthusiast

Queer-Nonbinary

18+ only

I make stuff and sell it sometimes.

I am training to be a tattoo artist.

I mostly draw creatures and women.

I have a cat, a tarantula, and three ferrets

I currently sell original illustrations and paintings.

Buckle up buttercup

Here You Will Find:

Paintings

Illustrations

Sewing

Paper crafts

Pet pictures

Heavily edited photography

Character designs

Anthropomorphic animals

Bones

Taxidermy

Science stuff

Occasional selfies

Me just talking about shit

Disclaimers:

I have characters but I don't draw them often. The best one is Ruth. She's my little gremlin.

I have a wide range of subjects, from cute to creepy to psychedelic and everything in between.

I very occasionally post artwork of light gore and violent acts towards animals. It's nothing particularly graphic. I do not condone intentionally harming any animal unless the goal is to kill and eat. I love animals, and I would never harm one. I have always been acquainted with the darkness. It is sometimes depicted in my art. That is all it is. Art.

I post drawings that involve nudity. The human body is beautiful and should not be stigmatized. I don't care how you feel about it. Don't complain if you see it. I don't care.

Do not ask me about my sexuality, love life, family, or mental health. These topics are completely off-limits. I will block you if you ask about them. Full stop.

I will occasionally post pictures of myself. Do not make negative or sexual comments about my body. Normal stuff and complements or whatever are fine, but if you have a negative opinion, keep it to yourself.

I enjoy sharing my thoughts and opinions and having calm and thoughtful conversations with people. I am a very friendly person and I like to socialize.

I don't do commissions, I only sell original pieces. I reserve the right to use my artwork in whatever way I please, even if you purchase an original. Every original piece is scanned, so I can use it at a later date for prints or various other art related things.

If you want a piece tattooed, I would appreciate it if you would save up to get it tattooed by me when I complete my apprenticeship. If that is not in any way possible, it is $20 for permission to get my art tattooed per piece. I reserve the right to tattoo it on someone at a later date.

If you need me to tag something, let me know, and I'll try to keep up with it.

Tags:

#my art (for the compete collection)

#tattoo design (for my designs)

#paleoart (for my dinosaurs and prehistoric humans)

#creature (for animals)

#humanoid (for anything with a human-like body plan)

#anthro (for my furry art)

#my ocs (for my personal characters)

#character design (for random people I've drawn)

#sale (original paintings and illustrations for sale)

#psychedelic (for the fun stuff)

#acid art (for original art made during trips)

#the self (for pictures of me)

#anti piss revolution (for my fake album covers)

Characters:

#scratchings (for just me talking about stuff)

#my pets (for the ferrets and kitty)

Ruth

Vivian

Margo

Kody

Chris

James

Luke

Jack

Andie

Jeremiah

Poppy

Weaver

Morgan

MUST READ!!!!

If you are in any way opposed to transgender people, queer people, honestly, if you're prejudiced against anyone for the way they were born, I don't want you here. At all. I don't care about your shitty opinions. If you follow me and I see any of the above, I will block you.

Otherwise please enjoy. I'm just a really chill guy who likes making pictures and crafts. I appreciate you taking the time to read. I might seem harsh in some spots, but I am setting firm boundaries in order to create a space where I feel safe to share what I make. Thank you for checking out my blog!

Love and Peace!

[exhibit-of-the-century]

Lecture Notes MON 19th FEB

Masterlist

BUY ME A COFFEE

The Academy and the Public Sphere 1648-1830

Further Reading: Johann Joachim Wicklemann (1717 - 1768) from Reflections on the Imitation of Greek Works in Painting and Sculpture

Antonie Cotpel (1661-1722) on the grand manner, from 'On the Aesthetic of the Painter'

Andre Felibien (1619-1695) Preface to Seven Conferences

Charles Le Burn (1619-1690) 'First Confrence'

More and Other

The first Academies start in Italy and then begin to spread throughout Europe. However, in this lecture we mainly focus on Paris and London. The Louvre palace, where the royal academy started, was where artists established there thought themselves as elites due to being part of the court, near the ruling and partly due to monetary reasons. (Remember: French Revolution 1793)

Now the other place was the RA, or Royal Academy in London was established to promote art and design (not to be confused with the Art and Design/Craft Movement of 1880-1920). Which focused on displaying and teaching painting and sculpture, only sometimes exhibiting drawing. If your work was exhibited, it was seen as being awarded the highest status and praise.

Jean-Baptiste Martin, A meeting of the Académie Royale de Peinture et de Sculpture at the Louvre Palace, 1712-1721, Musée de Louvre

Although the academies had strict teaching rules and students had to follow. Which meant that art during this time and created by these artists had a regulated style.

While the French salons/academies had no entry fee when they exhibited the work (bi yearly), the British did have a fee of one shilling to view the exhibit (yearly), despite trying to advertise and claiming any person was welcome. When asked and confronted about the fee, they claimed it was to keep out “improper persons” (the poor).

A selection of Art Academies:

The Academia di San Luca, Rome, 1593                                             

The Académie Royale de Peinture et de Sculpture, Paris, 1648

The Akademie der Künste, Berlin 1696

The Royal Danish Academy of Portraiture, Sculpture, and Architecture, Copenhagen, 1754

Academy of Fine Arts Vienna, 1688/1701/1725

Real Academia de Bellas Artes de San Fernando, Madrid, 1752

Imperial Academy of Arts, St Petersburg, 1757

The Dresden Academy of Fine Arts, 1764

Royal Academy of Painting and Sculpture, Stockholm, 1766

Royal Academy of Art, London 1768

The Academy of San Carlos, Mexico, 1783

Royal Arts Academy in Düsseldorf,  (1777) 1819

Academia Imperial das Belas Artes, Brazil 1822 (based on an earlier institution)

Martin Ferdinand Quadal, Life drawing room at the Vienna academy, 1787

United in Guilds, mechanical and practical artists wanted to be recognised as artists from a scoio, utility aspect. Painting and sculpture were valued in liberal and intellectual arts.

At the beginning of the 17th century, most painters were part of the Maîtrise de Saint-Luc, a guild founded in 1391, which controlled the market and sanctioned the method of training artists by apprenticeship.

A group of artists, including the young Charles Le Brun, sought to the escape the Masters and placed themselves directly under the protection of the young King Louis XIV, who was capable of removing them from the constraints of the guild. The Academy was established in 1648.

In 1655 letters patent granted the new company the right to call itself the The Académie Royale de Peinture et de Sculpture (Royal Academy of Painting and Sculpture) and decreed that only its members could be painters or sculptors to the king or queen. The Academy moved to the Louvre, where the Galerie d'Apollon hosted the reception pieces (chef-d’oeuvre), works that had to be performed before being approved and then elected an Academician. It oversaw—and held a monopoly over—the arts in France until 1793. The institution trained artists.

Perspective view of the hall of the Royal Academy of Painting and Sculpture at the Louvre in Paris: [print].

Sir William Chambers, Somerset House, Now the Courtauld Institute of Art and Gallery

In 1768, architect Sir William Chambers petitioned George III on behalf of 36 artists seeking permission to ‘establish a society for promoting the Arts of Design’. They also proposed an annual exhibition and a School of Design. The King agreed and the Royal Academy of Arts, the Royal Academy Schools, and what you know today as the Summer Exhibition were established. The Royal Academicians were first based in Pall Mall, renting a gallery 30 feet long.

In 1775, Sir William Chambers won the commission to design the new Somerset House as the official residence. The Exhibition Room was 32 feet high and situated at the top of a steep winding staircase, it was described by contemporary literary critic Joseph Baretti as ‘undoubtedly at the date, the finest gallery for displaying pictures so far built’.

In the 1830s, the Academy moved to Trafalgar Square to share premises with the newly founded National Gallery, moving again in 1867 to Burlington House.

Summer Exhibition have been held every year since 1769.

Attributed to George Shepherd, The Hall at the Royal Academy, Somerset House, 1 May 1810

Before the establishment of Academies and their own openings to the public, there is no or very little actual documented art exhibitions and if there were any they were not documented. Or permanent.

These exhibitions and academies open art to the public, and gain a wider audience, mostly of the Bourgeois, who also usually commissioned the artists of the academy. Or the state did and the church – which was most common. But now individuals could now own art, which commodified art and created private ownership. This also was spurred on by art being more mobile, being painted on canvases which were easier to transport (in some cases).

The idea that came from this was: “art should be affordable”.

Another thing that came from exhibitions and wider audiences was that art became democratised, leaving it open for criticism and interpretation. Although the interpretation aspect wouldn’t be explored till around the 19th century, on wards really.

Teaching at the Academy

The Academy laid down strict rules for admission and based most of its teaching on the practice of drawing from the antique and the living model to support its teaching method and its artistic doctrine. Great importance was also given to the teaching of history, literature, geometry, perspective and anatomy.

In controlling education, the Academy regulated the style of art.

Professors of the Academy held courses in life drawing and lectures where students were taught the principles and techniques of the art. The students then looked for a master among the members of the academy, to learn the trade in their workshop. Only drawing was taught in the Academy and artists learned painting in the studios of the master, often working on his (rarely her) work.

(Left) Antoine Coysevox, Bust portrait of Charles Le Brun, Marble (Right) Charles Le Brun, The Family of Darius before Alexander, c.1660, 164 x 260 cm

Charles Le Brun became director in 1663 and was appointed chancellor for life. The Academy was administered by a director chosen from among its members, often the King’s favoured artist.

The sketch and finish

Le Brun introduced the sketch (esquisse) to French artistic practice, where it became central to the painter’s training in both official and private academies.

The esquisse was typically a small-scale, rapidly executed work intended to preserve an artist’s première pensée, or initial conception, of a subject. It elaborated composition and colouring, avoiding detail in favour of loose forms and fluid brushstrokes.

These studies were not for exhibition, and exhibited works were expected to be highly finished, often with glassy surfaces and the elimination of brushwork.

During the later eighteenth century some began to see merit in the sketch itself, but it was in the nineteenth century with Romanticism that an ‘aesthetics of the sketch’ really developed. In the 1830s sketch came to be identified with originality and genius.

Pierre Charles Jombert, Punishment of the Arrogant Niobe by Diana and Apollo, 1772, Oil paint on canvas, mounted on board, 35.7 x 28.1 cm, Metropolitan Museum, New York

The notion of aesthetic begins developing at the time, since the academies had a monopoly on aesthetic, they chose what they liked and didn’t. Their control on who was displayed in exhibits, could ensure an artist’s success. Rejection from and by the Salons was seen as the highest insult to an artist (and their aesthetic).

In the early nineteenth century the Academy instigated landscape sketch (études) competitions.

(Left) Pierre Henri de Valenciennes, The Banks of the Rance, Brittany, possibly 1785. Oil on paper, laid down on canvas, 21.3 x 49.2 cm. (Right) Théodore Caruelle d'Aligny, Landscape with a Cave, mid-1820s, Oil on canvas, 62.2 x 45.7cm

Here the importance of studying nature directly was emphasised through the practice of making plein air études, or small studies painted outdoors. Études generally did not serve as compositional models for particular paintings. Rather, these studies of different kinds of terrain and effects of light would be idealized or embellished by classically trained painters in landscapes produced entirely in the studio. From the time of Romanticism on, the sketch aesthetic became more-and-more central, but this was anathema to academic artists.

Exhibiting

In 1667 that the Académie Royale de Peinture et de Sculpture held the first semi-public show to display the works of its students considered worthy of royal commissions, laying a foundation the “group exhibition”. It was held in the Palais Brion in the Palais-Royal.

In 1725 the Salon moved to the Louvre and in 1737 exhibitions were opened to the public.

From 1748 group of Academicians formed a jury determining which works would be exhibited and where they were to be positioned. In 1673 the first catalogue (livret) was published. It was unillustrated until 1880. Exhibiting at the Salon was a condition of success.

Nicolas Langlois, Exhibition of works of painting and sculpture in the Louvre gallery in 1699. Detail of an almanac for the year 1700 – Etching and burin.

(Left) Giuseppe Castiglione, View of the Grand Salon Carré in the Louvre, Oil on Canvas, 1861 (Right) Alexandre Jean-Baptiste Brun, View of the Salon Carré at the Louvre, c.1880, Oil on Canvas

Key information:

France: The Louvre Palace, and other locations otherwise referred to as the Salon(s). The bigger the picture was the higher it was hung. The better and more favoured the artist the higher it was hung. Paintings of historical events were favoured and hung at the very top, all other lower in a specific order descending.

London: Portraits were positioned higher, gallery walls were still crowded all the same with frame to frame hanging, with no caption. Although you could purchase a booklet with all information and extra definitions. While there appeared less hierarchy in the London exhibitions, it still persisted just in a different form. Favoured artists got to choose where their paintings were hung. Even going as far as to developed an insult for paintings being hung so high: “the painting was skied”.

Hierarchy of genres

Inherited from Antiquity and codified in 1668 by André Félibien, secretary of the Academy, the hierarchy of genres ranked the different genres of painting assigning higher and lower significance.

 At the top was history painting, called “le grand genre’: often large paintings, with mythological, religious, or historical subjects. Their function was to instruct and educate the viewer. Its purpose was moral instruction.

 Portraiture, depicting important figures from the past as well as the present.

 Genre scenes, the less ‘noble’ subjects: representations, generally small in size, of scenes of daily life attached to ordinary people.

The so-called ‘observational’ genres of landscape painting, animal painting and still life.

Other genres were added, such as the gallant celebrations, in honour of Antoine Watteau, which did not, however, call into question the hierarchy.

These academies were called chaotic by critics, and kaleidoscopic.

Examples of outliers:

(Left) Paulus Potter, The Bull, 1647 - 3.4 metres wide. An unusually monumental animal painting that challenges the hierarchy of genres by its size (Right) Jean-Baptiste Greuze, The Marriage Contract (The Village Bride), 1761, oil on canvas, 92cm x 117cm. Musée du Louvre

These paintings also challenged the hierarchy of the Salon: it shows a scene that anyone could recognise.

This hierarchy was underpinned by the Ideal and the Liberal Arts.

Giogioni, Frieze in the main hall (detail), Fresco, Casa Marta, Castelfranco Veneto, c. 1510

From the Renaissance onwards artists conducted a campaign to be recognized as gentlemen, rather than workers or craftsmen. This centred on a distinction between the Liberal and the Mechanical arts.

The Liberal Arts were divided into the trivium - Grammar, Logic and Rhetoric - and the quadrivium - Geometry, Arithmetic, Astronomy and Music.

These involved imagination and intellect and were suitable activities for gentlemen.

In contrast, the Mechanical Arts were said to involve mere repetitive copying. These were activities conducted by workers and were often called ‘servile’ or ‘slavish’. They were deemed ‘mindless’ and demeaning to gentlemen.

Since the academies were open to not gentlemen, it was still believed they upheld class divisions. Examples of an artist from a lower background who rose through the ranks: J. M. W. Turner.

Ideal

Academic art, therefore, emphasised imagination and idealization and opposed copying things as they were. Abstract and mental properties were most valued. For instance, drawing was thought more important than colouring, which was often seen as superficial and feminine (cosmetics). Rather than copy a single figure ideal beauty was to be composed from the ‘best’ elements of multiple figures.

The nude was deemed more suitable, because modern dress was seen as ugly and ephemeral. Some thought the male nude more ideal.

In some senses this is a neo-Platonism, where ideal form exists in the mind of a divinity and things in the world are merely inferior copies of that ideal.

A second-century Roman marble copy of a Greek statue of Aphrodite, the goddess of beauty, crouching naked at her bath.

(Left) Artist Copying a Bust in the Royal academy at Somerset House, c.1780, Watercolour (Right) Academies and art schools had large collections of plaster casts made from antique sculpture.

The lower genres were thought to be too close to mechanical copying, whereas history painting involved imagination, intellectual learning and work with the ideal figure. This is complex because Academic artists and theorists rejected originality for adherence to principles and precedents.

Some important studies:

David and His School

J-L David, The Lictors Bring to Brutus the Bodies of His Sons, 1789

David was a member of the Jacobin Club and friend of Robespierre. He signed the death warrant for the King. With the fall of the Jacobins he was imprisoned and his life endangered. His paintings were very open to interpretation so upper and lower classes to understand and infer meaning from them, he also had political messages in his paintings. Although quite ambiguous, it engaged in emotions also over morality like usual historical paintings.

David’s austere student Wicar suggested that landscape painters should be executed.

Jacques-Louis David, The Death of Marat, 1793, Royal Museums of Fine Arts, Brussels

Painting around this time was developing Spectacle, as a primary focus to engage people’s emotions, and a shared emotional aspect rather than just class. The Royal Academy of Painting and Sculpture was suppressed by the Convention at the request of David (August 1793) and it was in 1796 that the School of Fine Arts was founded. In 1816, The Bourbon Monarchy restored the title ‘Academy’.

In the middle of the nineteenth century Hogarth came to be seen as the founder of the British School.

Beer Street and Gin Lane, engraving, 1751

The Public Sphere

Habermas: ‘The bourgeois public sphere may be conceived above all as the sphere of private people come together as a public; they soon claimed the public sphere regulated from above against the public authorities themselves, to engage them in a debate over the general rules governing relations in the basically privatized but publicly relevant sphere of commodity exchange and social labour.'

At the Margins

Johan Joseph Zoffany, The Academicians Of The Royal Academy 1771-72, Oil On Canvas, 101.1 X 147.5 cm

Within this painting there are two paintings on the right most side, two busts of women. These are the two female founders who were not actually allowed in the Academy. However, that’s not to say that women weren’t painting and hosting their own private events, even if they couldn’t be critics and artists academically, so they easily fell into obscurity.

Republican Madame Roland

Feminist historians have suggested that the Salons hosted by women were an essential part of this culture of debate.

In 18th century France, salons were organised gatherings hosted in private homes, usually by prominent women. Individuals who attended often discussed literature or shared their views and opinions on topics from science to politics. The different Salons belonged to artistic and political factions.

Elisabeth-Louise Vigée Lebrun, Self-portrait in a Straw Hat, 1782

[mybeingthere]

Marianne Kolb was born in a small farming town in Switzerland and moved to the Berkley area in her mid-twenties, where she connected to the East Bay arts community. Largely self-taught, Kolb’s work is widely collected and her work has appeared in numerous publications.

She says:

"I grew up in a very small, isolated farming village in Switzerland. From a very young age my life was centered around working on our farm. At sixteen I moved into Bern, received a standard business education, and began working as a telephone operator and then as a wholesale buyer. At age twenty-five I travelled to the States. When I arrived in Berkeley I met a group of people who were very active in the East Bay arts community. For the first time an arts-related career seemed to be a possibility. Within a year of arriving in California I had secured an apprenticeship with a goldsmith and soon after began working as a full-time goldsmith and jeweler.

In 1987 I began to draw, and some time later I was given an old easel and a decrepit paint box still containing paint, brushes and mediums. This gift was the beginning of a transformed life, as if that very box were a magical vessel in which to travel. To this day it holds my curiosity, and with it I discover something new almost every day-I only have to open it!

I often change medium and scale in my work so as to retain a creative tension. I will move through a period of intense printing to months of painting. At times I put down those tools and use only stick and ink. Throughout all my work, whether I am working meticulously on a small-scale series of paintings and prints or with broad, quick gestural drawings, I am pulling from visions which I now realize were initially generated from life in a physically and mentally isolated landscape.

The first glimpse of a new piece enters my mind in moments of wandering thought and often begins as a simple, gestural sketch. The images evolve from these dreams into stage-like settings, part storyteller’s fairy tale, part real-time tale of daily survival. I focus on the forces beneath the surface-the dread, the frenzy, isolation, fear, separation, love, intimacy, hope, humor, whimsy. The setting down of these imaginations is both a sifting through and a building of a visual diction, setting one piece upon another as one would set down one word after another in a narrative. In this way the work becomes a vessel for transformation, a new way to begin."

[hermannlederle]

Hermann Lederle

Critically admired german artist Hermann Lederle is most prominent for his PIXEL and BLOTS painting and more recent ADAPTATION series. His works have shown in numerous exhibitions around the world, and his artistic production is particularly unique and recognizable. Although initially the impression is abstract, Lederle's works feature geometric elements that compose, as a whole, figurative elements, bringing to mind that of the abstract expressionists.

Los Angeles artist Hermann Lederle is known for his innovative BEAUTIFUL CHAOS abstract canvas scapes and unique BREAKAWAY layered PIXEL painting. Blurring the boundaries between paint-scape and landscape reality, and between the paint and its intended object, the work combines geometric abstraction and pure color concept to explore a new ethereal thematic. Through a PILLING of dotted lines and multitude of hyper-glow colors - as if the artist intends to assault the surface with micro-nuclear forces, Lederle constructs a next generation art-scape.

Upon graduating from Karl Friedrich School Mannheim for humanist and classic studies in Germany, Lederle re-directed his career path. His early apprenticeship training in photography inspired him to seek a formal continued education in the Fine Arts, namely filmmaking and painting at the San Francisco Art Institute. San Francisco became his new residency for the next years until graduating with a BFA, followed by five years establishing himself as a painter in the thriving arts district of Tribeca in downtown New York City. It was there, Lederle began to formulate his own visual language to express his concepts and ideas through the lens, on canvas and on the film screen. Exemplifying the artist’s interest in the interaction between art and film and creating an additional link to 21st century web based digital art, Lederle's painting strives to wipe clean the slate of conventional notions of image construction.

Lederle's PIXEL series, first shown at Media Rare Gallery in Hollywood  suggests a kind of Cubism for the digital age. His work as a filmmaker cross-pollinates in subtle, oblique ways. The idea of pixel paintings originated when working with digital images. “It was a discovery. We may have been seeing this way unconsciously since human beings had eyes, but now that we know we can zoom in on something, and then zoom out and see the whole picture, it becomes an awareness we can use to appreciate the pixilated version. Kind of like a primal, pre-conscious experience that relates to the era of technology."

Lederle's FOOTPRINTS ON SNOW series entails a two stage process, where a graduated color is applied with a tractional brush allowing for the distinct qualities of its stroke to emerge. The second stage is executed with a painter's knife often with ostensibly contradictory linear shapes and lines, imbuing it with the properties of rival perceptions, irreversible  like footprints, taking place within the canvases.

More recently, in his so-called ADAPTATION series, those vertical bands consist of the vivid and expressionistic decades-old paintings that Lederle has painstakingly hand-cut and then collaged onto the canvas, leaving just enough space for original marks to show through as interstices of the canvas. Punctuated with a stop and go rhythm, the work reigns in the artist’s prior unbidden flourishes and lays bare the source of artistic inspiration, simultaneously suggesting themes of evolution as they relate to Lederle's own practice and reflections on art history.

His latest works in submission on the occasion of IN SPRING Exhibition 2024, recall the BLOTS-pointillism of the neoimpressionists. When purposely set against a SCHIENA SCURA - dark FOAM bubbles, the painting is calling out a messy, un-ordered free floating imagery of some scenery not quite in focus and frozen in a still frame, although its kinetic forces relentlessly pushing up against its limits. The experimental composition of primal shapes and lines striving for a creative expression of artificial, nearly molecular spaces in another dimension and direction. These images take time to absorb, asking you to invest and trust, not speed through in a frenzy. A new-dimensional structure slowly emerges transcending past traditional geometrics.

Hermann Lederle's work has been exhibited in the United States in New York, Los Angeles, San Francisco and Canada, Germany, Italy, France and Hungary. A body of his work is in consignment at galleries, including DSV Kunstkontor Stuttgart, HPH Siebdruck Echterdingen Germany, Media Rare Gallery Los Angeles, Court Gallery New York, Lawson Galleries San Francisco, Friedman Guinness Gallery Heidelberg, and in private collections of Ringo Starr, Eric Stolz, Cal Zecca, Gabor Csupo.

Lederle lives and works in Los Angeles, California. Previous notable exhibitions took place at M.A.D.S. Art Gallery ANDRENOCHROMO FOR DINNER Milan Italy 2022, ART KARLSRUHE HPH Special Serigraph Exhibition Germany 2020, Silverman Studio Hollywood 2017, Vertiva Stuttgart Germany 2015, Arthea Galerie Mannheim Germany 2015, Frank Pictures Gallery Santa Monica 2012, Solaris Gallery Los Angeles 2005, FP Gallery Los Angeles 2005, Media Rare Gallery Hollywood 2001, Lawson Galleries San Francisco 1987 and Court Gallery New York City 1986.

[indigenite]

Reviving Legacy: Jaipur's Blue Pottery Making Waves in the Artisanal World

Jaipur, a city steeped in history and artistic heritage, boasts a craft that has transcended time and captured the essence of artistic finesse - Blue Pottery. This art form, with its vibrant hues and intricate designs, is experiencing a resurgence, captivating both traditional connoisseurs and modern enthusiasts worldwide.

A Glimpse into Jaipur's Artistic Heritage

Jaipur, the Pink City of India, isn't just known for its regal forts and palaces but also for its rich cultural heritage. Among its many treasures, Blue Pottery stands out as a testament to the city's artistic prowess. Originating centuries ago, this craft was introduced by skilled artisans who migrated from Persia, bringing with them the techniques of using quartz and Multani mitti (fuller's earth) to create this distinct pottery.

The Unique Craftsmanship

What sets Jaipur Blue Pottery apart is its distinctive technique. Unlike conventional pottery, it doesn't use clay. Instead, a unique composition of quartz, powdered glass, Multani mitti, and sodium sulfate forms the base. This composition not only makes the pottery durable but also renders it non-porous.

The Artistic Process Unveiled

The creation of Jaipur Blue Pottery involves a meticulous process. First, the raw materials are ground finely and mixed thoroughly. Then, the artisans shape the pottery by hand, using traditional techniques passed down through generations. The intricate designs are hand-painted using oxides and dyes, resulting in the vibrant blue hues characteristic of this craft.

Evolution and Contemporary Appeal

While rooted in tradition, Jaipur Blue Pottery has evolved to suit modern tastes. Artisans are experimenting with new designs, incorporating contemporary motifs and color palettes. This evolution has expanded its appeal, attracting a global audience seeking unique and eclectic pieces for home decor and collectors appreciating its cultural significance.

Challenges and Revival Efforts

Despite its allure, Jaipur Blue Pottery faced challenges in recent times, including competition from mass-produced ceramics. However, passionate artisans and organizations dedicated to preserving heritage crafts have taken proactive steps. Workshops, training programs, and international collaborations have revitalized interest in this craft.

Global Recognition and Market Expansion

The global appreciation for handcrafted, sustainable goods has catapulted Jaipur Blue Pottery into the limelight. Exhibitions, artisan fairs, and online platforms have provided exposure, enabling artisans to showcase their skills to a broader audience. International recognition has led to increased demand and market expansion, benefitting both artisans and the craft's preservation.

Impact on Artisanal Communities

The resurgence of Jaipur Blue Pottery isn't merely a revival of an art form but also a lifeline for local artisans. Employment opportunities, fair trade practices, and sustainable income have uplifted artisanal communities, empowering them economically while preserving their cultural heritage.

Preserving Tradition for Future Generations

Efforts to revive Jaipur Blue Pottery aren't limited to the present; they extend to ensuring its legacy for future generations. Initiatives promoting education, apprenticeships, and heritage preservation aim to pass on the intricate techniques and cultural significance to young artisans, safeguarding this craft for years to come.

Summary

Jaipur Blue Pottery's revival signifies more than a mere resurgence; it embodies the resilience of tradition in a rapidly changing world. Its vibrant colors, intricate designs, and rich cultural heritage continue to captivate hearts globally, making Jaipur a beacon of artistic brilliance and cultural preservation in the artisanal world. As this craft gains momentum, its journey from the past to the present is a testament to the timeless allure and enduring legacy of Jaipur's Blue Pottery.

[edisonblog]

edison.mariotti.4018

Émile Friant was an important French artist of the late 19th and early 20th centuries who was noted for his realistic and naturalist paintings. Friant studied at the École des Beaux-Arts in Paris and later settled in Nancy, where he founded the School of Nancy, an artistic movement that focused on the production of decorative art objects, architecture, and graphic arts. Friant is especially known for his paintings that depict workers and working-class people, at a time when France was undergoing major social and political changes. His works often feature workers in difficult situations, but always with a sensitivity and humanity that make the images emotionally powerful. Furthermore, the family was also a recurring theme in Friant's works. Many of his paintings depict intimate and emotional moments between parents and children, siblings and other family members. He was also known for portraying women in their everyday activities, often showing housework or other tasks that were traditionally associated with women. Friant's approach to social and family issues, combined with his exceptionally skilled technique, made him one of the most admired artists of his era. Works by him continue to be studied and appreciated by scholars and art lovers alike to this day. image His apprenticeship in painting techniques at the School of Fine Arts, combined with evident talent, allowed him to exhibit at the Salons des Beaux-Arts of Nancy from 1878. His first self-portrait dates back to this period. bit.ly/42n09lD #edisonmariotti @edison.mariotti .br Émile Friant foi um importante artista francês do final do século XIX e início do século XX, que se destacou por suas pinturas realistas e naturalistas. Friant estudou na École des Beaux-Arts de Paris e, posteriormente, se estabeleceu em Nancy, onde fundou a Escola de Nancy, um movimento artístico que se concentrou na produção de objetos de arte decorativos, arquitetura e artes gráficas. Friant é especialmente conhecido por suas pinturas que retratam trabalhadores e pessoas da classe trabalhadora, em uma época em que a França estava passando por grandes mudanças sociais e políticas.