#fine painter realism dutch fine art | Explore Tumblr Posts and Blogs

artzonestuff · 4 months

Text

Differences Between the Southern and Northern Renaissance: A Study Through Jan van Eyck's "Portrait of a Man" (self portrait?)"

Written by ArtZoneStuff, 2024

The Renaissance, a period of cultural rebirth and revival of classical learning, manifested differently in the southern and northern regions of Europe. While both regions shared a common interest in humanism, art, and science, the way these ideas were expressed varied significantly due to differing cultural, social, and economic contexts.

The Southern Renaissance, centered in Italy, emphasized classical antiquity, proportion, perspective, and human anatomy. Artists like Leonardo da Vinci (1452-1519), Michelangelo (1475-1564), and Raphael (1483-1520) focused on idealized beauty, harmony, and balanced compositions.

In contrast, the Northern Renaissance, which flourished in regions such as the Netherlands, Germany, and Flanders, focused more on meticulous detail, naturalism, and domestic interiors. Northern artists like Jan van Eyck (1390-1441), Albrecht Dürer (1471-1528), and Hieronymus Bosch (?-1516) were known for their detailed and realistic depictions of nature, landscapes, and everyday life. Their work often contained rich symbolism and a focus on surface textures and fine details.

Jan Van Eyck's self portrait

Jan van Eyck's "Portrait of a Man" (Appendix 1), also known as his Self-Portrait from 1433, is a small-scale Dutch portrait measuring 25.9 x 33.1 cm (Google Arts and Culture, n.d.). The man in the painting emerges from a dark background, with his body depicted in three-quarter view. On his head, he wears a red chaperon, often mistaken for a turban, styled upward rather than hanging down (Nash, 2008, p.154). His dark fur-lined garment resembles the attire in "The Arnolfini Portrait" (Appendix 2), indicative of wealth during an era when textiles were extremely costly (ArtUK, 2019). His detailed face features a faint stubble, white highlights in his eyes and on his cheekbones, non-idealized features such as wrinkles and veins on his forehead, showcasing the Northern realism (Hall, 2014, p.44).

As described by the English art historian James Hall, the painting appears almost fleeting and alive - with the gaze seeming to capture the viewer before the face, and just like that, the penetrating stare turns away, perhaps followed by the light streaming from the right (Hall, 2014, p.43). The portrait conveys that the artist scrutinizes everything closely, including himself, without losing sight of the bigger picture (Hall, 2014, p.43). All these naturalistic details clearly indicate a Flemish painting.

The work is considered a self-portrait due to the frame. Jan van Eyck often used frames he designed and painted to enhance understanding and add meaning to his works (Hall, 2014, p.43; The National Gallery, 2021, 4:45-5.15). The gilded original frame of "Portrait of a Man" is crucial for interpreting the piece. Inscribed at the top of the frame is Jan van Eyck’s motto: "Als Ich can," translated to English: "As I can." At the bottom is his signature, and the date in Roman numerals: October 21, and in Arabic numerals, the year 1433. This results in the inscription: "Jan van Eyck made me on October 21, 1433" (Hall, 2014, p.43). He capitalizes the "I" in "Ich," playing on the pun Ich/Eyck. The motto can be interpreted as either boastful, "As I can," or modest, "As best as I can" (Hall, 2014, p.43).

The inscription highlights the relationship between words and image, indicating his awareness of his talent. His skill in painting surpasses that of a craftsman, which painters in this period was considered as. "As I can" suggests he is the only one capable of achieving such stylistic naturalism which cannot be imitated (The National Gallery, 2021, 5:10-5:58). "Jan van Eyck made me" also reflects a high degree of self-awareness, as he claims a painting of this quality, emphasizing that he created it and is conscious of his own abilities (The National Gallery, 2021, 5:10-5:58). All of this, along with his signing of his works as one of the first artists to do so, demonstrates a desire not to remain an anonymous craftsman (Hall, 2014, p.43; Farmer, 1968, p.159; Blunt, 1962).

The motto "Als Ich can" appears on several of his works, but the self-portrait is the only one where it is so prominent and clear. Additionally, the motto is placed at the top of the frame, where he would usually write the model’s name, thus, the motto can be seen as the model's identity (The National Gallery, 2021, 5:15-6:25). This, along with his direct gaze at the viewer, suggesting it was painted from a mirror, are the strongest indicators that the portrait is a self-portrait (Hall, 2014, p.43).

However, this can be taken with some skepticism, as other portraits by him, such as "Portrait of Margaret van Eyck" (Appendix 3) and "Portrait of Jan De Leeuw" (Appendix 4), share the same penetrating gaze (Pächt, 1994, p.107). This might instead indicate his realism, where the painter’s position does not function as an observer but rather takes an active role. The model’s direct gaze towards the viewer shows that the model has looked at Jan Van Eyck. This shows Jan Van Eyck possessing an active role, which was very different from painters in this period, and by doing so, creating a new respect for the painter as an artist, again showcasing his self-awareness of his position and talent (Pächt, 1994, pp.106-108).

Literature

Books and Journals:

Hall, James (2014). The self-portrait, a cultural history. London: Thames & Hudson Ltd

Nash, Susie (2008). Northeren Renaissance Art. New York: Oxford University Press.

Blunt, Anthony (1962). The Social Position of the Artist. Artistic Theory in Italy, 1450-1600. Oxford & New York: Oxford University Press

Farmer, David (1968). Reflections on a Van Eyck Self-Portrait. Oud Holland. S. 159

Online

Google Arts and Culture (n.d.): Portrait of a Man in a Red Turban (selfportrait). Found at: https://artsandculture.google.com/asset/portrait-of-a-man-in-a-red-turban-selfportrait/SAFcS1U8kYssmg?hl=en

ArtUK: Butchart, Amber (2019). Fashion reconstructed: the dress in Van Eyck's Arnolfini portrait. Found at: https://artuk.org/discover/stories/fashion-reconstructed-the-dress-in-van-eycks-arnolfini-portrait

The National Gallery (2021). Jan van Eyck's self portrait in 10 minutes or less | National Gallery. Found at: https://www.youtube.com/watch?v=VMJK1EDG2X8&t=1s&ab_channel=TheNationalGallery

22 notes · View notes

pwlanier · 3 months

Text

Frederick Clifford Harrison (1901-1984), Trompe L'oeil of a Russian 'Kvass' jar and Dutch Deft plates, oil on board, initialled and dated '73. Within original frame.

Frederick Clifford Harrison was a still life painter, born in London in 1901. He studied at Hammersmith College of Art and Central School of Arts and Crafts. In the 1920s he worked in advertising for Publicity Arts Ltd including designing posters for Shell, later he concentrated on producing meticulous trompe l’oeil pictures of uncanny realism. He exhibitrd widely, incluidng at the RA Summer Exhibition until 1967, Furneaux Gallery, Harris Art Gallery in Preston, Royal Glasgow Institute of the Fine Arts and Chelsea Art Club. E Stacy-Marks Ltd, Eastbourne, included Harrison in its 1989 Centenary Exhibition.

Hand of Glory

#trompe l'oeil

5 notes · View notes

kees-blom · 8 years

Photo

Kweepeer / Quince oil on panel 37 x 42 cm (sold)

#schilderijen #kweepeer #quince #galerie #louswolt #museum #fine painter realism dutch fine art

2 notes · View notes

sophiechoir · 3 years

Text

Artists I Like

(Listmaking is totally a creative exercise, right? Right? If that’s true then this is the longest running creative exercise I’ve ever indulged in lol)

Gerda Wegener - fashion & lesbian art nouveau/deco

Harry Watrous - enigmatic paintings of sophisticated women

Helen Frankenthaler - abstract expressionist paintings

Sergio Toppi - italian illustrations & comics

Dan Hillier - contemporary spooky angelic ink/print/collage

Mike Binge - 70s sci fi art

Gustave Dore - highly detailed wood-engravings prints, dante

Paul César Helleu - numerous portraits of beautiful society women

Roberto Ferri - making the old masters cool again

Gustav Vigeland - weird figure sculptures

NC Wyeth - one of america’s greatest illustrators

Andrew Wyeth - melancholy realism painter

Frank Frazetta - best fantasy & pulp artist

John Buscema - conan comics artist

Jose Luis Garcia-Lopez - wonder woman comics artist

Parker Hagarty - landscapes & figures

Henry Patrick Raleigh - star of golden age of illustration, high society drawings

Paul Lehr - 70s future-fantasy pulp illustrations

Stanley Meltzoff - 50s scifi/pulp cover illustrations

Alphonse Mucha - art nouveau

Kawase Hasui - japanese woodblock prints

Edmund Dulac - delicate detailed book illustrations

Makoto Takahashi - vintage shoujo manga

Harry Clarke - super detailed & dark art nouveau/deco illustrations

Sophie Lecuyer - contemporary spooky illustrations

Wassily Kandinsky - abstract geometry

George F. Kerr - book illustrations

Beatrix Potter - book illustrations

Mary Bauermeister - eclectic sculptures & drawings - geomancy

John William Waterhouse - Pre-Raphaelite paintings

Alexandre de Riquer - gorgeous mucha-esque posters & illustrations

Gianpaolo Pagni - patterned graphic designs

Giovanni Boldini - dynamic paintings/portraits, “Master of Swish”

Erté - art deco fashion ladies (new orleans!)

Cicely Mary Barker - fairy illustrations

Dorothy P. Lathrop - beautiful childrens book black n white illustrations

Kay Nielsen - glittering golden age illustrations

Coles Phillips - “fadeaway girl” golden age illustrations

Gustav Klimt - gold 💋

Koloman Moser - patterned art nouveau

Konstantin Tarasov - contemporary colorful & detailed digital drawings

Carlo Dolci - soft & dramatic chiaroscuro baroque religious portraits

Trung Le Nguyen aka Trungles - deviantart digital artist, colorful golden age mixed with anime illustrations

John Everett Millais - Pre-Raphaelite paintings

Arthur Rackham - English golden age illustrations, muted colors

Syd Mead - industrial & sci fi concept art

Mario Garbuglia - Barbarella set design

Henri Patrice Dillon - dreamy fadeaway muted illustrations/paintings

Frantisek Kupka - later Czech painter who began in representational art and evolved into pure abstraction

John Bauer - classic nordic fairy tale/myth illustrations

Aya Takano - superflat/anime but make it fine art

John Singer Sargent - heavenly portraits

Winslow Homer - masculine largely marine landscapes

George Barbier - art deco illustrations

Edward Okuń - polish art nouveau & symbolist painter

Robert Anning Bell - paintings & illustrations

Thomas Cooper Gotch - sorta preraphaelite paintings, portraits of girls

Jules Chéret - colorful french posters

Kaarina Kaila - dreamy soft children’s illustrations (almost kitsch)

Helen Hyde - japanese woodblock prints but actually they’re american

Melchior Lechter - paintings and book designs. “His hieratic, symbolic, decorative style combined gothic elements with art nouveau”

Jan Mankes - gentle unlined dutch paintings

Amrita Sher-Gil - contemporary indian paintings, mostly of woc

Sydney Long - australian watercolor landscapes

Carlos Schwabe - freaky religious/mythological symbolist paintings

Bob Pepper - groovy 60s-80s pulp illustrations

Frank R. Paul - scifi illustrations

Chéri Hérouard - La Vie Parisienne french illustrations

John Berkey - scifi illustrations/concept art

Aubrey Beardsley - fin de siecle black and white illustrations

Charles Caryl Coleman - pretty still lifes & landscapes, flowers & capri

Erich Schutz - Austrian illustrator of children's books, Schutz was influenced by Art Nouveau, and specialised in painting fairies and mermaids

Henri de Toulouse-Lautrec - French painter, printmaker, caricaturist and illustrator

Eleanor Fortescue-Brickdale - lush detailed paintings of richly dressed figures and scenes

Anne Claude de Caylus - not sure if he actually made them but print illustrations of peasantfolk

Friedrich König - Austrian prints & paintings, Klimt contemporary

Georges Barbier - french illustrations like erté

Betty Jiang - contemporary pretty pearly & dark digital art

Stephan Sinding - marble sculptures of lovers

Heikala - contemporary soft & sweet watercolor & ink illustrations anime inspired

Paul-Albert Besnard - french prints & paintings in between academic & impressionist

Henry Ossawa Tanner - biblical realism paintings

Norman Lindsay - etchings with lotsa great figures

Michael O’Toole - colorful landscapes

Caspar David Friedrich - moody Romantic paintings

Gian Lorenzo Bernini - iconic baroque marble sculptures

Francois Schuiten - french detailed architecture comic art

Adrienne Gaha - colorful contemporary half-abstract paintings

Tradd Moore - trippy silver surfer comic art

tono/rt0no (on tumblr) - super cute illustrations of victorian cats ;-;

Nanaco Yashiro - pretty colorful contemporary illustrations

Ramiro Sanchez - contemporary traditional painter, director of painting program at Florence Academy of Art

Isabella Fassler - contemporary colorful illustrations

Florence Harrison - art nouveau childrens book fairy tale illustrations

Shahzia Sikander - contemporary Pakistani-American visual artist

Atelier Heinrichs - trippy colorful collage covers for sci fi pulps

John Macallan Swan - pretty kitties

JC Leyendecker - our fave dapper gents

Frederick Sandys - pre raphaelite paintings

Stepan Kolesnikov - realist yet stylized russian paintings

Okumi Iyo - embroidered illustrations

William Henry Barribal - colorful art deco paintings

Ilya Glazunov - russian historical/orthodox paintings in the time of communism

Igor Karash - spooky illustrations

Daud Ahkriev - his drawings of fishermen

Seiichi Hayashi - pretty, contemporary japanese manga & illustrations ft women

Nola (nolawon.art) - pretty, detailed takashi murakami-esque illustrations

Harrison Fisher - classic american illustrator, pretty women

John Austen - gorgeous black n white detailed hamlet illustrations

Gustave Moreau - fantastical & aesthetic french paintings admired by proust

Ceri Richards - welsh abstract paintings of people indoors

Otto Mueller - highly textured angular colorful paintings with bold lines

Henri Privat-Livemont - Art Nouveau posters

Giovanni di Paolo - prolific painter and illustrator of manuscripts, including Dante's texts

Ben Reeves - contemporary painter, moody & blue-heavy collages of colors

Alex Niño - amazing abstracted comic artist

Ludovic Alleaume - dreamy french paintings

Yoshiko Fukushima - unsettling figures with strange colors, superflat paintings

Zinaida Serebriakova - kind realistic russian paintings of pretty women and children

Harold Robert Millar (H.R. Millar) - famous Scottish graphic artist and illustrator of the late nineteenth and early twentieth centuries

Alice Marshall - delicate illustrations of fairies on black background

Stanislaw Kamocki - colorful Polish landscape paintings

Bertha Lum - American version of Japanese woodblock prints

Raphael Kirchner - art deco fashion illustrations

Tamara de Lempicka - highly stylized art deco portraits of ladies, polish

Phil Greenwood - bright pop-y floral landscapes

Rose Cecil O'Neill - vintage illustrations & cartoons

John Rush - great use of color in figure drawings

Jean Delville - otherworldly paintings

Paul-albert Besnard - monochromatic prints

Helene Schjerfbeck - modernist subtle portraits

Heinrich Lefler - beautiful detailed narrative paintings/illustrations

Maximilian Liebenwein - art nouveau illustrations

Franklin Booth - detailed pen and ink drawings

Ulla Thynell - dreamy contemporary illustrations

Jun'ichi Nakahara - japanese graphic artist, early manga

K.F.E. von Freyhold - playful German book illustrations

Beth Billups - contemporary abstract painter

William McGregor Paxton - interior scenes of woman like Henry James depicts them

Ida Rentoul Outhwaite - Australian illustrator of children's books. Her work mostly depicted fairies

Ernest Biéler - Swiss painter, draughtsman and printmaker

Junko Ogawa (@junk_junk_junk on ig) - surreal anime style drawings

Marianne Stokes - Austrian painter, one of the leading women artists in Victorian England

Lee Mullican - abstract paintings

Rae Klein - creepy surreal paintings

#thoughts #scraps #if i cannot create then i can at least admire #recommend checking any or all of these artists out #and keeping your own artist list #it’s fun & insightful #you notice patterns #and pay more attention to the art you come across

173 notes · View notes

juliebalfourhnd2cphoto · 4 years

Text

Personal Project

The Lewis Dresser (working title)

The purpose of this project is to produce 10, A3 Fine Art images on a common theme, “The Lewis Dresser”. (15 types of photography genres to pursue as a professional photographer, 2020)

Creative idea: last year during my NQ I took images for my painting with light project of an old typewriter and an uncooked Plaice on a platter. The latter turned out fairly well, but more importantly it sparked within me an enthusiasm and desire to progress in this medium.

The platter was part of a collection that we had “rescued” from my late father-in-Law’s Croft on the Isle of Lewis before its sale, they have no real value apart from sentimental.

The croft is located near the cliff edge, overlooking the sea and is a beautiful windswept location just a few minutes’ walk from the lighthouse at the end of the Island.

As I have wanted to develop the idea further (I jot down potential ideas for projects in a wee notebook that I carry around with me) I have been considering ways I could do this.

Using the large collection of crockery we brought from the island I propose a series of still-life using a painting with light technique. I want to give it a flavour of the isles and as Lewis is known predominantly for its, fishing, weaving and crofting (The Isle Of Lewis, 2020).

My Initial thought was of limiting it to seafood which I would source through a fishmongers who sell seafood caught from the Loch Fyne area , but in the current climate with shops closing every day, I may have to widen my food sources but keep within the theme of ingredients for traditional Scottish fare. (Redirecting..., 2020)

Technique: during this project I want to develop and improve my painting with light technique.

As I said previously It is a medium that I have been interested in since it was first introduced to me in my NQ class and it has always been my intention to develop it, but the briefs this year have been fast and furious and opportunities to explore our own projects have been few .

I have been looking forward to this brief and the chance it offers to pursue my own interests.

Research: As part of this project I will expand my knowledge of photographers and artist who have inspired and influenced my work. (How to Plan a Photo Project * Anthony Epes, 2020)

Harold Ross

(PhotoBiography: Harold Ross | International Photography Magazine, 2020)

(MacDonald, 2020)

When painting with light my first thought is Harold Ross, I really admire his work. The way he uses light to accentuate the details of his subject creates stunning, surreal photos. Ross uses a variety sizes and softness of light tools to sculpt the images and builds up his photographic images incrementally building layer upon layer in Photoshop. He describes the process as more intuitive than technical and there is a great deal of artistry evident in his work.

This method requires the subject to be shot in a darkened room, the camera should be on timer and tripod mounted (as you are layering the camera needs to remain in a fixed position and at a fixed focal length.) I find it best to focus your subject in auto and once it is fixed, change to manual. If you try to shoot in auto the lens will move in and out of to focus when you paint the light onto your object.

The room needs to be darkened for this to be effective and I intend to shoot in late afternoon or early evening to avoid the “borrowed light” that comes in through the opening near the ceiling of my studio (if I am unable to access my studio I will set aside an area in the flat to work in).

Ross advises that he shoots tethered and this is something I have never done but I would like to add this to my skills set and will research the method further. I have begun accessing online tutorials and been having discussions about this with other Olympus users on the Facebook group I am part of. (Step by Step Tutorial for How to Shoot Tethered, 2020)

Laura Letinsky

(Laura Letinsky → THE DOG AND THE WOLF, 2020)

Letinsky is another photographer that I have come to admire since I began studying photography, I love the way she uses light, and the narrative quality of her work. Her compositions, which at first glance seem haphazard shots of the remnants of hurried meals, abandoned dishes, vestiges of parties, are in fact very carefully arranged.

She uses light to pick out every crease, crumb and fragment within the frame, telling us not only what we see in front of us, but what happened before and what will come after. My earlier shots were very tightly focussed on the subject but perhaps there is scope to pull back and tell a bigger picture.

Mat Collinshaw

(Last Meals on Death Row, Texas - Photo Essays, 2020)

Collinshaw is categorised along with Letinsky, and many notable others, such as Paulette Tavormina and Margriet Smulders, as a photographer who can be defined, at least in his still life, as “Vanitas”. (Still Life Photographers Who Give a Fresh Meaning to Vanitas, 2020). That is that the work either through lighting, content or context leans towards works of the old masters of the Dutch and Flemish painters of the 17th century. Messages such as the transience of life and the beauty of nature were intrinsic in these paintings and strong symbolism was seen in the inclusion of skulls, dead animals or dramatic chiaroscuro lighting.

These traits can be seen in the contemporary work of both Collinshaw, and Letinsky, she with her depictions of dead creatures and decaying food and flowers, he with his slightly voyeuristic look into the thoughts of the condemned man and his deeply dark lit photographs.

There is something slightly morbid about working with a dead creature, particularly in the dark, exploring piece by piece, that I find chilling and it is important to ensure that the beauty of the subject exceeds this, a difficult balance I have found in the past.

Alicide d’Orbigny

(Dance of the Aymara People | Old Book Illustrations, 2020)

D’ Orbigny was neither a photographer nor an artist, he was a French Micro Palaeontologist in the early 19th century. (Alcide Dessalines d' Orbigny | French paleontologist, 2020)

His anatomical illustrations, particularly those of sea creatures are stunning. He not only created biologically accurate depictions but used colours which captured the vibrance and other worldliness that many of these creatures possessed and that caused so many myths to grow up around them.

I came upon one of his images as an illustration in a cookbook that I was gifted and was so struck by the beauty of it that I researched him and found a wealth of beautiful illustrations (sadly my knowledge of palaeontology has made no progress). I cite D’Orbigny as an inspiration for this project as I think painting with light reveals much hidden beauty in subjects such as sea-life and yet retains a realism.

My “ambitious outcome” for this project is that I produce something that is well crafted, beautiful and could be considered fine art. I hope that the images will be finely detailed and that the process through which they are shot adds a dimension to them which cannot be captured in a single shot alone. This is hugely ambitious for one photograph but to produce 10 such images seems unimaginable. It is a very time-consuming process and time is limited but it will be a photography adventure and without doubt a learning experience.

Exhibition

The question “how would I like it to be viewed” is a complex one as ,first and foremost ,this is a personal journey and in a way a homage to the father-in-law I never met but have heard so much of, to his homeland and the place that is held dear in the heart of my husband and his family.

It is also a way of placing a new value on these old and fragile objects imbuing them with fresh life; sentimental and personal.

Alongside this is a need to show progression in my photography skills and my creative ability, both to friends and peers, and finally if the work holds any merit as fine art then I would like to organise a small exhibition.

The campus where my studio is based has an exhibition area which would be ideal for this type of informal exhibition preferably in conjunction with some of my fellow classmates. I have contacted the building’s owner* to check on the viability, the space is freely available to tenants for non-commercial ventures and has dates open for this year. At this stage I haven’t spoken to any of my classmates about it, but I am confident that there would be enough interest to set up a class launch.

*see attached email.

I have given some thought on how I think I would display my work; prints sized A3 and mounted will be printed on Hahnemuble German etching, Hahnemuble photo rag ,or Hahnemuble smooth as I want the images to have a fine art textural quality to them and reduce any shine. I like the textures of each of these products but will obviously make a final decision once the images are edited and optimised.

Technically a good knowledge of the camera, use of lens, depth of field and focal point and lighting techniques is essential, as is an understanding of the aesthetics of the technique, my skills in this area are adequate but I hope by the end of this project they will be considerably improved.

The main pieces of gear I will be using for this will be:

My Olympus EM1X DSLR mirrorless camera

An Olympus micro 4/3 lens 12- 40 mm Lens

A tripod

Light tools modelled on those demonstrated on Harold Ross’ websites

Black card flags

A reflector

A MacBook air with photoshop software.

Approximate settings: (based on previous shoots)

2.0 secs @ F8.00, ISO 100, focal length 18 mm

This type of shoot is really a solitary activity and, because of current restrictions due to the Corona virus precautions, is one of the main reasons I have chosen this rather than my other plan, I will be able to do it without assistance.

Materials needed;

Workroom which can be darkened.

Small backdrop and base

Seafood – I have already purchased and frozen a selection of this which can be thawed as required.

A selection of Lewis crockery

Consumable items as required, see costs:

Costs –

Backdrops/base materials - 4 backdrops from Black velvet - £36.00

Food products - Fish, meats vegetables Approx. £30.00

Printing costs - 10 prints @ £8.00 £80.00

Travel N/a working from home

Misc Buffer for incidentals £20.00

Total £166.00

1815 Words.

RISK ASSESSMENT

Project: The Lewis Dresser

Location Name: Home address

Tel:XXXXXXXXXXX

Tick any identified hazard.

o Access (blocked or restricted) o Dangerous surfaces (slippery, wet)

o Vehicle parking at location X Trip Hazards Found

o Dangerous Services (elec/y, water). o Derelict Buildings (unsafe floors)

X Working in confined spaces oHazardous Substances (chemicals)

o Flammable Materials o Water (proximity to water)

o Rubbish/Vermin o Machinery (working, turning parts)

o Working at Height o Working on/near roads

o Driving in traffic o Noise (high sound levels)

o Weapons o Stunts

o Extreme Heat/Cold o Physical Exertion

o Using animals o Hostile Environment (violence)

o Special Needs (inexperienced, child, elderly) o Public/ Crowds

o Other Hazards.

Please specify

HAZARD SEVERITY - H / M / L Confined space - Low, Trip hazards - Low

People at Risk - Who photographer, how many? -1

Likelihood. H / M / L

Risk Control Adequate - Yes / No

Are the precautions proportionate to the overall risk?

Please expand this document as required to properly assess your risk

Details of Activity

Photography, low light photography using darkened room, tripod ,handheld lights.

Set up will be confined to blocked of area of 1 room, wire to be secured using heavy duty tracking.

Confined space in darkened room.

Trip Hazards

Ensure floor is clear of obstacles before switching off lights.

Use of headlamp for safe visibility.

Make sure no items are near edges or trailing. Secure cables with heavy duty cable.

Source of safety advice at location

Name : Julie Balfour

Signed:

Julie Balfour

Date:

25.03.2020

College Contact

Name:

Faculty Admin Assistance

Tel:

0141 375 5226

Signed:

(Donna Wilkins)

Date:

Session 2019/ 20

Risk Assessment undertaken by:

This must be signed before the Shoot can go ahead.

I have read the above risk assessment and am satisfied that:

· Constitutes a proper and adequate risk assessment in respect of the programme activity.

· The precautions identified above are sufficient to control the risks.

· Adequate arrangements are in place to communicate risk assessment findings and to co-ordinate the safety arrangements of all those affected.

Plan your first 8steps – whilst this is likely to change, it can provide a loose framework Remember to account for additional opportunities

As I have a small studio space it is my intention to work from there, if however the studio has to close for any reason I will relocate to a space in my flat.

I have ordered some online backdrops which may compliment my compositions

I will be visiting the local fishmongers and buying in the foods I plan to shoot, these can be frozen until needed.

I will set up my backdrops and experiment with lighting etc until I am happy with the set up.

From my research it seems that it would be beneficial if I could shoot tethered so I will be researching how to do this while I await feedback on my proposal.

I have a number of Light tools already but I will research this further and add to these.

I will continue to work on my photoshopping skills so that I can get the best possible results from layered images.

As I want the final images to be in the Fine Art genre I will be printing on a Hahnemuble paper, type to be decided.

References

Anthony Epes. 2020. How To Plan A Photo Project * Anthony Epes. [online] Available at: <https://www.citiesatdawn.com/how-to-plan-a-photo-project/> [Accessed 25 March 2020].

Digital Photography School. 2020. Step By Step Tutorial For How To Shoot Tethered. [online] Available at: <https://digital-photography-school.com/tutorial-shoot-tethered/> [Accessed 25 March 2020].

Encyclopedia Britannica. 2020. Alcide Dessalines D' Orbigny | French Paleontologist. [online] Available at: <https://www.britannica.com/biography/Alcide-Dessalines-d-Orbigny> [Accessed 25 March 2020].

Facebook.com. 2020. Redirecting.... [online] Available at: <https://www.facebook.com/pg/kennycaedonia/about/?ref=page_internal> [Accessed 25 March 2020].

Internationalphotomag.com. 2020. Photobiography: Harold Ross | International Photography Magazine. [online] Available at: <http://internationalphotomag.com/harold-ross-photo-biography/> [Accessed 25 March 2020].

Isleoflewischessset.co.uk. 2020. The Isle Of Lewis. [online] Available at: <https://www.isleoflewischessset.co.uk/isle-lewis.html> [Accessed 25 March 2020].

Lauraletinsky.com. 2020. Laura Letinsky → THE DOG AND THE WOLF. [online] Available at: <https://lauraletinsky.com/photographs/the-dog-and-the-wolf/> [Accessed 25 March 2020].

MacDonald, F., 2020. Sculpting A Photograph With Light. [online] Lens Blog. Available at: <https://lens.blogs.nytimes.com/2012/01/05/with-light-sculpting-a-photograph/> [Accessed 25 March 2020].

Old Book Illustrations. 2020. Dance Of The Aymara People | Old Book Illustrations. [online] Available at: <https://www.oldbookillustrations.com/writers/orbigny-alcide/> [Accessed 25 March 2020].

Pixpa. 2020. 15 Types Of Photography Genres To Pursue As A Professional Photographer. [online] Available at: <https://www.pixpa.com/blog/types-of-photography> [Accessed 25 March 2020].

TIME.com. 2020. Last Meals On Death Row, Texas - Photo Essays. [online] Available at: <http://content.time.com/time/photogallery/0,29307,2095889_2316169,00.html> [Accessed 25 March 2020].

Widewalls. 2020. Still Life Photographers Who Give A Fresh Meaning To Vanitas. [online] Available at: <https://www.widewalls.ch/still-life-photographers/> [Accessed 25 March 2020].

#PersonalProject #Gradedunitproposal #gradedunit #HND1

2 notes · View notes

arthurmorganthings · 6 years

Text

Surgeon and the Scientist.

Pairing: Javier x Painter!Femreader

Summary: “But don't trust the surgeon with your heart, She's drunk and sips from poison cups, and don't you trust the scientist, He says "life-is-like-a-wineglass" as he spills his drink like secrets all across your dress.”

Explicit Content: +18

Hands stained with tertiary colors and the soft bristles of your brush, you practiced realism with the help of Flat Iron Lake, Clemens Point offered you peace when you weren’t off doing chores for Miss Grimmshaw. Your tent filled with journals of rough sketches with studies you’d find upon each travel. The study of outlaws napping aimlessly in saloons, working girls reeling in potential clients—your favorite person of interest to draw was him.

Javier Escuella. His soft features enthralled you, when he played his guitar with such passion, beckoned you. Though you’d been riding with the Van Der Linde boys for quite some time, you hadn’t said much to him. Occasional hellos, and small talk perhaps—but a full fledged conversation? Never sparked. You craved interaction so bad, you started to think perhaps you weren’t his type after all.

You knew the type of man he was, the men he surrounds himself with. There were times he wouldn’t come back until the crack of dawn—Javier laid with women. Charming them with his native tongue, into the soft sheets he’d lay his head on.

Jealousy found you quickly, gripping the brush tightly as you paint the undertones of the sky. Perhaps it was a silly dream of yours, but someday you’d be a world renowned painter, with suitors from every continent feigning to see your beautiful art.

A girl could dream. But until that time, you’d continue to paint until your hands grow brittle, and weak. You sensed a body hover behind you, “What chu’ paintin’ there?”

Oh. It was Arthur. You pivot with your back foot as your hand still gripped at your brush, your easel wobbles. “Hello. Nothing too important, just figured I had some free time, so here I am.”

He chuckles, rubbing freshly trimmed beard. “You kiddin’ me? It’s beautiful—err, it’s like a picture.”

He always had such a way with words, or none at all. His quirkiness was apart of his cowboy charm. You laugh wholeheartedly. “Thanks. I suppose.”

“You got time to spare?”

You blink. “I mean I-“

“Have a drink with me.”

His forwardness came as a surprise, one drink wouldn’t hurt anyone, would it?

“I should put my easel away then.” You respond softly but Arthur beats you to it. Kentucky Burbon in his hand, you assume is from his Satchel. Handing it to you, you hesitantly take the liquor. The sharp smell of whiskey in filled your nostrils as you winced before taking a swig.

The taste was—well, repulsive to say the least as you return Arthur his bottle. “I can never get used to Burbon.”

He laughs, before taking his swig. “You and I both.”

You continue talk of the old days, when the gang was set on helping folk and less on the idyllic greed for money—it seems when Micah joined, was when the root of all the gang’s problems arised.

Two shots of bourbon became three, then four, then the whole bottle.

Throughout the day, you and Arthur tell tales of drunken banter such as today. It was wholesome. He’s like a big brother figure, you wished to spend quality time with but knew his role within the gang.

Arthur was their support, Hosea was the anchor.

Nightfall crept as the two of you sat near the campfire, the fire cackles as you hug your knees—thoughts of him flooding your mind. Javier had yet to return from his Homestead job with Sean, unless he was pent up in some hotel inside of a whore, they’d camped out somewhere—your cheeks flush at the thought of him doing things unimaginable.

Arthur senses your unease. “You okay kid?”

Your head perks up, staring into his. “It’s nothing.” Your words slur, dejectedly. “I’m just conflicte—Javie—shit, Arthur.”

He sees what’s going on now. “You like ‘im.” He states.

You wanted to slap yourself for setting yourself up for inevitable teasing, but you frown instead. “He doesn’t like me. I’m plain-looking, Javier likes exotic women, and I—well, I’m, me.”

Tears on the brim of coming out as Arthur sighs, “You must be a fool to sell yourself short. Javier is an even bigger fool.”

Before you can argue with him, the faint sounds of horseshoes grazing the mulch of the woods could be heard. Lenny, who was on watch calls, “Took y’all long enough to get back.” It was him.

Your heart dropped to your stomach as Javier hitched his horse. Arthur pats your shoulder reassuringly, “Remember what was said.” As he shuffles to his tent. Javier writes his name in the ledger before placing the undisclosed amount in he camp’s donation box. You felt like a lamb, watching as its prey nears closer.

Removing his clunky boots, Javier grabs his guitar from his tent before shuffling towards the campfire. He was surprised to still see you up, as most of the gang was either asleep or in town. You placed your chin onto your knees as your arms hugged the shins. Javier sits himself next you with his guitar.

A tense beat of silence ensued, almost awkward, but Javier had the first say, “You’re never up this late.”

“You aren’t ever at camp to begin with.” Thank god for the alcohol to enable your bold behavior. You would have never said something like this if you were in a sober state of mind. Javier sniggers, tuning his guitar. You took the time to observe how his fine fingers caress his guitar so smoothly. God, If only he’d do the same to you.

“Yeah well, duty calls my love.”

My love.

You suddenly felt a warm pool at your core. Javier was a man of many skills so it would seem. He strummed beautifully, the tunes releasing from his acoustic. He paused, glancing at you, causing you to look away smoothly before he could notice.

“How’s your painting coming along?” He inquired.

“It’s coming along well,” you respond sheeplishly. “I didn’t think you noticed.”

Javier quirked an eyebrow, shaking his head. “I observed everything. “The drawings, how you stick your tongue out when you’re focused on the details of your paintings, how you look at me.” Your thighs squeezed together from underneath your skirt, Javier was no fool to know what he does to her.

He could never be with her, she was too good for him. But he’ll make her feel things she’s never felt before. Closing the distance from where he sat, wrapping his arm around you, Javier says,“I know that you’re mad at the man that I am, the life I lead.”

“I never said I was Javier. It’s just—I feel like a ghost to you, but I’m no fool to know that you sleep with women. And for the longest time ever, I asked myself—why couldn’t I be the one you have your way with?”

The alcohol was definitely taking its toll, what a story will this be in the morning. Javier’s expression was masked underneath his hat, but responds nontheless.

“Because I respect you too much to.”

You blinked, perplexed. “Javier, sleeping with said person shouldn’t equate the amount of respect you give someone. Dutch has his fair share of women but you hold him to such a high level.

“You shouldn’t speak on things you don’t know girl, it’s incessant.” He mumbles, throwing mini twigs he toyed with on the ground, into the fire.

“But I know, Javier.” You pause. “I know your type, I know you. Even if I’m invisible sometimes.”

You weren’t going to wait for his response, you simply removed yourself from his grasp, shuffling to your tent, near the lake. You opted for more privacy. It was larger than most, filled with old pieces and sketches scattered across the floor. Suddenly the flaps of your tent opened, causing your head to perk near the entrance. It was hard to see during the night but knew who it was.

Closing the flaps, Javier grabbed you by the neck softly. “You think you’re invisible to me?” He questions, his voice not the same from the fire, it was husky and deep. The callouses toying up and down your arm now filled with goosebumps.

“You would rather want me to fuck you like a whore instead? On your back like some working girl?”

Your innocent eyes widened at his crass language, the shift of character only turned you on more when his chest was against yours. Javier was short, but you was shorter by a few inches. His lips found the shell of your lobe.

“Come on. I want you to say it.”

“I, want you.”

He tightens his grip, illiciting a moan. You knew what he wanted you to say. Your soft fingers pressing at his hand. “I want you, to fuck me, like a whore.”

He chuckles. “On your knees then.”

You place yourself in front of him, knees kissing the ground you walked on as he unzips the seams. Your face flushed once graced with Javier’s girth—larger than you’d expect.

It’d be foolish to say he wasn’t a man that was well-endowed. His unconscious incompetence at times was rather amusing when observing him around camp. But when it came to laying with a man you’d yearned for.

This was completely different.

“Come on girl. His hand gripped at your cheeks, as he forced you to look up at him from your compromising position. “We don’t have all night.”

You waste no time taking his length into your mouth while staring up at him doe-eyed. The taste of precum ensued. Watching him groan before you brought a warmness to your stomach before staining your bloomers with an embarrassing amount of essence sure to show once they were removed. Nothing at this point in time mattered as you took him in some more. His pelvis thrusted forward as he gripped your locks of hair, forcing his cock down your throat—the movements followed continuously as you gagged.

Your eyes watered, saliva stained the sides of your cheek as he removed himself from your mouth to avoid from cumming. Javier did not want to miss his chance of getting to be inside of you. He growled, “Take these off.”

You followed suit, removing your plain blouse and skirt, followed by your chemise and bloomers. He pushes your onto the cart, on all fours. His thumb grazing your wet cunt with content upon touch.

You gasp, pulling at your lips softly as he rubs in circles.

“I’m gonna need you to keep quiet, princess.”

Your heart fluttered at the pet name as you nod, taking that as a confirmation. Once lined at your cunt, Javier sucks in a breath, the tightness of her walls would make any man groan in pleasure. “Fuck, you feel so good around me.”

You grip at the edge of the cot tightly, biting your lip, you wiggle your way further into his cock. He watches as it disappears and reappear again—it takes a lot out of him not to grab at your hips and fuck you. The squelching sound of your wet heap wasn’t making it any better either. It was embarrassingly loud it wouldn’t be a surprise if anyone from camp could hear the sounds of coitus.

Covering your mouth with your hands as Javier speeds up his pace by grinding his hips agains your back side, it grew difficult to stay quiet. How, when you wanted to let the world know the man of your dreams was fucking you with raw, unadulterated passion? The tiny squeals, and pants could only be heard by said lover as he lets out ragged breaths.

He whispered in your ear, “How bad do you want to cum?”

So goddamn bad. The precipice was near as you knit your brows together and nod in your mouth. Fearing the sounds that could come out of you removed them. He thrusts harder, his grunts increasing in volume while he pistons into your cunt—your face flushed, squealing into your palms while your body seeps into the cot.

“I said, how bad do you want to come?”

He wanted you to answer, in such a compromising position like this. You remove your hands briefly before replying, “So bad.” Your voice higher than last time as he grunts.

“Where do you want it?”

God if he was making her choose, she’d easily say inside. Despite what that may cause in the inevitable future.

“Anywhere, haaa.” She moans loudly, abosoloutly careless of her shameless inhibitions. Javier clasps his fingers across her mouth, digging at the cheeks—sighs of his own orgasm ensuing. His thrusts grew slopper, his jaw tightened with ragged breaths. Your walls convulsed before seeing white.

Eyes fluttering closed, mouth in a silent gasp as Javier’s seed fills your womb. You fall limp onto your cot before the overstimulating feeling of Javier remove himself from inside of you before adjusting himself back in his pantsuit.

A beat of silence followed, the only sound heard was the ragged breaths of both lovers. Feeling of realization hits you.

“Shit.” You curse. “I forgot, my canvas by the board walk. My paints are probably all dried out by now.”

“I’ll go get it for you. You get some rest.” Javier replies as he leaves for your tent. You call out to him before he does, causing him to turn around.

“Can we do this again?”

He smirks before pondering. “You know, my mom once said, don't trust the surgeon with your heart, She's drunk and sips from poison cups. And don't you trust the scientist, He says "life-is-like-a-wineglass" as he spills his drink like secrets all across your dress.”

You furrow your eyebrow, “The Surgeon? Javier what does this even m—“

“In due time, you’ll know.”

Upon his exit from the Tent, you lay back down onto your cot with a quilt covering your indecency, the line still engrained in your heart.

The surgeon, and the Scientist.

BTW THE SURGEON AND THE SCIENTIST IS MY FAVORITE LA DISPUTE SONG <3 FOR @famderlinde @jungle @mollyohshea 💗

#arthur morgan #red dead redemption 2 #rdr2 #me #javier escuella #javier escuella x reader #lenny summers #sean macguire #clemens point #rdr 2 spoilers #lemon #reblog #yeaaah

127 notes · View notes

mariah-young-2 · 5 years

Text

Research point 4: dutch realist genre painters

frans hals (the elder)

-1582-1666, he was a dutch painter, normally of portraits, who lived and worked in haarlem. he is known for his loose painterly brushwork, and helping introduce a lively style of painting to dutch art. hals played an important role in the 17th century evolution of portraiture. the earliest known example of hals work is in the 'portrait of jacobzus zaffius (1611) but his break through came from the life sized group portrait 'the banquet of the officers of the st geroge mutlila company' in 1666. his most noted portrait today is of the one of rene descratrd which he made in 1649. he painted mostly wealthly citizens . he was a dutch golden age painter who practised an intimate realism with a radically free approach.

gerrit dou

- 1613-1675, he was a dutch golden age painter, whose small , highly polished paintings are typical of that lieinden fijnschilders. he specialised in genre scenes and is noted for his trompe l'oneil "niche" paintings and conflict nightscenes with strong chiaroscuro he was a student of remembrant . (the night 1628, astronomer 1630s, portrait of a girl 1650, the dutch housewife).

gabriel metsu

-1629-1667, a dutch painter of history paintings , still lifes, portraits and genre works , he was a "highlyelectric artist who did not adhere to a constant style, technique, or one type of subject for long periods, only 14 out of 133 works are dated . he often apinted young girls going about heir daily lifes like shooping or plahying with pets. 13 of his paintings all included the similar carpets so it is likely that he used the same one for reference. (the cook 1657, a baker blowing his horn 1660-3, crucifixion)

en:wikipedia.org/wiki/gabriel-metsu

wikipedia for the other two artists.

the WORKS:

frans hals - the banquet of the officers of the st georges matilia company - refers to the first several large schuttershikken painted by frans hals for the st george civic guard of haarlem and today is considered one of the main attraftions of the frans hals museum - it was a huge success- hals was inj his 30s when he painted this and he was far from an established artist at the timeso to be safe he based his work on the design on the painting of his predecessor, cornilis corvelisz van haarlem, who painted the same piece in 1599, given the impossible task to complete it he added a theratical aspect, he also spent a long time judging the politics of this group. he indicates the political position of each m,an in this group as well a smanaging to give each a charactristic portrait . an illusion of space and relaxed convosation is given.

gerrit dou - portrait of a young women - when it entered the galleries posession in 1873 the originally thoight the painting was of his wife based on the desivity and itermacy of the image and it appears to be a painting of an actual women instead of one made up of personality traits. the women in the painting has no name. dou is one of remembrants most sucessful apprentices , dous depiction of the fall of light here is remarkably sucessful considering how small the scale he was working on (sheen on pearls, shadows on blouse, sheen on lips) and it was painted around 1655.

nationalgallery.org.uk/paintings /gerrit-dou-portrait-of-a-young-women.

gabriel metsu- the intruder-1660- he organised the scene in the photo by arranging the figures diagonally across the pciture frame - both artists excelled at depicting human interactions and rendering the satins, velvets and furs that are found in upper-class fashion. the scene contains a number of objects whose contradictory symbolic viewers- the sliding of the naked foot into the slipper has exual ovetones and the red costume signals passion and the comb held by the woman means purity.

INTERIORS OF PAINTINGS;

interior at nice - henri matisse - the glass door gives the illusion that the room is a lot bigger than it looks and that there is space outside of thepaintings and that the painting carries on. it is centralsied which makes it the main part of the painting and its one of the first things you look at. also you have to go through it to see the women and what she is doing. also the coours used are quite mellow and pastel whereas the white is bright and in yojur face which again draws the attention to the windoes first and then the rest of the interior.

a dinner table at night - john singer sargent 1884 - in this painting the lights seem to be the main aspect and they take away the focus from the couple in the painting, the women and man in the painting are edith and albert and it was painted at their home and inspired by edgar degas.

philospher in meditation - remembrant - painting doesnt show any signs of the typical philosophy stuff. the painting is dominated by a spiral staircasewhich is the presumed subject matter, the finely graded chiarpscuro treatment and intricate compostion were widely appricicated in france and the paintings mentioned writings of the 19th and 20th century paintings and literacy figures.

1 note · View note

dutch-and-flemish-painters · 5 years

Photo

Balthasar Paul Ommeganck - Grazing; Shepherd and Flock -

Balthasar Paul Ommeganck (sometimes also: Paul Balthasar Ommeganck) (1755–1826) was a Flemish painter of landscapes and animals. Through his work and his role as a teacher he gave an important impetus to the revitalization of landscape painting in the Low Countries.

Ommeganck was very successful during his lifetime and his works demanded high prices. His main contribution to landscape painting was the combination in his works of the light found in the work of the Dutch Italianate painters of the 17th century with detailed observation of nature. He was thus able to find a synthesis between realism and an idealized representation of nature. His work shows a painstaking attention to detail, a sure line and subtle use of colour. His preferred subjects were undulating landscapes. He painted mainly on panel.

Ommeganck's style was widely followed in the 18th and early 19th century. Later art critics have not always been equally positive about the work of Ommeganck. Some have made the reproach that by embedding itself in the classic tradition and through its preference for the contrived, picturesque and the conventional, the landscape tradition of Ommeganck represents a 'hopeless traditionalism'.

He also made a few portraits such as that of the Painter Jan Baptist Berré (Royal Museum of Fine Arts Antwerp).

He was a skilled draughtsman and also worked as a sculptor producing some clay models of sheep and cows.

#Balthasar Paul Ommeganck #18th #antwerpen #landscape #pastoral #theory

25 notes · View notes

erincxx-blog2 · 5 years

Text

Minimalism and Pop Art: AD3023

MINIMALISM

Minimalism emerged in the late 1960s when artists such as, Frank Stella, whose black paintings were exhibited at the museum of modern art in New York in 1959, began to turn away from the general gestual art of the previous generation. At the end of the first world war the general foundations for minimalism were laid and set down. For artists that worked before the war it didnt make sense for them to return to their old ways, they needed a change just like every other aspect of society had been changed greatly. Months after the October revolution a Russian painter named kazmir Malevich created his radical masterpiece suprematist composition; white on white. This was one of the earliest pieces of geometric art.

KEY EVENTS/ TIME FRAMES

The minimalist design movement became most popular throughout the years 1967-1978.

× The De Stijl (Dutch for “The Style”), also known as neoplasticism, was an artistic movement in the Netherlands. It began in 1917 and faded around 1931. Its leading figure was Theo van Doesburg who died in 1931. This movement existed only for a short time but laid the foundations of minimalism. Its major principles are present in minimalism through simplified visual compositions to the vertical and horizontal directions and use of only primary colours (together with black and white).

× The term ‘Minimalism’ was coined by a group of New York artists in the 1960’s. Such artists rejected the traditional representations in painting and sculpture and chose to pursue a new mode that owed as little as possible to the physical existence of an object.

× Minimalism is also interlinked with the growth of the feminist movement; the creation of simple and functional clothing as oppose to the hyper-feminine look marked a point of social progress. “It could be said that her wardrobe becomes simpler to enable her better to deal with the complexities of her lifestyle and its multiplying demands” (“Less is more”, minimalism in fashion pg 11. Harriet Walker. MERREL publishers).

POP ART

In the late 1950s a new artistic movement emerged. This movement was Pop art. A movement drawing its inspiration from consumer culture and commercial techniques, pop flourished as a new revolutionary art form in itself. Pop art features everyday objects and recreates them into unusual and brightly coloured pieces of art work. It is a very reproductive art form. In the early 60s studios of various artists had generally accepted its label of the wake of ‘The New Realist’ exhibition. It was known to be seen as abstract expressionism. In a way pop art was reaction to the seriousness of abstract expressionism. Pop art is meant to a fun way to express yourself. It all started in the United Kingdom but then became big in the United States, due to the work of New York based artists Andy Warhol and Jasper Johns. In the earlier stages of the Pop art the resemblance between their current work and work from previous movements was completely accidental. Pop Art has come regarded as an art of external appearances, a resolutely post-war form of realism dedicated to dispassionate defecation of the common object and the manipulation of images and sign systems extracted from the mass media. Pop art could often be associated with capitalist economies

KEY EVENTS/ TIME FRAMES

Pop art was the dominant artistic force of the 1960’s, and its influence continues strongly up to the present. The names of Roy Lichtenstein and Andy Warhol are widely familiar well beyond the fields of fine art and art history. Almost all the figures associated with the style were born in the decade between 1925 and 1935.

× Pop Art began in the 1950s, but became very popular in the 1960s. It started in the United Kingdom, but became a true art movement in New York City with artists like Andy Warhol and Jasper Johns.

× 1947, Eduardo Paolozzi is called the father of Pop because of collages he made from American magazine adverts. He was inspired by Picasso and Duchamp in Paris. He did something new by using images from American magazines, readily available from the US soldiers stationed in Europe after WW2. 1950s American artists would also catch on to this artistic potential. (John Wilmerdig, The Pop Object- The still life tradition in pop art).

1 note · View note

collectionstilllife · 10 months

Text

Joke Frima (Dutch, b. 1952) •▪︎Raspberries, pears and grasshopper • 2014

#still life #art #painting #contemporary realism #art of the still life blog #fine art #woman painter #contemporary dutch art #dutch artist #21st century art #art blog #art appreciation

30 notes · View notes

veditudine · 4 years

Text

The void, the light, the sex

In " Midnight’s childrens" Salman Rushdie recounts that, in India at the end of the 1940s, to circumvent the rule that on the film screen prevented lovers from touching themselves, to avoid corrupting the youth of the country, he invented a brilliant device: They kissed the objects. So, a lover kissed an apple and then passed it on to his boyfriend’s passionate lips and so on with various props: from fruit to swords to teacups. The indirect kiss was born which, Rushdie writes, represented "an infinitely more refined conception of everything we see in cinema today and really full of desire and eroticism". Yet, unfortunately, its success was fleeting.

And the season in which we were convinced that the "indirect life", the Net stands between us and the rest of the world during the first lockdown , even with some sacrifices, could worthily substitute for everyday life ended. In the second enclosure (in Italy lockdown can not be said) have practically disappeared the thousands of conferences/ exhibitions/ videos that have flooded the first and in general has passed from we are all on the same boat to a widespread astiosità.

Now, apart from the fact that the nostalgia of pre covid everyday life leads us to assume it as a private normality of a critical vision, it seems to us that we can define this period as an acceleration/explication of processes that have been going on for some time. We take poor Debord when he said that in the Market (he said in the Show): "Everything that was directly lived has moved away in a representation-... the show is not a supplement to the real world, its decoration overlaid. It is the heart of the unrealism of the real world".

It does not mean to trace a continuity: the acceleration was so great that it also became qualitative, but to question the "we will come back as before". Since we in the market have found that the reduction of rights has been taken without problems, it cannot be the prolongation of this condition that is the cause of the general discontent, or at least not the only one. It may be, however, at least in part, the increased awareness that the first will not return. After all, the joyful journey that we had already begun towards the exchange between our, now useless, autonomy and the phantasmatic flow of goods offered by the changing Market will not, at this point, be able to consolidate and restart. The distance between the innovation of the Market and the resistance of old habits, tends, sometimes and only for a while, to create discomfort.

Until now, therefore, we have avoided offering ourselves an apple to the indirect kiss of the Net. We already have in other articles motivated because, during the first lockdown, we did not recommend books, movies or made videos etc. On the other hand, one of our little habits is to recommend some text, usually in summer (here you can find that of last year).

However, at this stage when such advice, as I said, does not seem to be well accepted or required, it seems to us the best one to do so, loving the idea that it is unheard of advice.

The sex life of Immanuel Kant

Jean Baptiste Botul

Let us imagine that in 1945, when the Red Army entered Königsberg, a handful of families began an extraordinary journey that led them to the foundation of New Königsberg in Paraguay. We also assume that these families idolize Kant, the most famous of their fellow citizens, and live like him, dress like him etc. A fundamental problem arises: if Kant lived in chastity, how can a community inspired by him not become extinct? The text contains a series of lectures, collected by Frédéric Pagès, held by the philosopher Jean Baptiste Botul to the attentive community of Kantians.

Botul raises a series of questions about the contrast between philosophy and marriage and more generally between philosophy and life. To respond, read again the Kantiane categories in this perspective. The thing in itself can only be sex (and in fact Kant develops a fetishism), metaphysics the desire to look under the skirts of reality and criticism, therefore, the attempt to harness it. Even the reasoned reading of the letters is interesting. Dear Marie Charlotte Jacobi invites the great thinker to find her and among other things writes : I will wait for you and my watch will be recharged". An extremely obscure phrase, but not for Botul who connects us to Kant’s stockings. Being a famous hypochondriac, the philosopher refused the use of garters fearing their pressure on the arteries. To hold the stockings he used the case of a watch with the respective spring, through which he adjusted the pressure of the wire. In this perspective, evidently, Maria Charlotte was making a clear sexual invitation.

This book is particularly dear to us because it made ridiculous the obnoxious Bernard-Henri Lévy, who did not realize, despite the hilarious conclusions of the lectures, that the philosopher Botul was but an invention of Frédéric Pagès and quoted it in his essay.

original book

The ambition of Vermeer

Daniel Arasse

Why take care of Vermeer, since we define ourselves as a collective research of the contemporary? In fact it is to highlight how in this text by Daniel Arasse we avoid some clichés that now characterize the readings of the sphinx of Deft (including this nickname attached to poor Vermeer). After all, compared to his great contemporaries (recently we mentioned Metzu), from the first major modern exhibition dedicated to Dutch painting to today, ours has always attracted attention for its specificity, often attributed to a sort of enigmatic aura.

Arasse analyzing life, debunking the myth of his being misunderstood, and especially in detail the works shows how, instead, the effect of his paintings is a deliberate artistic choice of Vermeer. The fame of the painter is that of "fine painter" that can be translated into meticulous and meticulous. It is an obvious contradiction to the fact that Vermeer paints in nuance, even in the smallest of canvases (La merlettaia, 24*21 cm).

On the other hand, the fact that the "realism" of Vermeer’s paintings is actually more a search for coherence and balance, or disequilibrium, within the canvas itself can have many examples: from the semi-finished bulb hand of the Art of Painting (1665-1666) to the picture in the picture of the Woman with Libra, which goes lower to the right of the female figure than to the left (certainly not by mistake).

We could give several examples, such as the use of perspective from below, but, to demonstrate his conscious poetic research, it seems useful to us the use of light, which is often cited as a characteristic evidence of the painter’s finesse. In the Allegory of the Catholic faith the window, which illuminates the scene, is ajar. This, in addition to being an indicator of the author’s Catholic faith for which faith (light) must be found through darkness, serves in the representation to: indicate that with regard to the picture the light has placed the author, prevent the windows from being reflected in the glass sphere hanging above the head of the protagonist. The sphere is a recurrent element in many canvases of the time, but normally it acts as a mirror both for things (in this case it could easily reflect a cross) and for people, often a self-portrait. Vermeer instead makes them represent only light and color, represented by colored spots.

That then, more than the other painters of his time, Vermeer could take the luxury of creating his own poetics and sometimes get out of the clichés of contemporary representations (for example, not executing portraits) it is due to the fact that, having other proceeds, Painting was not for him a source of income. So much so that you can paint 2, 3 paintings a year and keep some paintings (even as challenging as the Art of painting) for yourself.

Aesthetics of the Void - art and meditation in oriental cultures

Giangiorgio Pasqualotto

Which east and which cultures? It’s a necessary question to avoid falling into false generalizations. Well here we talk about Japan and China and more specifically classical Taoism and Buddhism, as well as Chan and Zen Buddhism.

In essence it is argued, and certainly not a novelty since the text is part of a path of secular studies, which unlike the West, which fears the void, in these cultures it is the central core from which the energies and aesthetic provisions are directed. Provided we understand: the void is not interpreted as nothing, as not being, as the concept of emptiness but as the experience of emptiness, not being, as you can get with specific forms of meditation.

Meditation that is not prayer, no one is invoked, but it is focused attention to what happens in the heads, in the body and in the world. Such a practice is necessary to produce or enjoy such an aesthetic experience, the latter being itself a form of meditative exercise.

From here the author analyzes various forms of Chinese and Japanese art, giving an interpretation of its own starting from an in-depth analysis of the void (and of its dialectical opposite the full) in these cultures, and is the original character of the book. We will therefore understand why in the tea ceremony the path that crosses the garden that leads to the Sun (tea room) must be made of stones at a distance varying from each other, Because in haiku there cannot be a subject or that in ikebana symbolically the vertical branch stands for the sky, the median for man and the horizontal for the earth. We are particularly interested in the discourse on the theater no, if only because by poor Westerners hating the void, is what we have so far understood the least.

*photos are taken at the same time in the same place the days before the lockdown

there is no English version. we recommend this:

Francois Cheng Empty and Full: The Language of Chinese Painting

#article #sun #book

0 notes