This is nice, yeah?

James Brooks

2011-07-01T09:53:00.001+01:00

While painting in Maine in the summer of 1948, Brooks had an artistic breakthrough. He discovered that the glue paste he used to attach his paper to canvas accidentally bled through to the side with his images. He started to exploit this staining technique, moving beyond the more rigid format of his Cubist-inspired compositions. In addition, he relied more heavily on automatism and free brushwork, creating images that showed the influence of Pollock’s action painting methods.

Beginning in the 1950s, while continuing to construct multi-layered canvases filled with small, irregular shapes and thin, fluid lines, Brooks transformed the surface of his pictures. He experimented with the thinning and drying of the medium and with applying mixtures of commercial enamels and oils directly from the tube to create a matte surface and to limit the viscosity of the pigment. From the 1960s on, Brooks simplified his compositions, abandoning the densely packed character of his earlier works. Color, however, remained a consistent and essential ingredient in his pictures, and he frequently started with colored grounds rather than plain white canvas. As the art historian Lisa Mintz Messinger observes, “It is interesting to note that Brooks’s Long Island home, which he shares with his wife, the artist Charlotte Park, is filled with delightful and unexpected accents of bright color. White walls and white furniture are juxtaposed against painted wooden floors of mustard yellow, green, and blue and painted yellow ceiling beams.”

Biography snippet from hollistaggart.com

James Brooks - Ehr

James Brooks - Aamo

James Brooks - Arnar

James Brooks - Frangle

James Brooks - Irro

Helen Frankenthaler

2011-06-28T09:57:00.000+01:00

Although greatly influenced by Jackson Pollock, Arshile Gorky and others, she soon developed her own approach to painting. She treated each painting as a new work that had its own unique requirements. She started experimenting with stain painting, where an unstretched and unprimed canvas lying on the floor would be treated with heavily diluted oilt-based paints to be soaked directly into the fabric. She created silky pools of color that, although abstract, evoked images of landscapes. As Whitney Chadwick said of Frankenthaler, "She was not the first artist to stain canvases but she was the firsy to develop a complete formal vocabulary from the technique." Her techniques influenced other artists, especially Kenneth Noland and Morris Louis.

Frankenthaler is significant to the 1950s because of her contributions to Abstract Expressionism. As the name suggests, this form of art is important in any understanding of the Fifties because it combines abstraction and expressionism. Expressionism itself emphasizes the emotional responses from both the artist and the viewer. The voices of a new America as heard in authors such as Jack Keroauc and Allen Ginsberg are seen in artists such as Frankenthaler. It is also important that Frankenthaler, as a woman, steps beyond the traditional gender roles. Helen Frankenthaler is nonconformist both in her art and life.

Biography from artinthepicture.com

Helen Frankenthaler - Causeway

Helen Frankenthaler - Orange Underline

Helen Frankenthaler - Nightmare

Helen Frankenthaler - Coalition

Paintings

2011-06-24T07:37:00.002+01:00

After Kandinsky

Red Bridge

Munich Tryptic:
Red Book

Bridge By River

Surfers

Joan Mitchell

2011-06-22T11:36:00.000+01:00

Joan Mitchell is perhaps best known as a second-generation member of the New York School. Yet although she was included in the celebrated 1957 exhibition Artists of the New York School: Second Generation at the Jewish Museum in New York, Mitchell lived and worked primarily in France. While her dramatic, lushly painted works possess an active, gestural quality that connects her work to New York School artists such as Willem de Kooning, Franz Kline, and Philip Guston, her work also evokes the paintings and pastels of French Impressionists through their vivid palette and frequent references to nature. As her work incorporated both of these influences, Mitchell is frequently termed an Abstract Impressionist. Such an association is reinforced by the fact that Mitchell work primarily out of Vétheuil, a town outside of Paris where Claude Monet lived and worked, and in a strange twist of fate, that she also lived on Avenue Claude Monet.

Biography from hollistaggart.com

Joan Mitchell - Barge Peniche

Joan Mitchell - Garden Party

Joan Mitchell - La Grande Vallée

Joan Mitchell - (title unknown)

Joan Mitchell - Untitled

Joan Mitchell - Untitled

Munich Tryptic

2011-06-15T10:59:00.003+01:00

John Nash - The Cornfield

2011-06-01T13:35:00.001+01:00

This is on display at the Tate Britain at the moment, go down and check it out!

William Baziotes

2011-05-16T09:52:00.002+01:00

William Baziotes - Scepter

William Baziotes - Primeval

William Baziotes - Cyclops 1947

William Baziotes - Beach Shadows 1947

Norman Lewis

2011-05-16T09:35:00.002+01:00

Norman Lewis - Phantasy-II

Norman-Lewis - Evening Rendezvous

Norman Lewis - Harlem Turns White 1955

Theodoros Stamos

2011-05-16T09:29:00.002+01:00

Theodoros Stamos - Adam 1961

Theodoros Stamos - Soundings I

Theodoros Stamos - Edge of Burning Bush

Theodoros Stamos - Delphic Shibboleth 1959

Jules Pascin - La Sangeusa, 1924

2011-04-20T08:23:00.000+01:00

Varda Caivano

2011-04-04T09:32:00.000+01:00

Varda Caivano - Untitled 2010

Varda Caivano - Untitled 2004

Varda Caivano - Untitled 2004

2011-04-04T08:36:00.001+01:00

Karel Appel

2011-03-29T08:15:00.000+01:00

Karel Appel - Dance in Space before the Storm

Karel Appel - The Crying Crocodile Tries to Catch the Sun

Gerhard Richter - G.A.4 (21.1.84)

2011-03-28T10:43:00.001+01:00

MOMA

Robyn Denny

2011-03-22T15:59:00.001Z

Robyn Denny - Collage

Robyn Denny - Collage

Robyn Denny - Collage No 10

Édouard Vuillard - Cafe Scene

2011-03-14T13:09:00.002Z

Dennis Bowen

2011-02-28T13:39:00.001Z

Dennis Bowen - Abstract Sketch

Can't find title

2011-02-10T22:57:00.002Z

Graham Sutherland - Black Landscape

2011-02-08T13:49:00.002Z

Hans Hoffman

2011-02-01T09:25:00.001Z

Hans Hoffman - Indian Summer

Hans Hoffman - Equinox

Hans Hoffman - The Gate

Ernst Nay

2011-01-28T09:16:00.001Z

Ernst Nay - White Spring

Ernst Nay - Stella Chromatisch

Ernst Nay - White and Yellow

Emilio Vedova

2011-01-20T17:53:00.001Z

Don't often include photographs of the artists but this one is cool as hell...

Emilio Vedova - Compresenze 6

Emilio Vedova - Sbarramento

Robert Motherwell

2011-01-19T13:40:00.003Z

My 'Spanish Elergies' are free associations. Black is death, white is life [...]. The 'Spanish Elergies' are not 'political', but my insistence that a terrible death happened that should not be forgot. They are as eloquent as I could make them.

Robert Motherwell - Elergy to the Spanish Republic

Robert Motherwell - Mexican Night

Robert Motherwell - Chambre d'Amour

Robert Motherwell - 2 Figures

Lee Krasner

2011-01-12T09:44:00.003Z

Lee Krasner - Cool White

Lee Krasner - Primary Series: Blue Stone

Lee Krasner - Noon

Diego Rivera

2011-01-05T09:37:00.001Z

Portrait of Adolfo Best Maugard

Romaine Brooks

2011-01-04T07:54:00.003Z

Romaine Brooks - Jean Cocteau in the Era of the Big Wheel

Romaine Brooks - The Cross of France

Giacomo Balla - Dynamism of a Dog on a Leash

2010-12-22T13:18:00.001Z

Really love this picture...

Marcel Duchamp - Landscape

2010-12-17T09:54:00.002Z

Émile Bernard

2010-12-15T08:18:00.003Z

Émile Bernard - Buckwheat Harvesters at Pont-Aven

Émile Bernard - Breton Women in the field

Émile Bernard - Lady in the Rain

Émile Bernard - Breton Woman and Haystacks

Jean Fautrier

2010-12-15T08:07:00.001Z

Jean Fautrier - Nature morte aux oignons

Jean Fautrier - Sans Titre

Jean Fautrier - Les glaciers

Jean Fautrier - Bouquet

Animated Gif interactive EP website

2010-12-06T17:49:00.003Z

Here's a load of screenshots from the Grass House interactive website for their new EP 'Ant Giant Ant', the site is made of 40 animated gifs which can each be clicked through to full screen to create the lovely effects seen below. You can open as many as you want then make up your own video to accompany the music by clicking from tab to tab... such joy! And even if you don't like the music, everyone is a fan of the animated gif so there'll be something for you all the same.

holidayclubrecordings.co.uk/antgiantant/

Constantin Guys

2010-12-01T13:04:00.001Z

Girls on a balcony

The Spread

The Lodge

Carriage and Three Gentlemen on Horses

Emily Carr

2010-11-25T13:02:00.002Z

Gitwangak Queen Charlotte Islands

Stumps and Sky

Vanquished

Heinrich Camendonk

2010-11-24T07:51:00.003Z

Bucolic Landscape

Öl auf Leinwand

Drei Reiter mit Lasso

Luigi Russolo

2010-11-22T23:18:00.003Z

Futurism is ace. Well bits of it anyway... this in particular

Pictorial Dynamism of the Simultaneous Movements of a Lady

Music

Henri Manguin

2010-11-19T08:20:00.002Z

Olive Trees in Cavalaire

Le divan bleu (Jeanne)

The 14th of July at St. Tropez

Dame assise au bord du golfe de Cavalaire

Mikhail Fiodorovich Larionov

2010-11-18T13:02:00.002Z

Rain

Bread

The Cockerel

Natalija Goncharova

2010-11-15T23:05:00.003Z

Nebbia

Harvest

Kees Van Dongen - :-)

2010-11-11T09:39:00.003Z

You don't often see smiles in paintings, I found the top one particularly captivating but wanted to pad it out with a couple more, which are more smirks than smiles.

Woman at the Balustrade

Woman in a Green Hat

Odilion Redon

2010-11-04T09:39:00.003Z

Landscape at Daybreak

The Rocky Slope

Arbres et Maisons Vue d'Hiver

The top two can be seen at MoMA in New York, I've been perusing their website and they have so so much great stuff it's untrue!

Ivon Hitchens - Balcony View, Iping Church

2010-11-04T09:37:00.002Z

Saw this in the Courtauld Gallery and it is fantastic, worth the fee alone

Ivon Hitchens

2010-11-01T11:00:00.000Z

Winter Walk

The Pink Sarong

Tangled Pool, No. 10

Jessica Delorme

2010-10-26T09:44:00.004+01:00

Just stumbled across the art work of Jessica Delorme and find it to be really quite wonderful. check it out here jessicadelorme.com

Gabriele Munter - Kandinsky and Erma Bossi, After Dinner

2010-10-25T09:24:00.000+01:00

Max Pechstein

2010-10-19T08:23:00.002+01:00

Casas Rojas

Early Morning

Seated Nude

Three Nudes in a landscape

Girl in Red with a Parasol

Karl Schmidt-Rottluff

2010-10-14T09:27:00.003+01:00

Two Girls in a Garden

Mujer aseandose

Una azul

En el recodo de la aldea

Desnudo entre dunas

asas de campesinos

Oskar Kokoschka

2010-10-12T08:25:00.001+01:00

The Tempest

Two Nudes (lovers)

Monte Carlo

Erich Heckel

2010-10-11T21:40:00.007+01:00

Landscape Near Dresden

Rote Haeuser

Saxon Village

Dabgaster Dorflandschaft

Vladimir Burluik

2010-10-11T13:14:00.000+01:00

Trees

Landscape

Father's Portrait

Ludwig Meidner

2010-10-06T08:23:00.001+01:00

The corner house

The burning city

Apocalyptic landscape

Landscape

Downstairs Bathroom (memory perspective)

2010-10-01T21:22:00.002+01:00

Joan Brown

2010-09-30T13:34:00.000+01:00

Shark Trial

Girl in Chair

Richard Diebenkorn

2010-09-30T13:28:00.003+01:00

Cityscape

Figure on Porch

Untitled Albuquerque

Untitled 13 CA

Lorraine Cohn

2010-09-30T09:25:00.000+01:00

Figures

Walter Sickert

2010-09-29T13:40:00.000+01:00

Young Belgium Women

The Rialto Bridge, Venice

(not sure of title, it's from a series of paintings of prostitutes he did.)

Jack Butler Yeats

2010-09-28T11:04:00.003+01:00

The Knight Who Sings

Queen Maeve Walked Upon the Strand

Margaret Mellis - Blue Anemone 1957

2010-09-27T09:35:00.001+01:00

“Natural Selection” Paintings and Drawings By Kellesimone Waits

2010-09-23T08:15:00.004+01:00

On October 1, 2010 Perihelion Arts presents:
“Natural Selection” Paintings and Drawings By Kellesimone Waits
Receptions:
With Artist: First Friday, October 1, 2010 6-11 p.m.
Third Friday, Oct. 15, 2010 6-10 p.m.
Show runs Oct. 1-30, 2010
Perihelion Arts, 610 E Roosevelt St., Unit 137, Phoenix, AZ 85004
Artist's Statement -

natural selectionnoun

Definition of NATURAL SELECTION

: a natural process that results in the survival and reproductive success of individuals or groups best adjusted to their environment and that leads to the perpetuation of genetic qualities best suited to that particular environment

I am frequently asked when I started painting. It's one of those stock cocktail party questions that follow on the heels of the given opener: "So, what do you do?" I only came up with a good answer (which also happens to be true) a couple of years ago:

When I was five years old.

I had the natural five-year-old girl fascination with pretty glamorous ladies (this hasn't changed much). I distinctly remember my frustration with my limitations as a painter at the time (this also hasn't changed much). It was from this place of frustration that I solved my first problem with a paintbrush. I discovered that I could piece together what I could do to make something I wanted to see. My equation became:

Circle = Head
Heart = Bodice
Triangle = Skirt

I'd then add features and some noodley arms and hair. Directly following this discovery I had the covetous instinct to keep what I had uncovered secret from my peers. It was mine, I was proud, and I was hooked.

In 2005, at 21, I participated in my first gallery show. Just weeks before the show opened I had unknowingly completed my first body of work that followed a cohesive conceptual topic. I say unknowingly because it was just that. I had no clue what I was painting about, but I was painting it over and over again. It wasn't until after that show had come and gone and I had some distance from the work that the story of the work became clear.

In the years following that first show I became infatuated with concept. Infatuation morphed into dependence, as it's been known to do, and about a year ago I realized that I had hit a wall. I couldn't paint with out a concrete concept and once I began work on a specific chosen topic I couldn't permit my self to veer off course. I was frustrated with my limitations, much like that time when I was five, except now my limitations were self imposed rather than natural.

This current body of work is a narrative survey of personal attraction and interpretation through media immersion. Though the selected works do, at first glance, appear to be an incongruous mash-up of unrelated topics, what I see is in actuality the result of my personal picture making evolution. With a melting pot of media imagery as my source materials (ranging from "National Geographic" to "Vogue") I have selected only a handful of images. Much like the process of Natural Selection, my own process in selecting my subject matter was a natural one based on my personal history that resulted in the survival and reproductive success of particular imagery that was best adjusted to my environment. By selecting particular images and then choosing to paint them I have altered their life spans to exceed the average shelf life of a magazine, and in turn ensured their survival (if only in my own world).

Preparatory sketch: Downstairs Bathroom

2010-09-23T08:08:00.000+01:00

Jean Helion - Fallen Figure

2010-09-22T13:29:00.001+01:00

For ten years I think I shall look, admire and love the life around us—passers-by, houses, gardens, shops, trades and everyday movement. Then, when I have mastered the means and acquired the baggage of characters and attitudes to give me the ease I now have in non-figurative art, I shall begin on a new period, which I have glimpsed in the last few days: I shall give painting back its moral and didactic power. I shall attack great scenes that will no longer be simply descriptive, administrative, but also 'significant', like the great works of Poussin.

Spite Fence!

2010-09-21T14:47:00.004+01:00

This picture (below) is one of the panels of Eadweard Muybridge's Panoramic of San Fransisco, April 1878. you can see the whole thing here or go down the Tate Britain and catch it in the flesh, it's totally wonderful.

Anyway, the below image captures the Spite Fence that was build by Charles Crocker around his neighbour's house the reason for this was his neighbour refused to sell up so Crocker could build his mansion, google 'Spite Fence' and there's more information. You may not spot it right off but it's in the second block up at the back of the big white house.

Ferdinand du Puigaudeau - Sunset paintings

2010-09-20T13:30:00.002+01:00

The Sun Setting

Sunset in Briere

Sunset by the Sea, Brittany

Sailboats at Sea, Evening

Sailboats at Sea, Evening

Charles Conder

2010-09-17T12:52:00.001+01:00

Un soir d'ete

Ricketts Point Beaumaris

Low Tide, Hawkesbury River

(can't find title)

Margo Maeckelberghe

2010-09-16T13:45:00.003+01:00

from the belgrave gallery
Steep Fall

Seafall

Passing Storm

Atlanta at rest

Peter Lanyon on TATE ETC...

2010-09-15T11:14:00.003+01:00

Incidentally shortly after putting up a few of his pictures and stumbling over various artists inspired by him, I came across an article in TATE ETC. all about him, quite a stroke of coincidence. Anyhow, it's really a great article and extremely informative.

TATE ETC.

Peter Lanyon
The Yellow Runner 1946
Courtesy Abbit Hall Art Gallery and the Lakeland Arts Trust © The estate of Peter Lanyon.
Oil on board
44.5x58.5cm

Peter Lanyon

2010-09-15T09:30:00.002+01:00

And here is the man himself...

Dorset Green

Beach Girl

Tony O'Malley - Hawk and Quarry in Winter

2010-09-15T09:23:00.004+01:00

It's funny what good stuff comes up when you type Peter Lanyon into Google...

Hawk and Quarry in Winter, in Memory of Peter Lanyon

Sarah Richards

2010-09-15T09:17:00.002+01:00

Accidentally stumbled across these, there's more on her website so take a look...
sarahrichards.org

Norwegian Church, Red Buoys

Thames Barrage

Norwegian Church, Night

Willem De Kooning

2010-09-14T15:18:00.003+01:00

More abstract expressionist goodness

4th July

Untitled IX

Woman V

Untitled XXII

(couldn't find title!)

George Baselitz

2010-09-13T13:37:00.002+01:00

Oberon (Remix)

Kulakentröstung

Bildweg (Remix)

Where is the yellow milkjug

Frank Auerbach

2010-09-10T09:38:00.002+01:00

Primrose Hill: Spring Sunshine

View From Primrose Hill

(can't find title)

Head of J. M. II

David Bomberg - landscapes

2010-09-09T07:42:00.003+01:00

Ronda Summer

Snowdon Range

The Mountains of Asturias, Spain

Tregor and Tregoff

Zahara

Joan Eardley

2010-09-08T21:56:00.000+01:00

Winter Sun No.1

The Wave

Seeded Grasses and Daisies

Olafur Eliasson

2010-09-07T08:13:00.002+01:00

Water Pendulum

Olafur Eliasson, "Water Pendulum" from Erin Hurkes on Vimeo.

And on TED

Susan Rothenberg

2010-09-07T08:09:00.000+01:00

Triphammer Bridge

Red

Paul Serusier

2010-09-06T08:02:00.001+01:00

Beauty is the love that we devote to an object.

Paysage

The Talisman (not sure about the colours as there was several versions across the internet)

Breton Wrestlers

who dunnit?

2010-09-03T14:28:00.001+01:00

George Inness

2010-09-03T07:55:00.002+01:00

"The purpose of the painter is simply to reproduce in other minds the impression which a scene has made upon him. A work of art does not appeal to the intellect. It does not appeal to the moral sense. Its aim is to instruct, not to edify, but to awaken an emotion."

Aura Study

Sunset on the Passaic (1891)

Summer Landscape

Milton Avery

2010-09-01T07:36:00.003+01:00

Why talk when you can paint?

Yellow Sky

Card Players

Green Sea

Provincetown Harbor

Fritz Bleyl

2010-08-31T16:50:00.001+01:00

Ruhender Akt

Poster by Fritz Bleyl to promote the first Die Brücke show in 1906. The police banned it!

Theodore Gericault - Evening- Landscape with an Aquaduct (1818)

2010-08-31T13:16:00.001+01:00

This work is one in a projected set of four monumental landscapes representing the times of day. Gericault completed only three: Morning: Landscape with Fishermen (Alte Pinakothek, Munich), Noon: Landscape with a Roman Tomb (Musée du Petit Palais, Paris), and the present work. Painted in Paris during the summer of 1818, the landscapes were conceived as decor, either to be exhibited as such at the Salon or to be placed in a specific interior. Nothing is known about a commission; nevertheless, extant receipts for the delivery of the canvases to Gericault's studio enable the works to be dated with precision.

The landscapes fuse souvenirs of ruins in the Italian countryside, which Gericault had visited in 1817 with the stormy skies and turbulent moods characteristic of the emerging aesthetic of Romanticism and the Anglo-French concept of the Sublime. Gericault painted these landscapes at a moment of personal turmoil: his uncle's second wife was about to give birth to a child whom Gericault had fathered. This event interrupted his work on the "Times of Day," and explains why only three of the four landscapes were realized.

Source: Théodore Gericault: Evening: Landscape with an Aqueduct (1989.183) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

http://www.metmuseum.org/toah/works-of-art/1989.183

Umberto Boccioni

2010-08-27T08:42:00.002+01:00

Self-Portrait (1905)

Simultaneous Visions

Rissa in Galleria/Fight in the Galleria

Andrew Wyeth - Christina's World

2010-08-26T09:48:00.003+01:00

Kurt Schwitters - Das Undbild, 1919 ("The And-Picture")

2010-08-26T09:03:00.003+01:00

“My name is Kurt Schwitters... I am an artist and I nail my pictures together.”

Carlo Carrà - The Funeral of the Anarchist Galli

2010-08-25T17:30:00.001+01:00

The subject of the work is the funeral of Italian anarchist Angelo Galli, killed by police during a general strike in 1904. The Italian State feared that the funeral would become a de facto political demonstration and refused the mourning anarchists entrance into the cemetery itself. When anarchists resisted, the police responded with force and a violent scuffle ensued.

Carlo Carrà was present. His work embodies the tension and chaos of the scene: the movement of the bodies, the clashing of anarchists and police, the black flags flying in the air. He reflects in a later memoir:

I saw before me the bier, covered with red carnations, wavering dangerously on the shoulders of the pallbearers. I saw the horses becoming restive, and clubs and lances clashing, so that it seemed to me that at any moment the corpse would fall to the ground and be trampled by the horses…

Marcel Duchamp - The Bride Stripped Bare by Her Bachelors, Even

2010-08-24T07:23:00.005+01:00

What we were interested in at the time was the fourth dimension. Simply, I thought of the idea of a projection, of an invisible fourth dimension, something you couldn't see with your eyes.

Philadelphia Museum of Art: Handbook of the Collections
Surely one of the most enigmatic works of art in any museum, The Large Glass dominates a gallery devoted to Marcel Duchamp's work from the exact location in which he placed it in 1954. Painstakingly executed on two planes of glass with unconventional materials such as lead foil, fuse wire, and dust, the appearance of the Glass is the result of an extraordinary combination of chance procedures, carefully plotted perspective studies, and laborious craftsmanship. As for its metaphysical aspect, Duchamp's voluminous preparatory notes, published in 1934, reveal that his "hilarious picture" is intended to diagram the erratic progress of an encounter between the "Bride," in the upper panel, and her nine "Bachelors" gathered timidly below amidst a wealth of mysterious mechanical apparatus. Exhibited only once (in 1926 at the Brooklyn Museum) before it was accidentally broken and laboriously repaired by the artist the Glass joined the Museum's collection in 1953 and has gradually become the subject of a vast scholarly literature and the object of pilgrimages for countless visitors drawn to its witty, intelligent, and vastly liberating redefinition of what a work of art can be. Anne d'Harnoncourt, from Philadelphia Museum of Art: Handbook of the Collections (1995), p. 316.

http://www.philamuseum.org/collections/permanent/54149.html

Tsuguharu Foujita - The Cafe

2010-08-23T14:11:00.001+01:00

Maurice Brianchon

2010-08-23T08:43:00.001+01:00

Brianchon was one of the best known painters of his generation in France. Winner of the Prix Blumenthal in 1924, he was one of the most influential masters at the Ecole des Beaux Arts and remains the only real successor in France to the tradition and intimacy of Bonnard and Vuillard.Theatre scenes, still lifes, portraits and compositions form an ensemble varied in subject but with a common technique. No surface is completely flat or inert, no color smooth.

Saint Jean de Luz La Plage

Nu Assis

Le Bief sur La Dronne en Dordogne

Nature morte aux poires

Raoul Dufy

2010-08-20T08:48:00.003+01:00

What I wish to show when I paint is the way I see things with my eyes and in my heart.

Le Tour Eiffel

Vieilles maisons sur le bassin de Honfleur, 1906

Bateau

Mozart

Interior with Open Window

Jean Hans Arp

2010-08-19T08:28:00.002+01:00

Since the time of the cavemen, man has glorified himself, has made himself divine, and his monstrous vanity has caused human catastrophe. Art has collaborated in this false development. I find this concept of art which has sustained man’s vanity to be loathsome. - Jean Arp

Non Loin au Soleil de la Lune et des Etoiles (translates to Not far from the Sun, Moon and Stars)

Sculpture

Composition

Composition

kaspar is dead by Jean Arp

alas our good kaspar is dead.
who will bury a burning flag in the wings of the clouds who will pull
black wool over our eyes day by day.
who will turn the coffee mills in the primal barrel.
who will lure the idyllic roe from his petrified paperbag.
who will sneeze oceanliners unbrellas windudders beekeepers spindles
of ozone who will pick clean the pyramids' bones.
alas alas alas our good kaspar is dead. holy saint bong kaspar is dead.
the clappers raise heart-rending echoes of sorrow in the barns of the bells
when we murmur his name. therefore i will only sigh out his surname
kaspar kaspar kaspar.
why hast thou forsaken us. in what shape has thy lovely great soul taken
flight. hast thou changed to a star or a chain made of water in a tropical
whirlwind or a teat of black light or a transparent brick in a drum that
howls for its craggy existence.
now the soles of our feet and the crowns of our heads have dried up and
the fairies are lying half-charred on the funeral piles.
now the black bowling alleys thunder in back of the sun and no one is
setting a compass or spinning the wheelbarrow's wheels.
who will eat with the phosphorized rat on the lonely barefooted table.
who will chase the siroccoco devil that's trying to lead off our horses.
who will decipher the monograms scratched on the stars.
his bust shall adorn the mantels of people ennobled by truth through it
leaves but small comfort or snuff for his death's head.

Paul Delvaux - Pygmalion

2010-08-18T07:55:00.003+01:00

In Ovid's narrative, Pygmalion was a Cypriot sculptor who carved a woman out of ivory. According to Ovid, after seeing the Propoetides prostituting themselves, he was 'not interested in women', but his statue was so fair and realistic that he fell in love with it. In the vertex, Venus (Aphrodite)'s festival day came. For the festival, Pygmalion made offerings to Venus and made a wish. "I sincerely wished the ivory sculpture will be changed to a real woman." However, he couldn’t bring himself to express it. When he returned home, Cupid sent by Venus kissed the ivory sculpture on the hand. At that time, it was changed to a beautiful woman. A ring was put on Galatea's finger. It was Cupid’s ring which made love achieved. Venus granted his wish.

The Story of Pygmalion and the Statue

Pygmalion loathing their lascivious life,
Abhorr'd all womankind, but most a wife:
So single chose to live, and shunn'd to wed,
Well pleas'd to want a consort of his bed.
Yet fearing idleness, the nurse of ill,
In sculpture exercis'd his happy skill;
And carv'd in iv'ry such a maid, so fair,
As Nature could not with his art compare,
Were she to work; but in her own defence
Must take her pattern here, and copy hence.
Pleas'd with his idol, he commends, admires,
Adores; and last, the thing ador'd, desires.
A very virgin in her face was seen,
And had she mov'd, a living maid had been:
One wou'd have thought she cou'd have stirr'd, but strove
With modesty, and was asham'd to move.
Art hid with art, so well perform'd the cheat,
It caught the carver with his own deceit:
He knows 'tis madness, yet he must adore,
And still the more he knows it, loves the more:
The flesh, or what so seems, he touches oft,
Which feels so smooth, that he believes it soft.
Fir'd with this thought, at once he strain'd the breast,
And on the lips a burning kiss impress'd.
'Tis true, the harden'd breast resists the gripe,
And the cold lips return a kiss unripe:
But when, retiring back, he look'd again,
To think it iv'ry, was a thought too mean:
So wou'd believe she kiss'd, and courting more,
Again embrac'd her naked body o'er;
And straining hard the statue, was afraid
His hands had made a dint, and hurt his maid:
Explor'd her limb by limb, and fear'd to find
So rude a gripe had left a livid mark behind:
With flatt'ry now he seeks her mind to move,
And now with gifts (the pow'rful bribes of love),
He furnishes her closet first; and fills
The crowded shelves with rarities of shells;
Adds orient pearls, which from the conchs he drew,
And all the sparkling stones of various hue:
And parrots, imitating human tongue,
And singing-birds in silver cages hung:
And ev'ry fragrant flow'r, and od'rous green,
Were sorted well, with lumps of amber laid between:
Rich fashionable robes her person deck,
Pendants her ears, and pearls adorn her neck:
Her taper'd fingers too with rings are grac'd,
And an embroider'd zone surrounds her slender waste.
Thus like a queen array'd, so richly dress'd,
Beauteous she shew'd, but naked shew'd the best.
Then, from the floor, he rais'd a royal bed,
With cov'rings of Sydonian purple spread:
The solemn rites perform'd, he calls her bride,
With blandishments invites her to his side;
And as she were with vital sense possess'd,
Her head did on a plumy pillow rest.

more from Delvaux...

Solitude

Sexbeat London

2010-08-17T23:41:00.001+01:00

SEXBEAT began in 2007 as a monthly rock n roll happening in a dingy East End pub with bad equipment and far worse toilets. Over the last few years it has mutated and spawned a party / promoter / diy label that has become an underground haven for London’s dissatisfied youth. As well as releasing 7″s, cassettes, fanzines and t shirts we have worked with Andrew WK, Crocodiles, Lovvers, Male Bonding, Fucked Up, Vivian Girls, Ariel Pink, Danananaykroyd, Rolo Tomassi and Monotonix to name a few. Expect fun, fist fights and partying hard. We are happy and privileged to be part of an organic scene of DIY promoters, labels, DJs, bands, artists and friends intent on creating their own society and culture of events, artifacts and like minded individuals

Check it...

http://www.sexbeatlondon.com

Paul Cezanne - Apples, Peaches, Pears & Grapes

2010-08-17T13:38:00.000+01:00

Frantisek Kupka

2010-08-17T08:17:00.003+01:00

The creative ability of an artist is manifested only if he succeeds in transforming the natural phenomena into 'another reality.' This part of the creative process as an independent element, if conscious and developed, hints at the possibility of creating a painting. (Frantisek Kupka)

Plans par Couleurs (1910-11)

Large Nude (1909)

The Yellow Scale (1907)

Mme Kupka Among Verticals (1910-11)

Path of Silence (1903)

Grant Wood - The Midnight Ride of Paul Revere

2010-08-16T22:37:00.001+01:00

The Midnight Ride of Paul Revere

by Henry Wadsworth Longfellow
1807-1882
Written April 19, 1860; first published in 1863 as part of "Tales of a Wayside Inn"
Listen my children and you shall hear
Of the midnight ride of Paul Revere,
On the eighteenth of April, in Seventy-five;
Hardly a man is now alive
Who remembers that famous day and year.
He said to his friend, "If the British march
By land or sea from the town to-night,
Hang a lantern aloft in the belfry arch
Of the North Church tower as a signal light,--
One if by land, and two if by sea;
And I on the opposite shore will be,
Ready to ride and spread the alarm
Through every Middlesex village and farm,
For the country folk to be up and to arm."
Then he said "Good-night!" and with muffled oar
Silently rowed to the Charlestown shore,
Just as the moon rose over the bay,
Where swinging wide at her moorings lay
The Somerset, British man-of-war;
A phantom ship, with each mast and spar
Across the moon like a prison bar,
And a huge black hulk, that was magnified
By its own reflection in the tide.
Meanwhile, his friend through alley and street
Wanders and watches, with eager ears,
Till in the silence around him he hears
The muster of men at the barrack door,
The sound of arms, and the tramp of feet,
And the measured tread of the grenadiers,
Marching down to their boats on the shore.
Then he climbed the tower of the Old North Church,
By the wooden stairs, with stealthy tread,
To the belfry chamber overhead,
And startled the pigeons from their perch
On the sombre rafters, that round him made
Masses and moving shapes of shade,--
By the trembling ladder, steep and tall,
To the highest window in the wall,
Where he paused to listen and look down
A moment on the roofs of the town
And the moonlight flowing over all.
Beneath, in the churchyard, lay the dead,
In their night encampment on the hill,
Wrapped in silence so deep and still
That he could hear, like a sentinel's tread,
The watchful night-wind, as it went
Creeping along from tent to tent,
And seeming to whisper, "All is well!"
A moment only he feels the spell
Of the place and the hour, and the secret dread
Of the lonely belfry and the dead;
For suddenly all his thoughts are bent
On a shadowy something far away,
Where the river widens to meet the bay,--
A line of black that bends and floats
On the rising tide like a bridge of boats.
Meanwhile, impatient to mount and ride,
Booted and spurred, with a heavy stride
On the opposite shore walked Paul Revere.
Now he patted his horse's side,
Now he gazed at the landscape far and near,
Then, impetuous, stamped the earth,
And turned and tightened his saddle girth;
But mostly he watched with eager search
The belfry tower of the Old North Church,
As it rose above the graves on the hill,
Lonely and spectral and sombre and still.
And lo! as he looks, on the belfry's height
A glimmer, and then a gleam of light!
He springs to the saddle, the bridle he turns,
But lingers and gazes, till full on his sight
A second lamp in the belfry burns.
A hurry of hoofs in a village street,
A shape in the moonlight, a bulk in the dark,
And beneath, from the pebbles, in passing, a spark
Struck out by a steed flying fearless and fleet;
That was all! And yet, through the gloom and the light,
The fate of a nation was riding that night;
And the spark struck out by that steed, in his flight,
Kindled the land into flame with its heat.
He has left the village and mounted the steep,
And beneath him, tranquil and broad and deep,
Is the Mystic, meeting the ocean tides;
And under the alders that skirt its edge,
Now soft on the sand, now loud on the ledge,
Is heard the tramp of his steed as he rides.
It was twelve by the village clock
When he crossed the bridge into Medford town.
He heard the crowing of the cock,
And the barking of the farmer's dog,
And felt the damp of the river fog,
That rises after the sun goes down.
It was one by the village clock,
When he galloped into Lexington.
He saw the gilded weathercock
Swim in the moonlight as he passed,
And the meeting-house windows, black and bare,
Gaze at him with a spectral glare,
As if they already stood aghast
At the bloody work they would look upon.
It was two by the village clock,
When he came to the bridge in Concord town.
He heard the bleating of the flock,
And the twitter of birds among the trees,
And felt the breath of the morning breeze
Blowing over the meadow brown.
And one was safe and asleep in his bed
Who at the bridge would be first to fall,
Who that day would be lying dead,
Pierced by a British musket ball.
You know the rest. In the books you have read
How the British Regulars fired and fled,---
How the farmers gave them ball for ball,
From behind each fence and farmyard wall,
Chasing the redcoats down the lane,
Then crossing the fields to emerge again
Under the trees at the turn of the road,
And only pausing to fire and load.
So through the night rode Paul Revere;=
And so through the night went his cry of alarm
To every Middlesex village and farm,---
A cry of defiance, and not of fear,
A voice in the darkness, a knock at the door,
And a word that shall echo for evermore!
For, borne on the night-wind of the Past,
Through all our history, to the last,
In the hour of darkness and peril and need,
The people will waken and listen to hear
The hurrying hoof-beats of that steed,
And the midnight message of Paul Revere.

Charles Demuth

2010-08-16T13:22:00.002+01:00

“America doesn’t really care – still, if one is really an artist and at the same time an American, just this not caring, even though it drives one mad, can be artistic material.”

My Egypt

Buildings in Lancaster

After Sir Christopher Wren

Incense of a New Church

Pierre Bonnard

2010-08-16T07:45:00.002+01:00

Le Cabinet de Toilette

Harbor

View of Cannet

(can't find title)

The Dining Room in the Country

Orthon Friesz

2010-08-12T07:52:00.003+01:00

"He boasted of having been one of the first to kill Fauvism. He did not realise at the time that it was his own art that he had destroyed" Dictionary of Modern Painting.

Portrait of Fernand Fleuret (1907)

La Ciotat

Roofs and Cathedral in Rouen (1908)

Albert Pinkham Ryder - The Flying Dutchman

2010-08-11T13:27:00.003+01:00

Posted this below but the detail is amazing so thought i'd do it again but bigger. it'll click through massive too. Not entirely sure which is the correct colour of it, this one or the post below.

here's a detail...

Albert Pinkham Ryder

2010-08-11T11:19:00.007+01:00

Toilers of the Sea

Moonlight Marine

Flying Dutchman

Boat in Moonlight

Seeküste im Mondlicht

Here's 4 i couldn't find the names of...