Art Herstory’s Post

"Bracken fields". This is an expression of the beautifully rich autumn and winter colours of bracken fells and moorland with suggestions of a field and valley pattern. #contemporary art, #mixedmediaartist#originalart#abstractpainting#abstractlandscape#bracken#brackenfell Like Comment Share

"What you see is what you see." ______ Frank Stella, of Italian origin, he studied history, but began to frequent New York galleries, which introduced him to art at a time when Jackson Pollock 's abstract expressionism was sweeping the United States. Stella began his career associated with this movement, but he soon saw that his painting did not need expressiveness, nor symbology, nor the mystique of the abstract expressionists. His was an object, abstract and geometric. His was a proposal. Stella wanted literality rather , so he began painting flat surfaces that emphasized the painting as an object, and not as a representation of something. Works like Harran II, Gran Cairo or The Marriage of Reason and Squalor among others.. Unmistakable paintings by Stella and With an absolutely unmistakable technique. ▫️▪️Here is an extract from a national newspaper, that caught our attention. "Most of the painting that is seen today is the result of Photoshop. It's like photography, manipulated photography. And that medium is where many of the ideas for current painting come from. As for other forms such as installations or performances, they are also greatly influenced by the digital world. It is what it is. “Painting with paint on a canvas only occurs to people like me, to dinosaurs.” Embassy ▫️ ▪️ ▫️ #monochrome#minimalism#blackpaintings#frankstella #artist #americanart#minimal #minimalist #embassybasel https://lnkd.in/et9J3FVj

🗿✨ Explore the fascinating tradition of statue rubbing in this new article. This age-old practice, spanning from ancient cultures to modern times, highlights our deep, personal connection with art. 👉 Learn about the iconic statues around the world and their role as symbols of hope and connection. 🔗 Read the full article here: https://lnkd.in/dUPPAGfP

Ruptured Landscapes: Elegy for a Fragile World August 1 – 24, 2024 ARTSPLACE Gallery, Annapolis Royal, Nova Scotia Ruptured Landscapes is a solo exhibition of oil paintings by Nova Scotian artist Eva McCauley, exploring the relationship between people and our fragile environment, a world threatened by systematic disintegration and devastation. Her paintings explore and speak to climate change, particularly on oceans and shorelines: the sea level is rising, waters are warming, storms are intensifying, lives and communities are at risk. Conjured partly from memory, partly from photographs, the figures in the paintings uneasily inhabit places that are explored in the past and present, with a focus on their relationship to bodies of water. In Ruptured Landscapes colours are used that are deliberately oppositional to mirror the intensity of feeling that comes with living in a time of environmental crisis and societal upheaval. She employs contrasting, jarring colours and strong tonal contrasts to achieve a disquieting effect to depict contemporary threats of environmental destruction but also, within these, threads of hope and determination. Experimenting with the combination of oil painting and printmaking approaches, McCauley explores a new visual language to create visceral landscapes and seascapes inhabited by figures ruptured by forces beyond their immediate control. She fragments and obscures elements of the figurative imagery to achieve an unsettling effect. There is a loose narrative in the paintings, one that is deliberately unresolved and ambiguous, to convey the feeling of uncertainty and unpredictability, with everything in flux. Her paintings vacillate between figuration and abstraction; they explore the interplay between the representational and abstract. The theme of this new body of work, Ruptured Landscapes is particularly relevant right now, because of the acute seriousness of the climate crisis. McCauley is exploring this theme—our relationship to our endangered environment—in a way that is searching and honest, yet not without hope, discovering and contributing new insights and realizations to the present urgent discourse. https://lnkd.in/egqqp-7F This body of work was funded by an Arts Nova Scotia Creation Grant, for which the artist is most grateful. More info: www.evamccauley.com

The Best Paintings Of All Time "Art is a window to human history, emotion, and the boundless creativity of our species, and over the centuries, some works have risen to the forefront as the best paintings of all time. These pieces have transcended the era of their creation to become timeless icons. This list aspires to showcase not just the well-known masterpieces that have adorned museum walls and the pages of history books but also the famous pieces of art that have become cultural touchstones." -- Ranker https://lnkd.in/ehgUZ_ha

Step into the vibrant and imaginative world of Gustave Moreau with his stunning canvas "The Suitors" from 1853. As an esteemed art historian, I find Moreau's dramatic and unique interpretation of themes and characters provides a captivating glimpse into his artistic universe. ### Featured Work: "The Suitors" is an exceptional example of Moreau's blend of mysticism and symbolism rendered in oil on canvas. In this artwork, Moreau depicts a haunting scene filled with rich colors and intricate details. The composition centers around a series of figures, each elaborately adorned, showcasing Moreau's fascination with the exotic and the fantastic. ### Artistic Vision: Known for his opulent style, Moreau was a pioneer in the Symbolist art movement. His work often features an intense richness in color palette, coupled with an intricate portrayal of figures and mythological motifs. In "The Suitors," Moreau experiments with light and shadow to enhance the ethereal quality of the painting. His use of sharp contrasts and luminous hues helps transport the viewer into a dreamlike, otherworldly scene. ### Controversies: Throughout his career, Moreau’s work was often met with contrasting opinions. His divergence from traditional themes and the adoption of more esoteric subject matter both isolated and defined him. "The Suitors" might not have spurred specific controversies, but Moreau's commitment to a non-conformist style often sparked debates about the merit and interpretation of his works within academic circles and among the art-loving public. As we continue to explore and discuss Moreau's contributions to art, his works, such as "The Suitors," serve not only as reflections of his own inner visions but also as windows into the broader currents of 19th-century art historical developments. #GustaveMoreau #TheSuitors #Symbolism #19thCenturyArt #ArtHistory #MysticismInArt #OilPaintings #ArtisticVision #ArtCollector #SymbolistMovement #ArtExhibition #Masterpiece #ArtisticCreation #FrenchArtists #ArtCritique #Painter #HistoricalArt #ArtDiscussion #ArtLovers #ArtEducation #FineArts #VisualArts #Museums #GalleryView #ArtisticExpression #CulturalHeritage #ArtWorld #InnovativeArt

I have a lot of thoughts about this, longer than the LinkedIn word limit, but I'll share the abridged version here. As someone who started her career in the museum world and who has always loved museums (more, as it turned out, than they loved me), it disgusts me to read about the ways this specific museum has attempted to sensationalize the sexual violence Artemisia Gentileschi experienced in their curatorial and exhibition design choices. I presume the inherent motivation is to increase revenue from all the attention the controversial framing will generate (which is already working based on the international news coverage). For scholars in a position of art historical stewardship to attempt to re-victimize one of the most famous examples of a survivor of sexual violence who refused to be identified as a victim and whose paintings celebrated powerful women (need I remind anyone of Artemisia's "Judith Slaying Holofernes?") is shocking and disturbing. Do better, museums. This is just one of the many recent examples of institutions not meeting the cultural responsibilities they hold (yes, I'm talking about you, Brooklyn Museum). It shouldn't always be about the money, and I would add, there are plenty of opportunities to create popular, commercially successful exhibitions without compromising ethics. As a community of scholars, we have the opportunity to create new narratives in our work and shape the future in positive ways through the lens of inquiry we bring to the art and antique objects we study and steward. There are important stories that have been quietly waiting to be told, sometimes for hundreds of years. Let's not spread the poisons of the past into the future. https://lnkd.in/dDFVABbV

Cristy Leonard Art world of confusion. We are Cristy and Leonard and we have known each other for many years. Sometimes your life turns out differently from what you would have expected, and we are an example of that. Both have experienced losses, but those same losses have also led to a new life force, to continue to see the possibilities and colours even in the darkest time of our lives. And it may have become our trademark because no matter how small the power and possibilities sometimes seemed, ultimately, we started to create our own world in that depth and confusion. A world that, just like the earthly art of living, has led us to Cristy Leonard. Both; the layers of life and the layers of works of art, are connected, and intertwined to create what we now create. more info: www.cristyleonard.com

As significant anniversaries of artists approach, museums often take the opportunity to reassess their oeuvres. Recently, a painting long attributed to Caspar David Friedrich and listed in the 1976 catalogue raisonné was stripped of its attribution. Doubts expressed on stylistic grounds were confirmed when scientific analysis revealed inconsistencies with his techniques and materials. This reassessment, prompted by Friedrich's upcoming 250th birthday, highlights the importance of understanding attribution risk: even works listed in catalogue raisonnés are not immune to re-evaluation. It also underscores the value of analysing verified works to build a robust contextual library of data points. https://lnkd.in/egvpMijH

“As an art historical term, Art Deco is particularly divisive and imprecise. Historians hate it because it is a catch-all for the dozen or more artistic and aesthetic movements that exploded across the first decades of the last century. So, let’s try to be more specific. The Empire State Building, Rockefeller Center, Chrysler Building: Art Deco. Glimmering aluminum, bronze, and chrome pressed into seamless, puckered shapes? Art Deco. Georgia O’Keeffe painting skyscrapers in Midtown Manhattan? Zoot Suiters in East Los Angeles? Diego Rivera’s Communist-inflected murals in Detroit? Langston Hughes writing poetry in Harlem? Art Deco. Chiseled stone etched with heroic figures, lush acanthus, or meandering patterns? That’s Art Deco, too. Dorothy’s glimmering heels, ‘Take the ‘A’ Train’ and ‘Rhapsody in Blue,’ all Art Deco. In these examples, we see a steady progression of forms that grow more rarefied as they rise to a crescendo. But also, hints of a deeply-rooted conservatism can be found, of accepted icons and motifs that are made new by their repetition, by their simultaneous deployment. “To experience Art Deco is to be presented with a variety of symbols from which to pick and choose the ones that speak to us most.” Antonio Pacheco examines a style that is suddenly everywhere. This piece is published as a collaboration between Dirt and New York Review of Architecture. https://lnkd.in/dmQkjzmY