Art Appreciation

Art Forum

I really like the last one with the Dog and behind him the Ghostly horde and carriage with rider.

I can't figure if this man was so taken with the Spirit world or he was saving on paint, cause ghosts take less. Naugh he is;aying with his ability to use the light for the effects
D

Very interesting analysis. I like the past too, but you can keep the ghostly reminders. I am going to go and order a few Monet's.

You know my place will be filled with my paintings and other "Masters" Hee Hee

D

I loved each painting that was posted the last two days.

There are lots of art fans with good taste on this thread.

When I look at people I tend to see the artistry that pervades them....I can imagine without effort what has molded them into their current images.

Aspens - Pavillion Lake, by Donald Flather

http://www.inreview.com/attachment.php?s=&postid=540059

Wow! That's beautiful, Whidden!

Monet in his mid working period[IMG] He was losing his sight http://www.inreview.com/attachment.php?s=&postid=540096[/IMG]http://www.inreview.com/attachment.php?s=&postid=540096

Monet used a limited palette of colors Cadmium Red Ultra marine Blue, Yellow and white these can be seen in his works. He began to suffer from cataracts and his vision became severely damaged in his left eye but he refused to have surgery and wept for his loss. nThen he had made some gl.asses which helped his vision but not until later would he regain some sight. This shows in works like a bove.

i will go get one of his early works and its quite amazing to see the changes.
D

Monet Early workhttp://www.inreview.com/attachment.php?s=&postid=540098

Beautiful paintings, Delta! Interesting story about Monet's experience with blindness.

It's kind of like Beethoven and his deafness.

Matisse for Beckerhttp://www.inreview.com/attachment.php?s=&postid=540388

Alittle background on Matisse:Henri Matisse was born in 1869, the year the Cutty Sark was launched. The year he died, 1954, the first hydrogen bomb exploded at Bikini Atoll. Not only did he live on, literally, from one world into another; he lived through some of the most traumatic political events in recorded history, the worst wars, the greatest slaughters, the most demented rivalries of ideology, without, it seems, turning a hair. Matisse never made a didactic painting or signed a manifesto, and there is scarcely one reference to a political event - let alone an expression of political opinion - to be found anywhere in his writings. Perhaps Matisse did suffer from fear and loathing like the rest of us, but there is no trace of them in his work. His studio was a world within the world: a place of equilibrium that, for sixty continuous years, produced images of comfort, refuge, and balanced satisfaction. Nowhere in Matisse's work does one feel a trace of the alienation and conflict which modernism, the mirror of our century, has so often reflected. His paintings are the equivalent to that ideal place, scaled away from the assaults and erosions of history, that Baudelaire imagined in his poem L'Invitation al Voyage:

Furniture gleaming with the sheen of years would grace our bedroom; the rarest flowers, mingling their odours with vague whiffs of amber, the painted ceilings, the fathomless mirrors, the splendour of the East ... all of that would speak, in secret, to our souls, in its gentle language. There, everything is order and beauty, luxury, calm and pleasure.
"In its thoughtfulness, steady development, benign lucidity, and wide range of historical sources, Matisse's work utterly refutes the notion that the great discoveries of modernism were made by violently rejecting the past. His work was grounded in tradition - and in a much less restless and ironic approach to it than Picasso's. As a young man, having been a student of Odilon Redon's, he had closely studied the work of Manet and Cézanne; a small Cézanne Bathers, which he bought in 1899, became his talisman. Then around 1904 he got interested in the coloured dots of Seurat's Divisionism. Seurat was long dead by then, but Matisse became friends with his closest follower, Paul Signac. Signac's paintings of Saint-Tropez bay were an important influence on Matisse's work. So, perhaps, was the painting that Signac regarded as his masterpiece and exhibited at the Salon des Indépendants in 1895, In the Time of Harmony, a big allegorical composition setting forth his anarchist beliefs. The painting shows a Utopian Arcadia of relaxation and farming by the sea, and it may have fused with the traditional fête champétre in Matisse's mind to produce his own awkward but important demonstration piece, Luxe, Calme et Volupte, 1904-5. In it, Matisse's literary interest in Baudelaire merged with his Arcadian fantasies, perhaps under the promptings of Signac's table-talk about the future Golden Age. One sees a picnic by the sea at Saint-Tropez, with a lateen-rigged boat and a cluster of bulbous, spotty nudes. It is not, to put it mildly, a very stirring piece of luxe, but it was Matisse's first attempt to make an image of the Mediterranean as a state of mind.
"In 1905 Matisse went south again, to work with André Derain in the little coastal town of Collioure. At this point, his colour broke free. Just how free it became can be seen in The Open Window, Collioure, 1905. It is the first of the views through a window that would recur as a favourite Matissean motif. All the colour has undergone an equal distortion and keying up. The terracotta of flowerpots and the rusty red of masts and furled sails become a blazing Indian red: the reflections of the boats, turning at anchor through the razzle of light on the water, are pink; the green of the left wall, reflected in the open glazed door on the right, is heightened beyond expectation and picked up in the sky's tints. And the brushwork has a eupeptic, take-it-or-leave-it quality that must have seemed to deny craft even more than the comparatively settled way that Derain, his companion, was painting.

"The new Matisses, seen in the autumn of 1905, were very shocking indeed. Even their handful of defenders were uncertain about them, while their detractors thought them barbaric. Particularly offensive was his use of this discordant colour in the familiar form of the salon portrait - even though the "victim" was his wife, posing in her best Edwardian hat.

"There was some truth, if a very limited truth, to the cries of barbarism. Time and again, Matisse set down an image of a pre-civilized world, Eden before the Fall, inhabited by men and women with no history, languid as plants or energetic as animals. Then, as now, this image held great appeal for the over-civilized, and one such man was Matisse's biggest patron, the Moscow industrialist Sergey Shchukin, who at regular intervals would descend on Paris and clean his studio out. The relationship between Shchukin and Matisse, like the visits of Diaghilev and the Ballet Russe to France, was one of the components of a Paris-Moscow axis that would be destroyed forever by the Revolution. Shchukin commissioned Matisse to paint two murals for the grand staircase of his house in Moscow, the Trubetskoy Palace. Their themes were "Dance" and "Music".

"Even when seen in a neutral museum setting, seventy years later, the primitive look of these huge paintings is still unsettling. On the staircase of the Trubetskoy Palace, they must have looked excessively foreign. Besides, to imagine their impact, one must remember the social structure that went with the word "Music" in late tsarist Russia. Music pervaded the culture at every level, but in Moscow and St. Petersburg it was the social art par excellence. Against this atmosphere of social ritual, glittering and adulatory, Matisse set his image of music at its origins - enacted not by virtuosi with managers and diamond studs but by five naked cavemen, pre-historical, almost presocial. A reed flute, a crude fiddle, the slap of hand on skin: it is a long way from the world of first nights, sables, and droshkies. Yet Matisse's editing is extraordinarily powerful; in allotting each of the elements, earth, sky, and body, its own local colour and nothing more, he gives the scene a riveting presence. Within that simplicity, boundless energy is discovered. The Dance is one of the few wholly convincing images of physical ecstasy made in the twentieth century. Matisse is said to have got the idea for it in Collioure in 1905, watching some fishermen and peasants on the beach in a circular dance called a sardana. But the sardana is a stately measure, and The Dance is more intense. That circle of stamping, twisting maenads takes you back down the line, to the red-figure vases of Mediterranean antiquity and, beyond them, to the caves. It tries to represent motions as ancient as dance itself.

"The other side of this coin was an intense interest in civilized craft. Matisse loved pattern, and pattern within pattern: not only the suave and decorative forms of his own compositions but also the reproduction of tapestries, embroideries, silks, striped awnings, curlicues, mottles, dots, and spots, the bright clutter of over-furnished rooms, within the painting. In particular he loved Islamic art, and saw a big show of it in Munich on his way back from Moscow in 1911. Islamic pattern offers the illusion of a completely full world, where everything from far to near is pressed with equal urgency against the eye. Matisse admired that, and wanted to transpose it into terms of pure colour. One of the results was The Red Studio, 1911.

"On one hand, he wants to bring you into this painting: to make you fall into it, like walking through the looking-glass. Thus the box of crayons is put, like a bait, Just under your hand, as it was under his. But it is not a real space, and because it is all soaked in flat, subtly modulated red, a red beyond ordinary experience, dyeing the whole room, it describes itself aggressively as fiction. It is all inlaid pattern, full of possible "windows," but these openings are more flat surfaces. They are Matisse's own pictures. Everything else is a work of art or craft as well: the furniture, the dresser, the clock and the sculptures, which are also recognizably Matisses. The only hint of nature in all this is the trained houseplant, which obediently emulates the curve of the wicker chair on the right and the nude's body on the left. The Red Studio is a poem about how painting refers to itself: how art nourishes itself from other art and how, with enough conviction, art can form its own republic of pleasure, a parenthesis within the real world - a paradise.

"This belief in the utter self-sufficiency of painting is why Matisse could ignore the Four Horsemen of the Apocalypse. When the war broke out in 1914, he was forty-five - too old to fight, too wise to imagine that his art could interpose itself between history and its victims, and too certain of his alms as an artist to change them. Through the war years, stimulated by a trip to North Africa, his art grew in amplitude and became more abstract, as in The Moroccans, 1916. In 1917 he moved, more or less permanently, to the South of France. "In order to paint my pictures," he remarked, "I need to remain for several days in the same state of mind, and I do not find this in any atmosphere but that of the Côte d'Azur." He found a vast apartment in a white Edwardian wedding cake above Nice, the Hótel Regina. This was the Great Indoors, whose elements appear in painting after painting: the wrought-iron balcony, the strip of blue Mediterranean sky, the palm, the shutters. Matisse once said that he wanted his art to have the effect of a good armchair on a tired businessman. In the 1960s, when we all believed art could still change the world, this seemed a limited aim, but in fact one can only admire Matisse's common sense. He, at least, was under no illusions about his audience. He knew that an educated bourgeoisie was the only audience advanced art could claim, and history has shown him right..."

- Text from "The Shock of the New", by Robert Hughes

Becker thanks you...Delta. I love his colours. They are so bright and cheerful.

Anyone hear about the supposed "Art Work" which has gone up in Central Park of New York City?

//www.christojeanneclaude.net/sharedMedia/TheGates/C-Ref-104W.jpg

I think it is dumb

Thats disgusting. Even to imagine someone saying that is ART is a crime against Nature.
D

OMG its time to get out the canvas I assure you I can do better then sheets flyin gin the freaking wind.

How did art get so conjested with Vermin? Makes me ill.

They have a "Sculpture " here in New Olenz that is so unremarkable its pitiable
Yet zillions of peeps flock to see it. Delta bangs head against desk.

My next project will be to go to Kentucky, buy up all the outhouses..

I will turn them inside out...sell them for art and make millions.

ROFL Its probably the best idea you ever had Becker

The artist also wrapped an entire building in tin foil or something... OoooooOOOO and they also covered several islands in pink

Wow! How creative!

This is my favourite of Picasso's art. Delta can call it "crime scene investigation split skull" all she wants ( ), but I think it's beautiful!

Dream

http://www.inreview.com/attachment.php?postid=542251

ok, can i just ask how u put in the attachment, then show the picture? is the pic actually hosted at a different place?

Hi, Flying Panda.

I'll Pm you the instructions.

thank you

You're very welcome.

I like Primary colors but I sure won't try Tofu for anything.

Where are you?

D

but primary colours are different depending on what you ae talking about, i know you mean paint priamery colours, which are Red, Yellow, and Blue. while light primary colours are Red GREEN and blue

What art appreciation topic would be complete without the words of art critic, John Ruskin? Although the focus subject is art, I not only find Ruskin's words a useful reminder for art, but also for the elements in and of everything!



Unexpected Beauty

John Ruskin

Philosopher, poet, art critic


It is only by the habit of representing faithfully all things, that we can truly learn what is beautiful, and what is not. The ugliest objects contain some elements of beauty; and in all it is an element peculiar to themselves, which cannot be separated from their ugliness, but must either be enjoyed together with it or not at all. The more a painter accepts nature as he finds it, the more unexpected beauty he discovers in what he at first despises; but once let him arrogate the right of rejection, and he will gradually contract his circle of enjoyment, until what he supposed to be nobleness of selection ends in narrowness of perception. Dwelling perpetually upon one class of ideas, his art becomes at once monstrous and morbid; until at last he cannot faithfully represent even what he chooses to retain; his discrimination contracts into darkness, and his fastidiousness fades into fatuity.

A little video clip of the same "Gates" display picture that Chodder presented to us. I'd love to see it in person someday so I'll better understand what it is and what it represents..

http://video.msn.com/video/p.htm?m=...://www.msn.com/

well, pointalism, which only 5 painters used (i think) only used the primary colours, putting small points made up of tiny dots, of blue, yellow and red, in different quanities to reprent the colours, so more red and blue than yellow would make purple. it took about 2 years to make one painting ... your eye dosnt notice all the dots, because they are so close together, i admire the technique

Toot N Tater a very good analogy to the Pointilsim method.

I like a lot of their works but find it hard to believe it took so long to achieve the effect.

Can you poin tme in the direction of one?

D

the paintings are kind of grainy to a certain extent, this is part of one of the painting from the neo-imresionism period.

http://www.inreview.com/attachment.php?s=&postid=542790

This one i have seen, in real life, at a musium in london, i think its the tate, but i cant be sure, it was a year or so ago. the painting is big, and unserpriseingly took a long time to paint.

http://www.inreview.com/attachment.php?s=&postid=542792

Great !!!!!

Love your pics Sweetie

Delta

Flying Panda officially joins us!

That is some beautiful art!

Looking forward to seeing more!

I found this quite a nice sketch of a samurai, so I made it my avatar.

http://img.photobucket.com/albums/v382/mmaheshwary/Misc/katana_big.jpg

M.

thats cool M, ii find it hard to do that sort of art, with all those sticks and stiff, whos it by

Honestly, I have no idea. I found it using Google image search. There is a signature at the bottom, but good luck deciphering that.

M.

Nice sketch M. And it looks great as your avatar.

Nothing breathtaking, but I thought I would post this piece simply because it made me stop and look.

Past Dreams – David Winston

http://www.inreview.com/attachment.php?s=&postid=543277

Uh Dave, did you make this with your dog?

M.

that picture is so apropiate misty, its snowing for the first time this year here, its so much fun

How is your water coming along Dave( Plumbing)

D

I am going to get that painting..."Past Dream'.. No other art has affected me so deeply.

I found this quite a nice sketch of a samurai, so I made it my avatar.

http://img.photobucket.com/albums/v382/mmaheshwary/Misc/katana_big.jpg

Very nice!

I like the way the artist used some kind of glaze/shine technique. At a quick glance, it almost looks like a sculpture.

How do you shrink the size of an image without distorting/blurring it?

Nice "Past Dreams," Misty!

I love the fogging, too!

Whidden,

I thought you would appreciate this work of art. I can't save the image, so I'll just post the link to the image and story behind it instead. It's very interesting!

http://travel.canoe.ca/Travel/News/.../935236-ap.html

Spring

http://www.inreview.com/attachment.php?postid=544013

Night in Saint Cloud, 1890

http://www.inreview.com/attachment.php?postid=544017

Inger (Munch's sister) is the only woman whose face Munch refused to distort in his paintings.

Summer Night (Inger on the Shore), 1889

http://www.inreview.com/attachment.php?postid=544028

The Storm

http://www.inreview.com/attachment.php?postid=544029

The Sun

http://www.inreview.com/attachment.php?postid=544032

Why do you make such a comment?
It looks to me like some brilliant thought hit him and he is trying to get this across to us.Explain yourself/
D

Delta,

When do we get an update on your redecorating?

Well, the description you gave earlier sounds like it's going to be very nice.

Its just I don't feel the people in here are interested in my decorating. Colors and all. This is for Art, not Delta's Artistic mode

Those that are know it already but thankx for the querry.

D

In Blazing colours...when I am happy.

In Black and grey when I am sad.


And blood racing thru my veins when I am in love.