Mostrando las entradas con la etiqueta Arte. Mostrar todas las entradas
Mostrando las entradas con la etiqueta Arte. Mostrar todas las entradas

Arte: Browse Paintings, Photos, Papers & More in the Archive of Alfred Stieglitz and Georgia O’Keeffe, America’s Original Art Power Couple

in Art, Photography| October 13th, 2015 1 Comment









O'Keeffe 1
Does any couple loom larger in the world of twentieth-century American art thanAlfred Stieglitz and Georgia O’Keeffe? Not if you believe the Alfred Stieglitz/Georgia O’Keeffe Archive at Yale University’s Beinecke Rare Book and Manuscript Library. If you go there, you’ll find “thousands of letters and hundreds of photographs in addition to a collection of literary manuscripts, scrapbooks, ephemera, fine art, and realia, primarily dating between 1880 and 1980, which document the lives and careers of the photographer/publisher/gallery owner Alfred Stieglitz and the painter Georgia O’Keeffe.” But you can even view some of its material here on the internet, including photos by and of “Stieglitz and his circle of artists and writers” and “a variety of paintings and drawings, letters and ephemera, and medals and awards.”
Steiglitz O'Keeffe
The online archive does, of course, contain some paintings from O’Keeffe, such as House I Live in 1937 at the top of the post or, more in line with her famously floral focus, Pink Roses just below. But you’ll also find behind-the-work personal artifacts like the 1929 image of Stieglitz and O’Keeffe together at Lake George, New York just above. You can browse through all the material available with this list, or you can filter it down to the items pertaining specifically to O’Keeffe or those pertaining specifically to Stieglitz, though in life the two had an “instant mental and physical attraction” that kept them on some level inseparable during the course of their forty-year relationship.
O'Keeffe 2
They even enjoyed a kind of artistic togetherness during the long-distance stretches of that relationship, when O’Keeffe “discovered her love for the landscape of the American Southwest and spent increasing amounts of time living and working there.”
stieglitz flat iron
And while many of us already know about her favorite subjects and the ways in which she realized them on canvas, fewer of us know about the efforts Stieglitz took to make photography into not just a legitimate but respected art form. To get a sense of what that took, start with Stieglitz’s autochromes (below), some of the earliest ventures made by an American artist into the realm of color photography. Both Stieglitz and O’Keeffe, each in there own medium, made us see things differently. How many art-world power couples can say the same?
O'Keeffe 3
Related Content:
Colin Marshall writes elsewhere on cities, language, Asia, and men’s style. He’s at work on a book about Los Angeles, A Los Angeles Primer, the video series The City in Cinema, and the crowdfunded journalism project Where Is the City of the Future? Follow him on Twitter at @colinmarshall or on Facebook.
Fuente: openculture.com 

Arte: The Guggenheim Puts Online 1600 Great Works of Modern Art from 575 Artists








Kandinsky Composition II
If you were to ask me in my callow years as a young art student to name my favorite painter, I would have answered without a moment’s hesitation: Wassily Kandinsky. His theoretical bent, his mysticism, his seemingly near total creative independence…. There were times when Kandinsky the thinker, writer, and teacher appealed to me even more than Kandinsky the painter. This may go a ways toward explaining why I left art school after my first year to pursue writing and teaching. But nowadays, having seen a tiny bit more of the world and its bountiful artistic treasures, I might pause for just a moment if asked about my favorite painter… then I’d answer: Wassily Kandinsky.
Kandinsky Light Picture
If you want to see the pioneering abstract expressionist’s art in the United States, your best bet is to get yourself to New York’s famed Guggenheim, which has a veritable treasure chest of Kandinsky’s work that documents his transition from paintings and woodcuts inspired by Russian folk art and French fauvism to completely non-representational canvases made entirely of intersecting lines, shapes, and colors—his own private symbology.
But if you can’t make it to New York, then just head on over to the Guggenheim’s online collection, where the museum has digitized “nearly 1600 artworks by more than 575 artists.” This is the most sweeping move toward greater accessibility since the private collection went public in 1937. You’ll find early representational Kandinskys; transitional Kandinskys like Sketch for Composition II from 1909-10 (top)—with still recognizable favorite motifs of his, like the horse and rider embedded in them; and you’ll find much more abstract Kandinskys like 1913’s Light Picture, above, showing his move even farther away from Matisse and Russian folks and closer to an inimitable individual aesthetic like that of Joan Miró or Paul Klee.
Klee Hilterfingen
Speaking of Klee, another of my favorites, you’ll also find the sketch above, from 1895, before he began his formal training in Munich. It’s a far cry from his mature style—a primitive minimalism that drew inspiration from children’s art. If you know anyone who looks at abstract art and says, “I could do that,” show them the drawing above and ask if they could do this. Painters like Kandinsky and Klee, who worked and exhibited together, first learned to render in more rigorously formal styles before they broke every rule and made their own. It’s a necessary part of the discipline of art.
Miro Personage
Of the three artists I’ve mentioned thus far, it is perhaps Miró who moved farthest away from any semblance of classical training. In works like Personage (above), the Spanish surrealist achieved his “assassination of painting” and the realist bourgeois values he detested in European art. Piet Mondrian, another artist who completely radicalized painting, did so by moving in the opposite direction, towards a formalism so exacting as to be almost chilling. But like all modern artists, Mondrian learned the classical rules before he tore them up for good, as evidenced by his drawing below,Chrysanthemum, from 1908-09.
Mondrian Chrysanthemum
Of course you won’t only find artists from the early twentieth century in the Guggenheim’s online collection. This just happens to be one of my favorite periods, and the Guggenheim is most famous for its modernist collection. But you’ll also find work from more contemporary provocateurs like Marina Abramović and Ai Weiwei, as well as from early nineteenth century proto-impressionists like Camille Pissarro. (See Pissarro’s 1867 The Hermitage at Pontoise below.)  And if you find yourself wanting more context, the Guggenheim has made it easy to give yourself a thorough education in modern art. As we’ve noted before, between 2012 and 2014, the museum placed over 100 art catalogues online, including a collection called “The Syllabus,” featuring books by the museum’s first curator. Looking for a way of understanding that weird phenomenon known as modern art? Look no further, the Guggenheim’s got you covered.
Pisarro Hermitage
Related Content:
Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness
Fuente:openculture.com 

Arte: Le peintre John Atkinson Grimshaw. Chez Sentinelle


Le peintre John Atkinson Grimshaw

John Atkinson Grimshaw (1836 – 1893) est un peintre britannique de l'époque victorienne, représentant le plus souvent des vues nocturnes ou des paysages au clair de lune.



 



Fuente: https://plus.google.chttps://plus.google.com/u/0/114363539486752822986/postsom/u/0/114363539486752822986/about

Arte: Las obras imposibles de M.C. Escher Por Daniel Morales,Cultura Colectiva, 2013

http://culturacolectiva.com/las-obras-imposibles-de-m-c-escher/

 La percepción, la realidad, los mundos imposibles y las leyes de la física son parte de la obra de uno de los grandes artistas del siglo pasado: M.C. Escher, quien a pesar de vivir en el apogeo de vanguardias como el surrealismo y el cubismo no perteneció a ellas, aunque lo pudo haber hecho fácilmente. La página list25 publicó algunas de las obras de Maurits Cornelis Escher que desafían a la vista y la percepción:

Cultura Escher Relativity
Se considera como su idea original rellenar el plano con un mismo motivo: “Mucho antes de que, a raíz de visitar la Alhambra, descubriera cuán afín me es el problema de la partición de la superficie, yo había descubierto por mí mismo mi interés por él”.
 
cultura Escher convexConvex and concave
cultura Escher tetrahedralA partir de 1937 sus temas de mayor interés fueron la proporción, la estructura y sobre todo la continuidad, que fue uno de sus recursos más utilizados. Al observar su obra, más que poética, resulta intelectual; abre camino a un espacio irrepetible pero al mismo tiempo continuo en una espiral interminable. Su estudio incluía el color  de forma mínima, manejaba contrastes mediante el uso de los grises, impactando así aún más la armonía visual.

Tetrahedral Planetoid 
Un famoso artista cuya fama se forjó individualmente sin necesidad de adentrarse en movimientos o grupos, Escher pasó a ser parte de la cultura popular por su famosa obra Relativity: la oportunidad de ver diferentes visiones de una misma mente.
Cultura Escher ascending
Other worldescher-stairsHouse of stairs

Other world
Fuente:Ver mas  el enlace completo en Cultura Colectiva.com 
 See more at: http://culturacolectiva.com/las-obras-imposibles-de-m-c-Fuente: Fuente: escher/#sthash.yeYagN1w.dpufhttp://culturacolectiva.com/las-obras-imposibles-de-m-c-escher/#sthash.yeYagN1w.dpuf
http://culturacolectiva.com/las-obras-imposibles-de-m-c-escher/

Enlace: Arte, 25 esculturas que derrochan creatividad.

Las ciudades tienen interesantes monumentos, estatuas y esculturas, y cada una de ellas tiene su significado y su historia. Hay miles, pero pocas son realmente extraordinarias, creativas y dignas de muchas fotografías. En este artículo te vamos a presentar las 25 esculturas más creativas del mundo. No tenemos ninguna duda de que alguna de ellas va a llamar poderosamente tu atención. ¡No las pierdas de vista

1. Mustangs, Las Colinas, Texas, Estados Unidos.



2. Expansión, Nueva York, Estados Unidos.




3. Monumento a un transeúnte anónimo, Varsovia, Polonia.


4. Escultura del Salmón, Portland, Oregón, Estados Unidos.4. Escultura del Salmón, Portland, Oregón, Estados Unidos.


5. Gente del Río, Singapur.




Para mas esculturas, ver:  http://www.viralismo.com/http://www.viralismo.com/25 esculturas 

The Art of Franz Kafka: Drawings from 1907-1917 Open Culture


The Art of Franz Kafka:  Drawings  from 1907-1917
in Art, Books | February 4th, 2014 1 Comment
1
FacebookTwitterGoogle
UK-born, Chicago-based artist Philip Hartigan has posted a brief video piece about Franz Kafka’s drawings. Kafka, of course, wrote a body of work, mostly never published during his lifetime, that captured the absurdity and the loneliness of the newly emerging modern world: In The Metamorphosis, Gregor transforms overnight into a giant cockroach; inThe Trial, Josef K. is charged with an undefined crime by a maddeningly inaccessible court. In story after story, Kafka showed his protagonists getting crushed between the pincers of a faceless bureaucratic authority on the one hand and a deep sense of shame and guilt on the other.
On his deathbed, the famously tortured writer implored his friend Max Brod to burn his unpublished work. Brod ignored his friend’s plea and instead published them – novels, short stories and even his diaries. In those diaries, Kafka doodled incessantly – stark, graphic drawings infused with the same angst as his writing. In fact, many of these drawings have ended up gracing the covers of Kafka’s books.
“Quick, minimal movements that convey the typical despairing mood of his fiction” says Hartigan of Kafka’s art. “I am struck by how these simple gestures, these zigzags of the wrist, contain an economy of mark making that even the most experienced artist can learn something from.”
In his book Conversations with Kafka, Gustav Janouch describes what happened when he came upon Kafka in mid-doodle: the writer immediately ripped the drawing into little pieces rather than have it be seen by anyone. After this happened a couple times, Kafka relented and let him see his work. Janouch was astonished. “You really didn’t need to hide them from me,” he complained. “They’re perfectly harmless sketches.”

“Kafka slowly wagged his head to and fro – ‘Oh no! They are not as harmless as they look. These drawing are the remains of an old, deep-rooted passion. That’s why I tried to hide them from you…. It’s not on the paper. The passion is in me. I always wanted to be able to draw. I wanted to see, and to hold fast to what was seen. That was my passion.”

Runner 1907-1908
Runner 1907-1908

Horse and Rider 1909-1910

Three Runners 1912-1913

The Thinker 1913

Fencing 1917






Horse and rider (1910)





Three Runners 1912-1913














The Thinker 1913





























Fencing 1917





Ver video Meditacion on Frank  Kafka"s drawings, Philip Hartigan 
https://www.youtube.com/watch?v=peEX0vhMxOY
via ArtsCentre
Related Content:
Find Works by Kafka in our Free eBooks collection
Watch Franz Kafka, the Wonderful Animated Film by Piotr Dumala
The Art of William Faulkner: Drawings from 1916-1925
Vladimir Nabokov Makes Editorial Tweaks to Franz Kafka’s Novella
Vladimir Nabokov’s Delightful Butterfly Drawings
Jonathan Crow is a Los Angeles-based writer and filmmaker whose work has appeared in Yahoo!, The Hollywood Reporter, and other publications. You can follow him at @jonccrow.
Fuente: open culture. com TE 
Suscribirse a: Entradas (Atom)