In 2017 Makoto Azuma attached gigantic balloons to bouquets of flowers, sending them soaring into space. Once the flowers hit -60C, they began to break apart in the outer atmosphere, before falling to Earth like colourful confetti. The photographic documentation is the only evidence of the adventure, capturing the grey area where Earth ends and space begins. Artists are becoming more and more interested in space as a home for art, as well as a canvas, and there are even pieces of art currently orbiting Earth. Read more, via the link in our bio. 📸 AMKK @azumamakoto#exobioticana#flowers#art#arthistory#arthistorynerd#arthistorian#space#spaceart
This censored image of “The Oreads” (1902) by William Bouguereau perfectly illustrates the absurdity of art censorship on social media. #freethenipplemovement
69181175 hours ago
"Romeo and Juliet" by English painter Sir Francis Dicksee, 1884. In the collection of Southampton City Art Gallery ♥️
"The End of the Ball" by Spanish painter Rogelio de Egusquiza, ca. 1870s. In private collection 💖
114084223 hours ago
🦄🦄 One panel of The Lady and The Unicorn tapestries. The mythical one-horned beast can be seen throughout Western art history, often symbolising purity and believed to have magic powers such as being able to bring water to the boil and the detoxification of poisons. Now, it seems we are having another golden age of the unicorn, with them appearing throughout popular culture. Read more about the history of the unicorn, and its popular resurgence, via the link in our bio. 📸 RMN-Grand Palais (Musée de Cluny - Musée National du Moyen Âge) / M Urtado. #unicorn#unicorn🦄 #unicornart#arthistory#tapestry#magiqueslicornes#arthistory#arthistorynerd#arthistorian
Thanks to @judithbenhamouhuet for this mention of André Cadere news @centrepompidou in Paris and in Nancy. The exhibition at Beaubourg looks like a paper chase through all the permanent collections of the museum while the gallery’s show is focusing on activities with and around the famous round bars of wood.
🥀 The cruel stories of Paula Rego 🥀
From 17 October 2018 - 14 February 2019.
👩🏻🎨 Paula Rego, 🎨 War,2003.
War was completed in London, where Rego moved permanently in 1976. The artist has claimed that the work was a response to a photograph published in the Guardian newspaper in the early stages of the Iraq War, which began in March 2003. The photograph featured a screaming girl in a white dress running from an explosion, while a woman and a baby remain stationary behind her. Rego explained, ‘I thought I would do a picture about these children getting hurt, but I turned them into rabbits’ heads, like masks. It’s very difficult to do it with humans, it doesn’t get the same kind of feel at all. It seemed more real to transform them into creatures’
Every day (or so), we post artwork by favorite illustrators—with a bit of trivia thrown in.
Every now and then, we come across an illustrator that’s so good, it angers us that there’s so little written about them. Krystyna Turska is one of those illustrators.
Krystyna Zofia Turska was born in 1933 in Poland. During World War II, her family was arrested.
As she recalled, “(We were) taken to a concentration camp near (Arkhangelsk) in northern Russia, where we spent the next two years. Very luckily for all of us, the creation of new Polish Armed Forces in Russian territory gave us the opportunity to get away. After going through Iraq, Palestine and Egypt our wandering finally came to a stop in the United Kingdom in 1948.” -
Not to put too fine a point on it, but the concentration camp referred to here was part of the notorious Yertsevo Camp Complex. Noted Polish author, Gustaw Herling-Grudziński, wrote about the events that took place in his book, “A World Apart”. -
In London, Turska joined the newly established painting department at Hammersmith College of Art (now called the Chelsea College of Art & Design). The next 20 years is a mystery to us. We catch up with Turska in 1968, when she illustrated her first book, “The Hamish Hamilton Book of Witches”. Turska’s first two written and illustrated books—“Pegasus” and “The Woodcutter’s Duck”—won Kate Greenaway Medals in 1970 and 1972, respectively.
The art you see here is from her 1972 book, “Tamara and the Sea Witch”. With their usual sunniness, Kirkus said the story and art lacked depth and personality. Something tells us, Turska wasn’t fazed by the review.
Turska beautifully combined abstract impressionism with representationalism. Her work clearly rivals the greats. We hope that over time, more will be written about one of the most obscure illustrators of the 20th century.
(Art and info from thedreammachine.blogspot.com and kyleshoneyman.blogspot.com.) #Illustration#IllusDept#ArtHistory#Kidlit#Kidlitart#womeninillustration#womeninart#illustrationart#art#artoninstagram#Painting#KrystynaTurska#giuseppecastellano
13020 minutes ago
Artwork: Southern (Tunisian) Gardens, Collection Heinz Berggruen, Paris
Today, we are celebrating a great Artist, an eclectic painter throughout an excursus of his first works till the last one, going from expressionism to abstact art.
Happy Birthday to Paul Klee!
6220 minutes ago
#VanGogh of the Day: Portrait of a Man, October-December 1888. Oil on canvas, 65 x 54.5 cm. Kröller-Müller Museum, Otterlo.
229120 minutes ago
The History of English Architecture. $18CAD +shipping. 5”x8”. DM Your Email to Purchase
11121 minutes ago
APRENDIENDO A VIVIR CON VULVODINIA - ▫
Un día en el cuerpo de una persona con vulvodinia aparentemente no es demasiado diferente que el de una persona con salud.
He aprendido muy bien a disimular y aparentar que no pasa nada.
Estuve mucho tiempo así, sin saber lo que tenía, por lo menos ahora tengo una respuesta.
No somos diferentes al resto, llevamos nuestra vida lo más “normal” que nos es posible.
Pero llega un momento clave en la vida de una mujer que lo padece.
El momento más íntimo. -Las relaciones sexuales y encontrar una pareja que entienda la vulvodinia-
“Y si no lo entiende.
Y si sale corriendo. ¿Cómo le explico a la persona con la que estoy saliendo que tengo vulvodinia?
Mi mente se contamina de puros miedos.
Por qué siento que no merezco ser amada, ni ser deseada.
No me siento una mujer completa.
La razón es porque no me siento sana sexualmente.
La zona más íntima de mi cuerpo duele, y no sé cómo ayudarla.
Todos los días me recuerda que algo falla.
Este miedo viene cada vez que pienso en una pareja o en mi vida sexual.
Creo que se debe sobretodo porque seguimos viviendo en una
cultura donde se piensa que el sexo es puramente penetración.
Donde el placer del hombre tiene mucha más importancia que el de la mujer.
Yo estuve mucho tiempo aguantando el dolor con mi novio, por miedo a que si le decía que no,
iba irlo a buscar con otra.
La vulvodinia es una condición de dolor crónico en la vulva que no tiene una causa definida, y no tiene cura. Tristemente es un tema que no se conoce mucho. Hay muchas mujeres sufriendo
Pueden leer el testimonio completo en ohwaumagazine.com
Más información con: @peacewithpain 🖤
17222 minutes ago
The Picture History of Astronomy. Science Book. $18CAD +shipping. 8.25”x11.25”. DM Your Email to Purchase
It was against the rules. So it caused a stir, which would have been an uproar in any other country but this was Britain, much to civilised for all that. So a stir it was. It is hard to imagine that such a peaceful and pleasant scene could do that but Constable defied convention. Landscape painting had evolved into an almost standardised practise. You painted the foreground sharply and in the distance things became a bit more fuzzy. Also the foreground should be well lit and the background a little faded. All these conventions had started with the paintings of Claude Lorraine, centuries earlier, that had become extraordinarily popular in Britain. Constable turned things around. In the distance we see Salisbury Cathedral. It is in razor sharp focus and bathes in bright sunlight. The foreground is much darker and seems to form the opening of a stage that focusses our attention on the distance. The trees, plants and cows are painted in a loose and sketchy way. Constable said he wanted to paint from nature and pretend he had never seen a picture before. It was a quiet rebellion against the norms of his time. And over time he changed the entire idea of what was considered picturesque.
Salisbury Cathedral from the Bishop’s Grounds, John Constable, c. 1825, Frick Collection, New York.
It has been a long day. She looks bored. She has seen all of these entertainments to often. Her name is Suzon. She worked in a bar or nightclub called Follies-Bergère. It was a place known for its decadence, even for a Parisian nightclub. She is serving drinks and possibly herself. Female staff of these nightclubs were often also prostitutes. She is standing in front of a mirror. And in that mirror we can see the club. There is a balcony in the background. Some people are leaning on the banister, others are using opera glasses to look at a performance outside our field of vision. A lot must be going on, because no-one is looking at the trapeze artist who is dangling above them. You can just see her feet on the left side of the painting. On the right side we see the back of the woman reflected in the mirror. She appears to be talking to a man right in front of her, but that doesn’t make sense. That man should then be blocking our view, standing between us and Suzon, but he isn’t. Luckily many people have devised theories as to how this could be, even going as far as reconstructing the scene with mirrors and all. It would take to long to explain their methods and findings here, but suffice it to say that it is possible that the man is standing elsewhere while his reflection appears in front of Suzon. This was Manet’s last large painting and one of the very few that was accepted for the Salon. And if you were to ask me, it is his most ingenious painting.
A Bar at the Folies-Bergère, Manet, 1882, Courtauld Gallery, London.
François Etienne Musin "HMS Resolute in Search of Sir John Franklin", 1850⠀
I got familiar with an expedition of John Franklin after reading the novel "The Terror" by Dan Simmons. Yet it is a novel, however the author made a deep research and many facts are represented according to the official information regarding the expedition and it's fate.⠀
In 1845 two ships- Erebus and Terror, under the command of Sir John Franklin, departed to search for a Northwest passage between Atlantic and Pacific through Arctic. The ships were last seen in August 1845. They had enough supply to last until summer 1848, so the Admiralty refused to start searching for the expedition in 1847.⠀
The HMS Erebus and Terror were finally found only recently in 2014 and 2016. ⠀
How great was my delight when I saw a painting, illustrating the above period at the @sothebys auction. It's not just a visual masterpiece, but a bright flashback to a history of the world exploration.⠀
Evolution of Women in Art: Part Four 🎨: Samson and Delilah (1610) By: Peter Paul Rubens
By the baroque period, all of art was becoming more experimental and less concerned with sticking to tradition. This was still a far cry from completely shattering the mold as dada and impressionism and other movements did later, but baroque artists were obsessed with the unknown and exploring it. This benefitted women well as artists began to feature women in their works more frequently, though at the beginning they were still mostly minor characters confined to “womanly duties” such as working in the home. As the movement continued, however, women began to take the leading role more often. Female artists gained some progress as the blossoming middle class provided more of a demand for artists and their work. One of my favorite baroque artists is Artemisia Gentileschi (link in bio for an epic @artcuriouspod episode about her!). Another staple of this period centers around the depiction of women: Rubens’ “full-figured” depictions versus the dainty and ultra feminine forms most artists used.
18245 minutes ago
One of the world’s most famous paintings is Sandro Botticelli’s, The Birth of Venus (c. 1485). The shell is part of the story of the birth from sea of the Roman goddess of love and beauty, but it presents her here as pure and perfect as a pearl, while the giant scallop shell serves to symbolize fertility.
In Lorenzo Lotto’s painting of Venus and Cupid (1525) the conch shell to the top right and various other elements symbolize femininity, fertility and marriage. Cupid peeing on Venus is one of those symbols too, which would have seemed humorous to 16th century viewers. All very appropriate as the painting was a wedding gift.
In 17th century the Netherlands, collecting exotic sea shells had become a social and cultural phenomenon. The shells in Van Der Ast’s painting (1620-21) exemplifies his mastery over material, but also serves to symbolize that even the seemingly infinite beauty is as transitory and brief as the decaying fruit.
“Düşmanınız hata yaparken ona izin verin, asla onu yarıda kesmeyin. “
————————————————————————- *1885 yılında Roma’da yürütülen kazı çalışmalarından bulunan bronz heykel Hellenistik dönemin başyapıtlarından biridir.
*Kırık burnu, yaralı yüzü ,kanlı elleri ve gövdesiyle ilahi gençlik ve güzellikten nasibini alamamış yenik bir boksörü betimlemektedir heykel.
*Heykel Roma Ulusal Arkeoloji Müzesinde sergilenmektedir.
Unutmayın;Ruhun zaferleri vardır. Bazen kaybetseniz bile kazanırsınız.
On View: Hilma af Klint - Paintings for the Future 🎨 @guggenheim
October 12, 2018 - April 23, 2019
Af Klint was born in Stockholm, Sweden in 1862 and went on to study at the city’s Royal Academy of Fine Arts, graduating with honors in 1887.
When Hilma af Klint began creating radically abstract paintings in 1906, they were like little that had been seen before: bold, colorful, and untethered from any recognizable references to the physical world.
Tracey Bashkoff is the curator of Hilma af Klint: Paintings for the Future, the first major solo exhibition of the artist’s work in the United States.
Some color to counter any winter blues: next month, a winter term course from Middlebury College will stop in to consider the impact of the built environment on shifting gender roles in late nineteenth-century Paris using Édouard Vuillard's "Landscapes and Interiors", an 1899 lithographic series depicting the city's cafés, apartments, and boulevards, among other modern spaces.
Architects: #RemKoolhaas Ole Scheeren, Cecil Balmond
Location: China, Beijinh
Area: 473000.0 sqm
Project Year: 2012
The CCTV headquarters is an unusual take on the skyscraper typology. Instead of competing in the race for ultimate height and style through a traditional two-dimensional tower soaring skyward, CCTV’s loop poses a truly three-dimensional experience, culminating in a 75-meter cantilever.
The tower serves as headquarters for China Media Group (CMG). CCTV’s form facilitates the combination of the entire process of TV-making in a loop of interconnected activities. Two towers rise from a common production studio platform, the Plinth. Each tower has a different character: Tower 1 serves as editing area and offices, and the lower Tower 2 is dedicated to news broadcasting. They are joined by a cantilevering bridge for administration, the Overhang.