In Bazaine's own words, the density and scale of these rhythms are meant to transcribe "the great vital signs that are the truth of Man and the Universe. For him, the essential resided in the "daily illumination, this eye open to the world, that is, increasingly, as we advance, but a glimpse inward, a self-examination. Metaphor of passing time but also unchanging time, water allowed Bazaine to play with different feelings anger, joy , material and techniques painting, drawing, collage, mosaic, etc.
The original in gouache that this silk-screen print is done after is found at the Centre Pompidou National Museum of Modern Art, Paris, France , and is part of a portfolio that includes a series of 6 plates, one title page, 7 poems and a 'page de justification' in a canvased cardboard casing.
On occasion extremely sophisticated, these symbols are often accentuated by a clear and richly stylized representation.
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The solid black backgrounds of his compositions further accentuate the stylization of his drawing. This painting by Jean-Louis Paguenaud is a picturesque scene which takes place along the water of the Grand Canal in Venice. Some areas are painted more thickly and give volume to this large-scale oil on canvas. His technique of accentuating and enhancing the work recalls that of his contemporaries, especially Fernand Maillaud. The date and signature allows us to confirm the affiliation of the painting to Jean-Louis Paguenaud.
The date of execution, , corresponds to a specific artistic period, during which Paguenaud exhibited at the French Artists Salon in Paris. Wool tapestry, after a design by Prof. Lammeyer Editors G. Mohrhart and I.
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Richter - x cm. Placed at the center of the composition, a child seems to take her first steps, under the caring, watchful eye of a young woman, probably her mother or sister. Diptych- acrylic and fine paper on watercolor paper, signed and dated This artwork is the result of the artistic collaboration between two painters of different origin and culture: the German artist Helga Schuhr and the Libyan artist Youssef Fatis.
It is within this context that Fatis and Schuhr met and built a friendship, expressed through these works they created together. One can admire the strong red hues which contrast with the light blues found mostly in the background. Silhouettes of various figures, delicately outlined in black, are found on both parts of the painting; they seem to subtly emerge from the contrasting colors, pulling the spectator into a variation of repeated patterns, of simultaneously musical and visual rhythms.
The close, intertwining silhouettes illustrate the feeling of proximity, dialogue and encouragement between human beings. It is possible to distinguish two distinct techniques used for the silhouettes, some being uniquely composed of an outline whilst others, more detailed, allow the spectator to make out specific aspects of the figure, such as the face, mouth, etc. The lekythos, according to its size, can serve various functions, and may be destined either for body care, or for funerary rituals, the latter being the case for this particular piece.
Extremely popular during the Archaic 6th and 5th centuries B. These would substitute the funerary steles in cemeteries, and help distinguish male tombs from female ones, female tombs being usually marked by amphorae with low handles. Some of these are still on location in the Ceramic Cemetery in Athens located in to the West of the city ; others may be found in certain museums, such as the Athens National Museum or Metropolitan Museum of Art in New York.
On this lekythos are portrayed two women discussing, one sitting whilst holding her veil, the other holding a pyxis box and bringing her other hand to her chin in sign of mourning. This type of lekythos may be left empty or, in the case of a cremation, contain the ashes. During the same period, another type of double-handled vessel, the loutrophorus, also served the same funerary purposes.
There also exist lekythoi with an average height of 15 to 50 centimeters, dating as early as the Geometric period 8th and 7th centuries B. These lekythoi were manufactured extensively in Attica between the 6th and 4th centuries BC, with a large variety of shapes and decorations, themes and compositions. Traditionally they were narrow, with one handle, a long neck, wide mouth and small base, such as the lekythos presented here.
One variety of lekythoi however, the aryball, had a rounded vessel, a flat mouth and could be hung by a strap.
Dimensions: Green sculpture: x x 31 cm Yellow sculpture no. Like a windmill, these mobile structures are in perpetual movement thanks to the wind. The minimalistic, simple shapes and primary colors of these sculptures are characteristic of his work. Takis studies immaterial sources of energy such as wind, sound, light The strong creativity developed by Takis gives poetic force to his work.
As of , he began creating large-scale "Signals" and installing them outdoors. Dating from , this work is a replica of a fifth-century mosaic found on the main arch of the Santa Maria Maggiore Basilica in Rome Italy illustrating the well-known passage where Jesus, at the age of twelve, is conversing with doctors Luke 2, At the center of the composition, the Christ is surrounded by the doctors, of which we see only hands and parts of their clothing.
They are represented with tesserae — small cubic pieces of stone or marble — of light or reddish color in order to emphasize the Christ, depicted in more marked and diversified hues. Even if the lines are still slightly awkward, there is a semblance of depth as well as thought-out movement, where the hand gestures animate the work and seem to answer each other. In this expressionist-style painting, he manages to create an oppressive and distressing atmosphere. A smaller sculpture of 13 cm in height was offered as well to all the intellectual participants.
The sculpture is part of a series commissioned in commemoration of the "Xacobeo ", and depicts Door of Forgiveness from the Church of Santiago de Villafranca del Bierzo. This work represents, in a frontal position, four young individuals wearing their traditional African clothes. They are shown wearing different outfits, some decorated with a pattern of colored circles, other with more geometric patterns. They seem to gaze fixedly at the spectator, looking straight into their eyes. Their faces do not seem to express anything in particular and appear almost lifeless; only their eyes give any sign of expression.
The flight of several doves is intertwined with these four figures. The five birds of peace move towards the left of the work. They are like mystical beings, almost unreal; they sparkle over the entire scene, lighting the painting and giving it a touch of mystery. Tones of orange and ochre are predominant in this work. The sky, brighter than the rest, extends over the entire upper half of the painting. More pronounced forms appear in the lower part of the work, where one can imagine a village.
The colors are browner and separated by lines. One of his major artworks has the same title and is installed at Donostia-San Sebastian, upon three rocks directly connected to the sea. It is through his constructions, continually linked to the natural environment, that Chillida expressed his desire to be in total harmony with nature in order to find appeasement and rest.
His art transcribes his utopic thoughts concerning a world at peace with itself. Through a play on shape, volume and voids, he wished to recreate the natural environment upon which he builds his works. This was perhaps also a way for him to represent the feelings the landscape creates in him. The theme of the wind comb is in this sense quite symbolic. Why build a comb for the wind? Is it to calm it down, control it, or disentangle it in order to bring back a lost harmony? One could then wonder if it is really the comb which controls the blowing wind, as it should, or if on the contrary, it is the wind that has shaped - with its comings and goings- the teeth of the comb depicted here?
This lyricism is used by Chillida to show the spectator that the heritage built by Man really takes on its meaning in accordance with the landscape and nature that surrounds it. One can see his fantasy-like world in which female figures are gradually transformed into natural elements. This metamorphosis of female characters into spirits, mythical creatures that seem directly taken from Ovid's "Metamorphosis", appears to be the most recurrent theme in Fenosa's work.
He was furthermore particularly sensitive to mythology or to precious shapes which only nature is capable of creating. The six statues also express the direction gradually taken by Fenosa, showing an increasingly important synthesis of form, even to the point of abstraction. The first album was published by the artist himself in - Several other editions followed.
As of the third edition by Loizelet in Paris in , the series included seven additional plates, inventoried A to G.
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For this series, Goya had executed 50 preparatory red chalk drawings, which he engraved in two steps: first a few trial proofs taken from the pure etching state, then with the aquatint in order to vary lighting and dramatize the scene. By basing his series on the historical text by Moratin to trace the evolution of these races from their origin until , Goya was addressing aficionados of the theme. He also depicted the exploits of the most famous bullfighters of his time: Pedro Romero, inventor of the classic rules, Ceballos, from Argentina, Martincho, well known for his acrobatics and Pepe Illo, illustrious for his exuberance.
The look is first attracted to the central white pyramid-like mass structured by painted pieces of wood. The background consists in patches of acrylic browns and ochers flats punctuated by black and white geometric shapes marked with chalk. The verticality of the wood in the center of the composition accentuates the monumental effect of the whole artwork.
Initially placed outdoors, the works were later covered for conservation purposes. These works were conceived during a period when the artist was interested in ceramics and abstract painting. His polychrome murals were meant to answer the coldness and rigidity of the buildings. The artist began his studies for the decoration of the new Parisian building in December and filled two notebooks with sketches of bathing figures and nudes, in the style of his series of Bathers from On January 29, , the artist completed the final scale model for this immense work.
The mural is made up of forty wooden panels painted in acrylic, covering a surface of almost one hundred square meters.
It represents a beach scene, with standing and reclining figures, animated by a figure falling, arms and legs flailing, towards the imposing blue surface of the ocean. Country of origin - Spain. It was during an interview in the artist's studio that Mr. Rightly enough, his mix of techniques and materials, often said to be poor or elementary, create shock. Clay dust is used for the ochre background of the painting, against which the artist places neutral objects from daily life, including the broom on the left, which seems to have served as a paintbrush for the cross, or the lid from a can of paint - the only white element in the work.
Created in , it results from his in-depth thinking about the blending of shapes and colors into a traditional two-dimensional support.
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As an architect his logical mind drove him to think about how to combine shapes onto a limited space. In this case, the anthropomorphic sculpture formed by gathered pieces of wood, arises from the limited ground. This figure is composed by a wide and imposing torso with two arms and a head, looking like a primitive totem.
Alberto Giacometti created a filiform and stylized figure, whose limbs seem to stretch out endlessly, as a symbol of the human being.
Related Landscape painting; with twenty-four reproductions of representative pictures [ annotated ]
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