#ImpressionIII was painted after a #Schoenberg concert, inspired by the innovative style and the bold freedom of the musician. #Wassily#Kandinsky aimed similarly for liberating painting from what he considered its figurative restrictions. I feel trans-like euphoria, an ocean of emotions flooding into the hall, a cosmic rain surrounding the audience… “Art holds out the promise of inner wholeness,” wrote #AlaindeBotton in #Art as Therapy. Kandinsky, in his book #ConcerningtheSpiritualinArt , explained beautifully -a century earlier - how art is the greatest #meditation … According to Kandinsky, the reason for the artist to create is #spiritualimpulse and for the audiences to admire it is #spiritualhunger . Kandinsky was the first artist to take the crucial step towards #abstractart . His paintings after 1900 became increasingly more abstract after joining Bauhaus.
The Impressions series do not represent direct impressions of external nature; they are a combination of optical impressions with inner experience- the wholeness, the #supernatural . The aim was to create pure sensory impression of music through colours and shapes. Best explained in Kandinsky’s words: “The flight from the object does not mean the flight from nature in general. Every true art is subject to its laws. It is not necessary to cling to “nature” as she is only a part of nature in general. One can abstain from communicating ‘nature ‘ if one can relate directly to the whole”… #painting#artist#artists#painter#artcollection#collection#arthistory#artlove#museum#historyofart#bestpaintings#bestpainters#influentialpaintings
Everything is Love
Beyoncé & Jay-Z have collaborated on a joint album titled EVERYTHING IS LOVE. Their first visual for the song titled ‘Apeshit’ is filmed at the Louvre Museum (@museelouvre). The Carters have once again used their artistic genius to create an extremely artsy visual in one of the worlds most famous and iconic museums. Jay-z has referenced in previous tracks that Beyoncé is the modern day Mona Lisa. The video ends with THE CARTERS posing iconically in front of Leonardo da Vinci’s famous ‘Mona Lisa’ painting.
Steaming Service: @Tidal
[ENG VER BELOW] Pełna wersja plakatu reklamującego (fake) trasę koncertową Grimes 'About to fuck you up' tour. Pomysł rodem z przedszkola - średniowieczne miniatury : - ) We współczesnym digitalu często brakuje mi odniesień do historii. Na a la tolkienowskim character designie w grach i gotyckich fontach na okładkach płyt często te odniesienia się kończą. A szkoda! #odtandetysięnieumiera /// Full version of Grimes fake 'About to Fuck you up' tour. Medieval concept everybody. Frankly, sometimes i feel like contemporary digital art tries really hard to ignore visual history existence, which i don't get at all no offense guys... But it's So Much fun to dig into it a little deeper that tolkien-like character design and a la gothic font. Just randomly shared some salt with you... keep scrolling...
George Frederic Watts
Oil on canvas
“I paint ideas, not things. My intention is less to paint works that are pleasing to the eye than to suggest great thoughts which will speak to the imagination and the heart and will arouse all that is noblest and best in man.” — George Frederic Watts
According to the Greek myth, Endymion was an astronomer, the first human to observe the movements of the moon. This touched the moon goddess, Selene, to such a degree, which led to her falling in love with the mortal. She believed him to be so beautiful when he was asleep she asked Zeus to put him in an eternal sleep. She visited him every night. G. F Watts depicts the myth in this painting, with Endymion sprawled out on the ground, seemingly frail and in deep sleep, with Selene shimmering and flowing like an ethereal moon upon the slumbering Endymion, creeping down towards his lips.
George Frederic Watts (23 February 1817 – 1 July 1904) was an English Victorian painter and sculptor associated with the Symbolist movement. He said "I paint ideas, not things." Watts became famous in his lifetime for his allegorical works, such as “Hope” and “Love and Life”. These paintings were intended to form part of an epic symbolic cycle called the "House of Life", in which the emotions and aspirations of life would all be represented in a universal symbolic language.
Combined BA History of Art & Museum Studies and BA Fashion visit today! Dr. Roberts and Dr. Wright of @ljmuarts visit IAC Liverpool @jaguaruk to see the just-in-time technology courtesy of Derek Napier. Lots of links to the fashion industry and to design history. #historyofart#designhistory#jaguarlandrover @wearefashion_lsad
Seni Awa Camara (1945 - ), título desconocido (probablemente, Sin Título), finales del siglo XX-principios del XXI.
Seni es una escultora senegalesa que comenzó a modelar arcilla a los 12 años imitando a su madre alfarera. Creaba estatuillas a escondidas y las dejaba en la zona de cocción junto con los objetos utilitarios realizados por las alfareras de la zona. Cuando las esculturas de Seni fueron descubiertas, las mujeres hulleron despavoridas porque consideraban que la niña estaba habitada por un genio maléfico. Sin embargo, ella siguió creando esculturas cada vez más grande. En 1989 participó en la exposición Magos de la Tierra (Magiciens de la Terre) que tuvo lugar en el Centro Cultural Georges Pompidou de París. Esta fue la primera exposición de arte multicultural y perseguía el fin de visibilizar el arte y los artistas al margen de Occidente destacando la relación entre el artista y su entorno. Las esculturas de Seni son criaturas de atributos diabólicos y expresión tierna con otros pequeños seres zoomorfos insertados en su cuerpo.
Henri Julien Félix Rousseau (1844 – 1910) was a French post-impressionist painter in the Naïve or Primitive manner. He was also known as Le Douanier (the customs officer), a humorous description of his occupation as a toll and tax collector. He started painting seriously in his early forties; by age 49, he retired from his job to work on his art full-time.
Ridiculed during his lifetime by critics, he came to be recognized as a self-taught genius whose works are of high artistic quality. Rousseau’s work exerted an extensive influence on several generations of avant-garde artists.[ Rousseau claimed he had «no teacher other than nature»,although he admitted he had received «some advice» from two established Academic painters, Félix Auguste Clément and Jean-Léon Gérôme. Essentially, he was self-taught and is considered to be a naïve or primitive painter.
His best-known paintings depict jungle scenes, even though he never left France or saw a jungle. Stories spread by admirers that his army service included the French expeditionary force to Mexico are unfounded. His inspiration came from illustrations in children’s books and the botanical gardens in Paris, as well as tableaux of taxidermy wild animals.
Along with his exotic scenes there was a concurrent output of smaller topographical images of the city and its suburbs.
He claimed to have invented a new genre of portrait landscape, which he achieved by starting a painting with a specific view, such as a favourite part of the city, and then depicting a person in the foreground.
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Paul Gauguin, Self-Portrait, 1889, oil on wood, 79 x 51 cm, National Gallery of Art, Washington. @my_favorite_work_of_art
Paul Gauguin, 1848-1903, was a French painter, printmaker, and sculptor who sought to achieve a “primitive” expression of spiritual and emotional states in his work. The artist, whose work has been categorized as Post-Impressionist, Synthetist, and Symbolist, is particularly well known for his creative relationship with Vincent van Gogh as well as for his self-imposed exile in Tahiti, French Polynesia. He influenced many avant-garde developments in the early 20th century. His legacy rests partly in his dramatic decision to reject the materialism of contemporary culture in favour of a more spiritual, unfettered lifestyle. Self–portraiture constituted a significant element of Gauguin's production, particularly in 1888 and 1889. Gauguin's interest was prompted in part by Vincent van Gogh's 1888 portrait series which he knew from his correspondence with Van Gogh and his brother Theo. Gauguin's only known statements about his self–portraiture concern a work similar to the National Gallery’s Self–Portrait. Gauguin refers to "the face of an outlaw . . . with an inner nobility and gentleness," a face that is "symbol of the contemporary impressionist painter" and "a portrait of all wretched victims of society." This Self–Portrait, painted on a cupboard door from the dining room of an inn in Le Pouldu, is one of Gauguin's most important and radical paintings. His haloed head and disembodied right hand, a snake inserted between the fingers, float on amorphous zones of yellow and red. Elements of caricature add an ironic and aggressively ambivalent touch to this painting. #paulgauguin#gauguin#arthistory#historyofart