![Hugh Brown Roy Lichtenstein (Why, Roy Darling, 1962), 2009
[via hydeordie]](http://25.media.tumblr.com/tumblr_l5kk7f0lsn1qz849zo1_500.jpg)
Hugh Brown Roy Lichtenstein (Why, Roy Darling, 1962), 2009
[via hydeordie]
Andrei Tarkovsky (1932-1986) firmly positioned himself as the finest Soviet director of the post-War period. But his influence extended well beyond the Soviet Union. The Cahiers du cinéma consistently ranked his films on their top ten annual lists. Ingmar Bergman went so far as to say, “Tarkovsky for me is the greatest [director], the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream.” And Akira Kurosawa acknowledged his influence too, adding, “I love all of Tarkovsky’s films. I love his personality and all his works. Every cut from his films is a marvelous image in itself.”
Shot between 1962 and 1986, Tarkovsky’s seven feature films often grapple with metaphysical and spiritual themes, using a distinctive cinematic style. Long takes, slow pacing and metaphorical imagery – they all figure into the archetypical Tarkovsky film.
[via open culture and kottke]
The San Francisco Museum of Modern Art recently posted this 1999 video of the late artist Robert Rauschenberg discussing his notorious 1953 piece Erased de Kooning, which resulted from literally erasing an art work by Willem de Kooning.
Haikuesday, July 13th, 2010
that great idea,
written on a Post-it Note?
crumpled dryer lint
![Ten-Minute Art School Course
Rococo
In the early years of the 1700s, at the end of the reign of Louis XIV (who dies in 1715), there was a shift away from the classicism and “Grand Manner” (based on the art of Poussin) that had governed the art of the preceding 50 years, toward a new style that we call Rococo. Versailles was abandoned by the aristocracy, who once again took up residence in Paris. A shift away from the monarchy, toward the aristocracy characterizes this period. What kind of lifestyle did the aristocracy lead during this period? Remember that the aristocracy had enormous political power as well as enormous wealth. Many chose leisure as a pursuit and became involved themselves in romantic intrigues. Indeed, they created a culture of luxury and excess that formed a stark contrast to the lives of most people in France. The aristocracy, only a small percentage of the population of France, owned over 90% of its wealth. A small, but growing middle class does not sit still with this for long (remember the French Revolution of 1789).
Let’s take a close look at a typical Rococo painting, Fragonard’s The Swing also known as The Happy Accidents of the Swing. As with most Rococo paintings, the subject is not very complicated! Two lovers have conspired to get this older fellow to push the young lady in the swing while her lover hides in the bushes. Their idea is that as she goes up in the swing, she can part her legs, and he can get a perfect view up her skirt. They are surrounded by a lush, overgrown garden. A sculptured figure to the left puts his fingers to his mouth, as though saying “hush,” while another sculpture in the background has two cupid figures cuddled together. The colors are pastel — pale pinks and greens, and although we have a sense of movement and a prominent diagonal line — the painting lacks all of the seriousness of a baroque painting.
If you look really closely you can see the loose brushstrokes in the pink silk dress, and as she opens her legs, we get a glimpse of her garter belt. It was precisely this kind of painting that the philosophers of the Enlightenment were soon to condemn. They demanded a new style of art, one that showed an example of moral behavior, of human beings at their most noble.
[via Smarthistory]](http://25.media.tumblr.com/tumblr_l5gfhzt2z11qa32ieo1_500.jpg)
Ten-Minute Art School Course
Rococo
In the early years of the 1700s, at the end of the reign of Louis XIV (who dies in 1715), there was a shift away from the classicism and “Grand Manner” (based on the art of Poussin) that had governed the art of the preceding 50 years, toward a new style that we call Rococo. Versailles was abandoned by the aristocracy, who once again took up residence in Paris. A shift away from the monarchy, toward the aristocracy characterizes this period. What kind of lifestyle did the aristocracy lead during this period? Remember that the aristocracy had enormous political power as well as enormous wealth. Many chose leisure as a pursuit and became involved themselves in romantic intrigues. Indeed, they created a culture of luxury and excess that formed a stark contrast to the lives of most people in France. The aristocracy, only a small percentage of the population of France, owned over 90% of its wealth. A small, but growing middle class does not sit still with this for long (remember the French Revolution of 1789).
Let’s take a close look at a typical Rococo painting, Fragonard’s The Swing also known as The Happy Accidents of the Swing. As with most Rococo paintings, the subject is not very complicated! Two lovers have conspired to get this older fellow to push the young lady in the swing while her lover hides in the bushes. Their idea is that as she goes up in the swing, she can part her legs, and he can get a perfect view up her skirt. They are surrounded by a lush, overgrown garden. A sculptured figure to the left puts his fingers to his mouth, as though saying “hush,” while another sculpture in the background has two cupid figures cuddled together. The colors are pastel — pale pinks and greens, and although we have a sense of movement and a prominent diagonal line — the painting lacks all of the seriousness of a baroque painting.
If you look really closely you can see the loose brushstrokes in the pink silk dress, and as she opens her legs, we get a glimpse of her garter belt. It was precisely this kind of painting that the philosophers of the Enlightenment were soon to condemn. They demanded a new style of art, one that showed an example of moral behavior, of human beings at their most noble.
[via Smarthistory]
Odilon Redon
Béatrice
1897. Litografía en color. Papel de China pegado a papel. 33.5 x 29.5 cm.
Jerry Okimoto (1924-1998)
Mobile Painting #5, c. 1975
