Frank Frazetta Home Edward Hopper Edward Hopper a grandit à Nyach (Etat de New-York). Il s'intéresse à l'Art et commence ses premiers dessins d'après nature très jeune. Il part ensuite pour New-York et suit les cours de Robert Henri à la New-York School of Art. Il rencontre enfin le succès en 1923. Hopper est attentif à l'évolution de la société américaine. Contrairement à beaucoup de ses contemporains, qui se délectait dans la monumentalité de New York, Hopper a su éviter les attractions pittoresques de la ville. The Color That Wasn’t a Color Lorenzo Lotto’s Portrait of a Young Man against a White Curtain, ca. 1508. Of all the colors artists have had at their command throughout the ages, none has endured more reversals of fortune than black. Indeed, in his book Black: The History of a Color, published by Princeton University Press, historian Michel Pastoureau points out that for a few centuries after Isaac Newton’s discovery of the spectrum, around 1665, “black and white were considered and experienced as ‘noncolors.’” Beginning with the earliest known cave paintings, Pastoureau charts the color’s passage through the realms of art, fashion, and society, noting that in ancient times black was associated with caverns and underground spaces, fearful places that nevertheless had their own sacred energy.
Infographic: Mapping The 70-Year Gestation Of Street Art In the annals of "Fine Art History," graffiti is usually placed squarely outside of the mainstream dialogue. Usually, it’s relegated to a foggy category sometimes called Urban Art--or worse, Urban Contemporary. “Those are not terms that came from the graffiti or street communities,” says writer and theorist Daniel Feral. Click to enlarge. Feral is the creator of the eponymous Feral Diagram, a map that revises the role of graffiti and street art in the canon of modern art. What’s clever about the Feral Diagram is that it utilizes the visual language of another very famous diagram, created by the first director of MoMA, Alfred H. MoMA director Alfred H. A special edition of Feral’s diagram was released this week in support of a new film and book, Futurism 2.0, documenting an emerging school of street artists known as Graffuturism, which began a few years ago as a secret Facebook group and has blossomed into a full-fledged movement. You can buy a poster of the diagram here.
100 Ideas That Changed Art by Maria Popova From cave paintings to the internet, or how art and cultural ideology shape one another. On the heels of yesterday’s 100 Ideas That Changed Photography comes 100 Ideas That Changed Art (public library) — a succinct account of the most influential developments in the history of art, from cave paintings to the internet, compiled by art historian and broadcaster Michael Bird. From conceptual innovations like negative space (#98), color codes (#33), and street art (#94) to landmarks of communication like making books (#21), propaganda (#12), and handwriting (#24) to ideological developments like “less is more” (#30), protest (#79), and the body as surface (#9), each idea is contextualized in a 500-word essay with key visual examples. Bird writes in the introduction: What does it mean to ‘change art’? Polykleitos was credited with 'the idea that statues should stand firmly on one leg only.' Images and captions courtesy of Laurence King Donating = Loving Share on Tumblr
Musée virtuel - Reproduction de tableaux - Copies de peintures à l'huile peinte à la main On dit médiéval, pas moyenâgeux ! | Histoire(s) de l'art du Moyen Age C’è un morto nel ritratto. Come riconoscere presenze funebri nei dipinti La pittura antica non si fermava di fronte al limite della fine dell’esistenza. In molti casi, riprendendo precedenti ritratti della persona defunta o ricorrendo – più raramente – al rilievo del suo volto sul letto di morte, i pittori giunsero ad imprimere un nuovo, eterno soffio di vita in quei corpi estinti. I casi di quadri di lutto non sono poi rarissimi. Lotto: alberi piegati, violento temporaleLei è morta e lui la piange senza requie Lorenzo Lotto, Ritratto di coniugi, olio su tela, 1524 circa, (96×116 cm), San Pietroburgo, Museo dell’Ermitage. Un amore che va oltre la morte, che non potrà mai essere dimenticato; è questo ciò che vuole trasmettere l’uomo del Ritratto di coniugi (1523-1524) di Lorenzo Lotto. Lorenzo Lotto, Ritratto di coniugi, (particolare del paesaggio tempestoso) olio su tela, 1524 circa, (96×116 cm), San Pietroburgo, Museo dell’Ermitage Lorenzo Lotto, Ritratto di coniugi, (parrticolare) olio su tela, 1524 circa, (96×116 cm), San Pietroburgo, Museo dell’Ermitage
Digital Dada Library - The International Dada Archive - The University of Iowa The Digital Dada Library provides links to scanned images of original Dada-era publication in the International Dada Archive. These books, pamphlets, and periodicals are housed in the Special Collections Department of The University of Iowa Libraries. Each original document has been scanned in its entirety. The Digital Library is divided into two sections. The second section includes books by some of the participants in the Dada movement, as well as some of the more ephemeral Dada-era publications, such as exhibition catalogs and broadsides. These documents are provided for research purposes only. Enter the Digital Dada Library.
How Aubrey Beardsley’s Visionary Illustrations for Oscar Wilde’s ‘Salome’ Subverted Victorian Gender Norms and Revolutionized the Graphic Arts In his short life, Aubrey Beardsley (August 21, 1872–March 16, 1898) became a pioneer of the Art Nouveau movement and forever changed the course of the graphic arts. He was an artist of elegant and unsentimental exaggeration, and yet beneath his grotesque aesthetic lay a subtle sensitivity to human fears, longings, and relationships. Susan Sontag placed him in the canon of camp, but Beardsley’s significance radiates far beyond what she called “stylization.” In addition to influencing generations of artists — his unmistakable aesthetic reverberates through Harry Clarke’s striking 1925 illustrations for Dante’s Divine Comedy and even William Faulkner’s little-known Jazz Age drawings — he championed the poster and large-scale print work as a modern medium of graphic art. Live (love) now: die sooner or later. That, classically, is the purport of lyrical art. A scholar of Mozart and an astute cross-pollinator of the arts, Brophy — a lyrical genius herself — writes: