Weimar

Monday, December 20, 2010

Here Comes the Night

Valerius de Saedeleer, Hoeve in Vlaanderen (La Ferme en Flandre), 1914

Valerius de Saedeleer, En plein hiver, 1927

Harald Sohlberg, Fisherman's Cottage, 1906

Harald Sohlberg, Natt, 1904

Eugene Jansson, Motiv aus Timmermansgatan, 1899

William Degouve de Nuncques, The Pink House, 1892

William Degouve de Nuncques, Night in Bruges, 1897

Tivadar Kosztka Csontváry, A Keleti palyaudvar ejjel, 1902

Franz Sedlacek, Storm, 1932

Jakub Schikaneder, A Street at Sunset, 1906

Marius Pictor, Rouge du soir, c. 1900

Léon Spilliaert, Night, 1908

Honoré Daumier, The Night Walkers, 1842

Theophile-Alexandre Steinlen, Chat au Clair de Lune, c. 1900

Henri Rivière, La Pleine Lune, c. 1900

Félix Vallotton, Last sun-rays, 1911

Ivan Constantinovich Aivasovsky, Moonlit Seascape With Shipwreck, 1884

"I sat on a rock near the sea. A ship had just put out from shore a fun sail: an imperceptible dot had appeared on the horizon and was gradually approaching, growing rapidly, pushed on by the squall. The storm was going to begin its onslaughts and already the sky was darkening, turning into a blackness almost as hideous as a man's heart." (Lautréamont, Les Chants de Maldoror)

Winslow Homer, Kissing the Moon, 1904

Édouard Manet, Moonlight over the Port of Boulogne, 1869

Henri Rivière. Le Coucher du Soleil (The Sunset). Plate 11 for Les Aspects de la Nature. Color lithograph, 1898

Theo Van Rysselberghe, Sailboats on the River Schelde, 1892

Edward Henry Potthast (1857-1927), Along the Mystic River, n.d.
O falee di luna calanteche brilli su l'acque deserte…

Charles Guilloux, La Seine à Saint-Denis, 1894

Fog

by Carl Sandburg, 1916

The fog comes
on little cat feet.

It sits looking
over harbor and city
on silent haunches
and then moves on.

Luigi Russolo, Lightning, 1909

Ostroumova-Lebedeva, The Catherine Canal. St. Petersburg, 1910

Louis Eilshemius, New York Roof Tops, 1908

Michèle Battut, Le crépuscule du soir, 1988

Isaak Ilitsch Lewitan, Over eternal tranquility, 1894

Arkhip Kuinji, Moon-lit Night on the Dnieper, 1880

Niko Pirosmani, Arsenal mountain at night, 1907

Nicholas Roerich (1874-1947), Black Gobi, n.d.

Arkady Rylov, Sunset, 1917

Alexandre Perrier, Nuages, 1900

Bruno Croatto, Roma, La Via Appia, 1941

Marianne von Werefkin, À l'aube, c. 1914

Carl Hofer, Schwarzmondnacht / Black Moon Night, 1944

Walter Gramatté, Self-Portrait with Red Moon, 1926

George Ault, Bright Light at Russell's Corners, 1946

Tadanori Yokoo, A Dark Night's Flashing: N City-V, 2000

Paul Cadmus, Night in Bologna, 1958

Mark Tansey, The Key, 1984

Sunday, December 19, 2010

Art History for Dummies

John Baldessari, Tips for Artists Who Want to Sell, 1966

However, the following cow painting sold for a seven figure amount:

Mark Tansey, The Innocent Eye Test, 1981

Charles Sheeler, The Artist Looks at Nature, 1943

Charles Sheeler, View of New York, 1931

Claudio Bravo, Interior with landscape painter, c. 1990

Brett Whiteley, The blossom tree, 1971

Arizona School

Dutch School

Mark Tansey, Triumph of the New York School, 1984

The right side features such NY art figures as Clement Greenberg, Pollack, Rothko, etc., in army uniforms around army vehicles. On the left side, Andre Breton’s back is turned to us (he is signing the treaty of surrender), Picasso is the one in the fur coat, while Duchamp stands rather aloofly, hands in pockets.

Triumph of the Paris School

Vienna Secession
Remigius Geyling, Klimt working on his mural "Philosophy" for the main hall of the Vienna University, 1902

Moscow Secession

Hockney owns California, but ...

Nick Dewar

David Hockney, Model with Unfinished Self-Portrait, 1977

David Hockney, A Bigger Splash, 1967

Jonathan Monk, Before a Bigger Splash, 2006

Alexander & Susan Maris, The Truth in Painting, 2006 - Book ash from an unread volume of Jacques Derrida’s The Truth in Painting in acrylic medium on canvas

Albert Oehlen, Self-Portrait with empty Hands, 1998

Lucian Freud, The Painter Surprised by a Naked Admirer, 2004

François Emile Barraud, Les casse-dents, 1932

Felix Vallotton, Le repos des modèles, 1905

Marlene Dumas, The Painter, 1994

Amnon David Ar, Self-Portrait

Jörg Immendorff, Man with Monkey Mask and Brush in Snow Sphere, 2000

Walton Ford, The Grand Tour, 2000

Here Ford imagines a mandrill captured in Africa and taken to London via Naples. At top, he jots painter Oskar Kokoschka’s complaint, when sketching in the London Zoo, of a “big, solitary mandrill, who profoundly detested me , although I always brought him a banana in order to make myself agreeable.”

Gabriel von Max, The Art Critics, 1889

Pere Borell del Caso, Flucht vor der Kritik (Escape from the Critics), 1874

Mark Tansey, Discarding The Frame, 1980s

George Grosz, The Painter of the Hole I, 1948
http://weimarart.blogspot.com/2010/07/painting-holes.html

Alphonse Mucha, Paul Gauguin at the Harmonium in Mucha's Studio, Paris, 1893

Adrian Ghenie, The Collector 3, 2008

He loves the arts
And the beautiful women.
He has them portraied;
He strolls in this painted Serail
As an art eunuch.

Heinrich Heine

Segundo Cabello Izarra, Fin de Siglo, 1899

Conrad Felixmüller, The Drawer of Dresden, 1930

Theodor Rosenhauer working on his painting "View of the Japanese Palais after Bombardment", Dresden 1945

Johann Zoffany, The Tribuna of the Uffizi, 1772

Karen Knorr, The Work of Art in the Age of Mechanical Reproduction, 1986

Reproduction reproduced

The Work of Art in the Age of Mechanical Destruction

Herbert List, Figures in the Snow, Munich Academy of Arts, 1945

Anom., Tom Wesselmann & Model, c. 1965

Richard Müller, A Classic Beauty Courted by Dignified Ugliness, 1910

John Baldessari, Pelicans Staring at Woman with Nose Bleeding, 1984

René Magritte, Self-Portrait, 1936

Oskar Nerlinger, Der Weltferne (Far Away), 1930

Felix Nussbaum, The Painter in his Studio, 1931

André Derain, Self-Portrait, 1939

Otto Umbehr, André Derain, 1928

Vladimir Dubossarsky & Alexander Vinogradov, Computer, 2007

Jörg Immendorff, Untitled, 1996

Marcel Duchamp, Apolinère Enameled, c. 1915

"Apolinère Enameled” was painted circa 1915 by Marcel Duchamp, as an advertisement for paint. The picture depicts a girl painting a bed-frame with white enamelled paint. The depiction of the frame deliberately includes conflicting perspective lines, to produce an impossible object. To emphasise the deliberate impossibility of the shape, a piece of the frame is missing. The title is a pun on “Ripolin Enamel “, a type of paint, and “Apollinaire”.

Marcel Duchamp and Eve Babitz playing chess at the Duchamp Retrospective, Pasadena museum of Art, 1963

The goal of chess is to mate. Given that the double meaning of "mate" does not exist in French, at last we have a satisfactory explanation of why Duchamp had to emigrate to America.

Peter Blake, Marcel Duchamp's World Tour: Playing Chess with Tracey, detail, 2003

Shi Xinning, Duchamp Retrospective Exhibition, 2000–2001

US Postage Stamp featuring Duchamp's Nude Descending a Staircase

Ray Johnson, Self-Portrait, 1995

Herbert Ploberger, Self-Portrait, 1925

Emilio Baz Viaud, Autorretrato del artista adolescente, 1935

Buy here:
http://www.concentrate.org.uk/index.php?page=117

Mark Kostabi, Drawn to the Edge, 2007

Heinz Kiessling, Malbuchgeschichten, 1949

DRAW, O COWARD !
Richard Hamilton, Palindrome, 1974

Artemisia Gentileschi, Self-Portrait, 1638

Mary Ellen Croteau (1930- ) from Chicago turns things upside down in her “Judgement of Paris” from 2006. Fair enough.

He Sen, Cigarettes and Alcohol, 2006

Russell Connor, The Dawn of Modernism, 1985

Mark Kostabi, Suicide By Modernism, 2005

Honoré Daumier, Self-Portrait, 1869

Louis Béroud, L'inondation, Peintre copiant un tableau au musée du Louvre, 1910

Philip Evergood, Nude By The El, 1933

Jean-Leon Gerome, Pygmalion & Galatea, c. 1890

Non, je n'ai point perdu le sens;
non, je n'extravague point;
non, je ne me reproche rien.
Ce n'est point de ce marbre mort que je suis épris,
c'est d'un être vivant qui lui ressemble;
c'est de la figure qu'il offre à mes yeux.

Rousseau, Pygmalion, 1770