MASTERPIECES LOST DURING WORLD WAR II – Beauty Bellezza Beauté

Gustave Courbet, “The Stone Breakers”, 1849 – destroyed during World War II when a transport vehicle moving the pictures to the castle of Königstein, near Dresden, was bombed by A…

Source: MASTERPIECES LOST DURING II WORLD WAR – Beauty Bellezza Beauté

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ART QUOTES: What is an Artist? | THE REMODERN REVIEW

Romare Bearden “Dream of Exile”

If you’re any kind of artist, you make a miraculous journey, and you come back and make some statements in shapes and colors of where you…

Source: ART QUOTES: What is an Artist? | THE REMODERN REVIEW

ARTISTS: Max Ernst and Dorothea Tanning in Arizona | THE REMODERN REVIEW

Max Ernst “The Entire City”

“Painting is not for me either decorative amusement, or the plastic invention of felt reality; it must be every time: invention, discovery, revelation.”

– Max Ernst

In the late 1930s and early 1940s there was a mass exodus of artists out of Europe, fleeing expanding Nazi power. Many came to America and settled in New York City, and went no further. They kept aloof from the local art scene and showed little interest in learning anything about their host country.

Surrealism was the dominant movement at the time, and most…

Source: ARTISTS: Max Ernst and Dorothea Tanning in Arizona | THE REMODERN REVIEW

Elizabeth Vigée Le Brun at the Met | A Scholarly Skater

While I was in New York City for the New York Antiquarian Book Fair last week, I took the opportunity to visit the Met to see Vigée Le Brun: Woman Artist in Revolutionary France. This exhibition ha…

Source: Elizabeth Vigée Le Brun at the Met | A Scholarly Skater

Summer disturbed « LAST POST

Another captivating post from my childhood friend, Pippa Rathborne, which tells me much that I didn’t know about Gainsborough’s family.

Originally posted on LAST POST.

The Painter’s Daughters Chasing a Butterfly, one of Gainsborough’s intimate studies of his daughters made in the late 1750s, which took 18th century sensibility forward into a Romantic awareness of individual development through the senses. Image © copyright The National Gallery London

He sees beyond the fragile innocence of two little girls, in the glancing light of a fashionably Rousseauian childhood idyll, to a more profound understanding. He is not just a portraitist exploiting vulnerability and shimmering fabric; he is their father who loves them. He dared to paint the anxiety showing in their faces as they move rapidly through the sinister half-darkness of a wood, that is both catalyst and externalization of their unconscious minds.

Happiness as represented by the decoratively winged insect is always out of their reach; they experience, as Keats described, “the feel of not to feel it”.

Love and madness disturb a summer’s day two hundred and fifty years after two little girls chased a butterfly.

I try to imagine again my first…

via Summer disturbed « LAST POST.

Self-Portrait with Two Circles by Rembrandt (1659-1660) | The Squirrel Review

Originally posted on The Squirrel Review.

Self-Portrait with Two Circles by Rembrandt (1659-1660)

If the aim of self-portraiture is defined as the production of a painting displaying  perfect likeness to one’s physical self, Rembrandt van Rijn was a master of this medium for much of his artistic life. However, when one defines the aim of a self-portrait more subtly, that of providing an honest window into the deep and personal character of an artist, Rembrandt only began to succeed towards the end of his life. This truth is exemplified in what many consider to be one of the artists greatest masterpieces, Self-Portrait with Two Circles.

In his earlier self-portraits, Rembrandt depicts himself as handsome, successful, and fashionable – indeed, far more like a gentleman than an artist. From his clothing to his posture, the artist reflected upon the glamorous…

via Self-Portrait with Two Circles by Rembrandt (1659-1660) | The Squirrel Review.

Brilliance Feminine

Pippa Rathborne's SCRATCH POST

Sir Thomas Lawrence, (Isabella) Mrs. Jens Wolff, painted 1803 – 1815.  © The Art Institute of Chicago, Mr. and Mrs. W. W. Kimball Collection.

She sits in profile, rapturously contemplating an art book, brightly illuminated by a hanging lamp, the dark mysterious recesses of an arch behind her. An artist wants a picture to tell its own story; but we, the viewers, the readers, the audience, we lap up gossipy biographical details that add to our emotional titillation. Lawrence and the willowy, poised divorcee, with her distinguished aquiline features and slim modern figure, her intelligent expression and taste in contemporary and Renaissance art (her rapture is ostensibly aroused by studying Michelangelo, not by her consciousness of being studied herself) were bound in a relationship that lasted till his death.

Part Four of THE CHARACTER OF LIGHT

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The Character of Light – Part Four: Chameleon and Narcissus

Reblogged from Pippa Rathborne’s CONTRAblog

part four of The Character of Light
John Keats, Thomas Lawrence and the Brilliance Feminine

Sir Thomas Lawrence. Mrs. Jens Wolff, 1803 – 1815.
© The Art Institute of Chicago, Mr. and Mrs. W. W. Kimball Collection.

We feed on the human drama; it stirs and nourishes us. The painting suddenly looks better. We must forget….

While Pre-Raphaelite female beauty is impassive, the women in Thomas Lawrence’s Regency society portraits are animated, with parted lips, sparkling eyes, and “flush of welcome ever on the cheek”.[1] Lawrence, though dependent on “the wolfsbane of fashion and foppery and tattle” that Keats claimed to despise,[2] captured likenesses in what he referred to as“the fleeting moment of Expression”,[3] the same as  “the instant feeling”[4] admired by Keats in Kean’s acting.

In “his elegant affetuosa style”, the genuine tender feeling underlying his swagger discerned by Constable, [5]Lawrence portrayed women as intelligent, sexually confident individuals and imbued his male sitters with feminine sensitivity, transforming the most prosaic of politicians and bloated of princes into Byronic heroes.

Under the suave surface, he untied his own Gordian self-identity in his paintings, the fundamental subject of art being the artist, in manifold identities. As if enthralled by Keats’ three passing “figures on a marble urn” in Ode on Indolence, sometimes, led by fame, rather than art, Lawrence was cloyingly flattering, but when moved by love, for man or woman, he painted like a poet…

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Take care and keep laughing!

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