Tag: art history

Jegeor

Architectuall Photography by Jegeor

In his series “Paysages Urbains (Urban Landscapes)”, Parisian photographer Jegeor has captured the beauty of modern buildings. His pictures show how contemporary architecture can be playful despite being repetitive. His style of photography matches this modern architecture because, despite being rather abstract, it still allows for a subtle human touch from time to time.

Titles of Photos from Top to Bottom: “ Post-It”, “Pullman”, “Vertigo”, “Scie”, “L’Orgie”, “Convergence”, “Crous”, “La Ruche”, “Ministere”, “Pantip”

Cornelis van Haarlem

Cornelis van Haarlem, The Fall of the Titans”, Oil on Canvas, 1588-90. Statens Museum for Kunst (National Gallery of Denmark)

The Roman poet Ovid’s Metamorphoses relate the story of a reigning race of gods consisting of the titans, the cyclopes, and the giants who were challenged to a cosmic battle by the Olympian gods headed by Zeus. The fierce battle, the so-called titanomachia, ended with the defeat of the titans whom Zeus cast down into Tartaros, the underworld, from where they cause earthquakes and volcanic eruptions.

Cornelis Cornelisz van Haarlem brought all his artistic ideals to bear in the naked muscular bodies and the complicated poses. Studies from the nude did not become common until the late 17th century; but in Haarlem, Karel van Mander (1548-1606) founded an academy that did not only use academic nudes for practice, but which also debated art theory.

This painting is an example of the resultant Haarlem Mannerist style. Mannerism is a designation used for a style between the Renaissance and the Baroque that celebrated the artificial and the sensual. The style was cultivated in places such as the court of Rudolph the Second. (1552-1612) in Prague. The style travelled north, winning over royals such as the Danish King Christian the Fourth. (1557-1648). The Fall of the Titans was among the Dutch paintings purchased by King Christian the Fourth in 1621.

Insert Image: Cornelis van Haarlem, “Two Wrestlers”, circa 1600s, Etching, Rijksmuseum

Jim Lyngvild

Jim Lyngvild, Title Unknown, (Creature of the Winter Snow), Portraiture

Jim Lyngvild, born in December of 1978, is a Danish writer, designer, photographer and the fashio editor of “Ekstra Bladet”, a tabloid newspaper published in Copenhagen. He was educated at the Fashion Design Akademiet in Copenhagen in 2000-2002. In 2018 Lyngvild designed an exhibition about the Viking Age for the National Museum of Denmark.

Reblogged with thanks to http://celteros.tumblr.com

Andrea Solario

Andrea Solario, “Salome Receives the Head of Saint John the Baptist”, Oil on Panel, 1506-07, Metropolitan Museum of Art, New York City

Andrea Solari (also Solario) (1460–1524) was an Italian Renaissance painter of the Milanese school.  He was one of the most important followers of Leonardo da Vinci, and brother of Cristoforo Solari, who gave him his first training whilst employed extensively on work at the Milan cathedral, and at the Certosa di Pavia. In 1490 he accompanied his brother to Venice, where he seems to have been strongly influenced by Antonello da Messina, who was then active in the city.

Salome, Herod’s daughter, has danced so beautifully that he swears to give her whatever she would like; even up to half the kingdom. Instead she asks for the head of an innocent man. It is a story about valuing life; and Herod’s family did not value it at all. Solario captures the lack of emotion in Salome’s face. At the gruesome sight in front of her she is emotionless, at best curious, but in no way remorseful that she has ended a life on a whim.

Nicolas Menard

Four Gifs by Nicolas Menard

Nicolas is a French Canadian graphic artist working and living in London. He makes drawings, prints, animations, books and interactive. His work has been exhibited and recognized by the Art Director’s Club (Young Guns 12), the Adobe Achievement Awards, Pictoplasma and Grafika. His films have been screened and awarded in festivals around the world, including Ottawa, Annecy and Anima.

His clients include The New York Times, Ray-Ban, Vanity Fair, the Harvard Business Review, Universal, Google Play, ARTV & la Cinémathèque Québécoise.

Romain Langlois

Stone and Bronze Sculptures by Romain Langlois

A self-taught sculptor, Romain Langlois studied medical books and anatomical charts to understand the human body, building his first sculptures using only plaster and clay. Seeking a more permanent material, Langlois turned to bronze, a metal he now incorporates into works that are inspired by nature rather than man.

His pieces visually pull apart the natural objects that surround us—building works that appear as bisected rocks, boulders, and tree trunks. These sculptures showcase glistening bronze protruding from their insides, unleashing the perceived inner energy of each object.

Brady Whitney

Brady Whitney, The Codex Silenda

Merging two of the ultimate pastimes—books and puzzles—the Codex Silenda has to be physically solved in order to read it. And no, these aren’t simple word games and math problems, but rather deviously complicated mechanical puzzles crafted from laser-cut wood that are embedded within each part of this 5-page book. The solution to each puzzle physically unlocks the next page. As the reader moves through the book a short story is also revealed, etched on pages opposite the puzzles.

The Codex Silenda was created by industrial designer Brady Whitney who is currently funding the it as project on Kickstarter. At the moment it looks like all funding tiers involving the book have filled, quadrupling their funding goals, but maybe they’ll add additional levels soon.

Charles Gleyre

 

Charles Gleyre, “The Helvetians Force The Romans To Pass Under The Yoke”, Oil on Canvas, 1858

This romantic painting by Charles Gleyre celebraties the Tigurini victory over the Romans at Agen (107 BCE) under Divico’s command.

The Tigurini were a clan or tribe forming one out of four pagi (provinces) of the Helvetii. The Tigurini were the most important group of the Helvetii, mentioned by both Caesar and Poseidonius, settling in the area of what is now the Swiss canton of Vaud, corresponding to the bearers of the late La Tène culture in western Switzerland. Their name has a meaning of “lords, rulers” (cognate with Irish tigern “lord”).

The name of the Tigurini is first recorded in the context of their alliance with the Cimbri in the Cimbrian War of 113–101 BCE. They crossed the Rhine to invade Gaul in 109 BCE, moved south to the Roman region of Provence in 107 BCE and defeated a Roman army under Lucius Cassius Longinus near Agen. The Tigurini followed the Cimbri in their campaign across the Alps, but they did not enter Italy, instead remaining at the Brenner Pass. After the end of the war, they returned to their earlier homes, settling in the western Swiss plateau and the Jura mountains north of Lake Leman.

The Rabbit’s Revenge

Illuminated Manuscripts: The Rabbit’s Revenge

“The typical depiction of a rabbit, especially when used in Medieval art and literature, is an image of purity and innocence—a harmless puff of cuddly cuteness. Another common association with the rabbit is that of fertility, a sensical comparison when one is aware of the speed at which the species copulates. In some medieval illuminated manuscripts however, the illustration of a rabbit turns from harmless to violent, with several examples showcasing the formerly innocent creature in the act of decapitation and other sword-wielding wrongdoings.

A way to analyze these drolleries, or medieval margin illustrations, is to think about the violent role reversals as humorous symbolism. Because these animals were so low on the totem pole of fear, it was quite amusing to the medieval illustrator to draw them enacting a revenge—silly animals on the opposite side of the slaughtering. This was also a way for the artist to show the stupidity of the human who was the object of the rabbits’ anger, one who was foolish enough to be bludgeoned by bunny.” -Kate Sierzputowski, Colossal

Shayla Maddox

Paintings by Shayla Maddox

Shayla Maddox’s paintings are not projection-mapped or powered by LEDs. They are infused with what the artist says are “the strongest [phosphorescent] pigments available,” making them much more than just glow-in-the-dark. “The color changes with the seasons and weather,” she explains to The Creators Project. “What looks one way when it’s sunny will change slightly when it’s overcast. The angle of the sun in winter highlights different elements than in summer. A person standing to the right will see something different than someone standing to the left.”

Maddox acheives this effect by using unwieldy phosphorescent paint which she  spreads in thin layers, mixed with standard acryllics, onto a canvas, letting them dry completely in between each round. In depicting anything from a swarm of 159,000 hand-painted dots to a glowing rendition of Middle Earth, she incorporates crushed gass and other “light-reactive” materials to give the paintings an almost sculptural element of three-dimensionality.

Painting Titles from Top to Bottom: “Warning- Fiery Red modern Landscape, Sunrise Sunset”; “Echo”; “Terraforming Mars”; “Doorway to a Thousand Churches”; “Frequency”; “Break the Chains”

Georges Paul Leroux

Georges Paul Leroux (French, 1877-1957),” Les Baigneurs du Tibre [Bathers in the Tiber, Rome]”, 1909. Oil on Canvas,. Musée Departmental de l’Oise, Beauvais.

Georges Leroux is considered a painter, engraver and illustrator from the French school. He was born August 3, 1877 in Paris and died in 1957. He received his formal art training at the Beaux-Arts Academie under Leon Joseph Bonnat.

At the outbreak of the First World War, Leroux joined the French Army and served on the Western Front in France and Belgium. He later recalled how on one reconnaissance mission he saw “a group of French soldiers taking shelter in a great shell-hole full of water”. That evening he made sketches of what he had seen and later painted “L’Enfer (Hell).” One critic remarked that the Leroux had “produced a work which attempts to represent as accurately as possible the Unreprehensible reality of war”.

George Leroux was a regular exhibitor at the Salon des Artistes Française where he was awarded the third class medal in 1903 and the Prix de Rome of 1906. In 1908, Leroux was honored with one of France’s awards to Chevalier in the Legion of Honor. He won a second class medal for 1911 and the Prix de Henner in 1920.

Ygor Marotta and Ceci Soloaga

Ygor Marotta and Ceci Soloaga, Projected Animation

Artists Ygor Marotta and Ceci Soloaga of VJ Suave were recently invited to participate in the Walk&Talk art residency on São Miguel Island, Azores, Portugal. The duo transformed their projected street art animations to happily dance across the trees, cliffs, and shores of the the island including the Lagoa das Empadadas, Porto da Ribeirinha, Cachoeira do Cabrito and Lagoa das Sete Cidades. Using long exposure, VJ Suave captured their interventions with nature, creating the two GIFs seen here.

Alexandra Kehayoglou

Alexandra Kehayoglou, Landscape Carpets and Rugs

Using scraps leftover thread from her family’s carpet factory in Buenos Aires, artist Alexandra Kehayoglou embarks on a laborious hand-tufting process to fabricate wool carpets and rugs that mimic natural textures like moss, water, trees, and pastures. The carpets balance form and function and can powerfully transform an entire room into a lush meadow dotted with pools of water and tufts of grass. Many of her works even function as part tapestry and flow from walls to floor, or work as covers for chairs or stools.

Reblogged with thanks to http://www.thisiscolossal.com