Study of Perspective - Hong Kong
(1995 - 2003)
Ai Weiwei
Credit Line
Medium
Información sobre derechos
© 2012 Ai Weiwei
Showing posts with label WORKS OF ART. Show all posts
Showing posts with label WORKS OF ART. Show all posts
Saturday, January 12, 2013
Friday, January 11, 2013
Presentation Poster I Book (Präsentation Plakate I Buch)
Presentation Poster I Book (Präsentation Plakate I Buch) from Courage to Print (Mut zum Druck)
1990
Martin Kippenberger
Credit Line
Edition
Medium
Información sobre derechos
© 2012 Estate Martin Kippenberger, Galerie Gisela Capitain, Cologne
Sprawl I
Sprawl I
2002
Andrea Zittel
Credit Line
Edition
Medium
Información sobre derechos
© 2012 Andrea Zittel
Functionally Fixed and Functionally Unfixed Panels
Functionally Fixed and Functionally Unfixed Panels
1998
Andrea Zittel
Credit Line
Medium
Información sobre derechos
© 2012 Andrea Zittel
Headscarf
Headscarf
2003
Galya Rosenfeld, Industrial Design Department, Benzalel Academy of Art and Design
Credit Line
Medium
Información sobre derechos
© 2012 Bezalel Academy of Art and Design
Tormented Self-Portrait (Susie at Arles)
Tormented Self-Portrait (Susie at Arles)
(1987 - 1988)
Ashley Bickerton
Credit Line
Medium
Información sobre derechos
© 2012 Ashley Bickerton
Spider Boot Antipersonnel Mine Foot Protection System
Spider Boot Antipersonnel Mine Foot Protection System
1998
Gad Shaanan Design, Inc. (USA, est. 1981), Manufactured by Med-Eng Systems, Inc., Canada
Credit Line
Medium
Nan and Brian in Bed, New York City
Nan and Brian in Bed, New York City
1983
Nan Goldin
Credit Line
Medium
Información sobre derechos
© 2012 Nan Goldin
Millionen Feuerwerk/Jackie from Courage to Print (Mut zum Druck)
Millionen Feuerwerk/Jackie from Courage to Print (Mut zum Druck)
1990
Martin Kippenberger
Credit Line
Edition
Medium
Información sobre derechos
© 2012 Estate Martin Kippenberger, Galerie Gisela Capitain, Cologne
Architekturmuseum from Courage to Print (Mut zum Druck)
Architekturmuseum from Courage to Print (Mut zum Druck)
1990
Martin Kippenberger
Credit Line
Description
Medium
Publisher
Información sobre derechos
© 2012 Estate Martin Kippenberger, Galerie Gisela Capitain, Cologne
Me In My Brown Denim Personal Panel
Me In My Brown Denim Personal Panel
1998
Andrea Zittel
Credit Line
Medium
Información sobre derechos
© 2012 Andrea Zittel
Tuesday, January 8, 2013
Architecture and Justice from the project Million Dollar Blocks
Architecture and Justice from the project Million Dollar Blocks
2006
Laura Kurgan (South African, born 1961), Eric Cadora (American, born 1962), David Reinfurt (American, born 1971), Sarah Williams (American, born 1974) of Spatial Information Design Lab (est. 2004), Graduate School of Architecture, Planning and Preservation Columbia University (USA, est. 1881)
Credit Line
Medium
Monday, January 7, 2013
Bullet-Resistant Mask
Bullet-Resistant Mask
1983
Stephen Armellino, Manufactured by U.S. Armor Corporation, USA
Credit Line
Gift of the manufacturer
Medium
Kevlar and polyester resin
Camcopter S-100 Unmanned Aerial Vehicle
Camcopter S-100 Unmanned Aerial Vehicle
2004
Gerhard Heufler, Manufactured by Schiebel Elektronische Geräte GmbH, Austria
Credit Line
Gift of Schiebel Elektronische Geräte GmbH
Medium
Carbon fiber and titanium
Información sobre derechos
© 2012 Hans Georg Schiebel
Does Andy Warhol Make You Cry?
Does Andy Warhol Make You Cry?
1988
Louise Lawler
Credit Line
Gift of Gabriella de Ferrari in honor of Karen Davidson
Edition
Medium
Silver dye bleach print and Plexiglas wall label with gilded lettering
Información sobre derechos
© 2012 Louise Lawler
Solo Scenes
Solo Scenes
(1997 - 1998)
Dieter Roth
Credit Line
Nina and Gordon Bunshaft Bequest (by exchange)
Foreign Language Title
Solo Szenen
Medium
Monitors with digitized videos (color, duration variable), and shelving units
Información sobre derechos
© 2012 Estate of Dieter Roth
Roger and Angelica
Roger and Angelica
1910
Odilon Redon
Medium
Pastel on paper on canvas
Original Title
Roger et Angelica
Provenance
Lillie P. Bliss Collection
Style
Symbolism
Viewing Notes
In this evocation of a scene from the sixteenth-century romance Orlando Furioso,
the knight Roger appears on his fiery steed to save the maiden Angelica
from a horrible fate: the dragon, with its evil inner glow, is looming
at the lower left. Tendrils of threatening mist curling up from below
menace the maiden, while angry storm clouds hover above. The figures
themselves are small and sketchily rendered; it is the picture's
atmospheric effects, conveyed with light-and-dark contrasts and shots of
dazzling color-including those of the imposing crag on which Angelica
is stranded-that create the high drama of this tension—ridden scene.
The young Redon is said to have watched the clouds scudding over the flat Bordeaux landscape where he was raised and imagined in them the fantastic beings that he would later conjure up in his paintings, drawings, lithographs, and pastels. Roger and Angelica, executed in the last period of his career, when color had bewitched him, exemplifies Redon's consummate ability to imbue his wildly imaginative fantasies with color, light, and shadow, using the mere strokes of a crayon.
Although this work was created in the twentieth century, it reflects the Romanticism of the nineteenth century, in which feeling triumphed over form, and color was the primary vehicle of expression.
From The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 47.
The young Redon is said to have watched the clouds scudding over the flat Bordeaux landscape where he was raised and imagined in them the fantastic beings that he would later conjure up in his paintings, drawings, lithographs, and pastels. Roger and Angelica, executed in the last period of his career, when color had bewitched him, exemplifies Redon's consummate ability to imbue his wildly imaginative fantasies with color, light, and shadow, using the mere strokes of a crayon.
Although this work was created in the twentieth century, it reflects the Romanticism of the nineteenth century, in which feeling triumphed over form, and color was the primary vehicle of expression.
From The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 47.
Pines and Rocks (Fontainebleau?)
Pines and Rocks (Fontainebleau?)
1897
Paul Cézanne
Medium
Oil on canvas
Original Title
Pins et Rochers (Fontainebleau?)
Provenance
Lillie P. Bliss Collection
Style
Post-Impressionism
Viewing Notes
Vibrations of Light
Unlike the expansive vistas often seen in landscape paintings, Cézanne's Pines and Rocks is a tightly framed, compressed view of nature. Low bushes and massive boulders form a bulwark against the forest, and a vertical line of pine trees extends upward, obscuring the view of the sky beyond. Though the trees and rocks firmly structure the scene, Cézanne also infused Pines and Rocks with a sense of airiness and movement. Glimpses of bare, unfinished canvas peek through the dense weave of brushstrokes. At first glance, Cézanne's palette seems limited to blues, greens, and browns, but a closer look reveals endless variations of colors, including shades of yellows, violets, and reds. Similarly, at close range the painting appears nearly abstract—a dancing network of innumerable brushstrokes, each depositing a specific color. In some areas Cézanne laid characteristically parallel brushstrokes, while in others the brushwork appears looser, more rapidly applied. Stepping back, these varied marks coalesce into a shimmering effect that Cézanne called "vibrations of light."
Where Are We?
There is still some uncertainty as to where and when Pines and Rocks was painted. For years, scholars believed the work was painted in 1904, and that it depicted Aix-en-Provence, an area of southern France where Cézanne would live until his death in 1906. More recently, it has been dated to around 1897. Scholars based this provenance on the relatively thin application of paint on the canvas, a contrast to the thick, often diagonally slanted brushstrokes that characterized Cézanne's final works. Aligning these stylistic clues with Cézanne's biography, it is now believed that that the locale represented is either in the Forest of Fontainebleau or some other region near Paris, where Cézanne spent a good deal of time in the late 1890s.
Unlike the expansive vistas often seen in landscape paintings, Cézanne's Pines and Rocks is a tightly framed, compressed view of nature. Low bushes and massive boulders form a bulwark against the forest, and a vertical line of pine trees extends upward, obscuring the view of the sky beyond. Though the trees and rocks firmly structure the scene, Cézanne also infused Pines and Rocks with a sense of airiness and movement. Glimpses of bare, unfinished canvas peek through the dense weave of brushstrokes. At first glance, Cézanne's palette seems limited to blues, greens, and browns, but a closer look reveals endless variations of colors, including shades of yellows, violets, and reds. Similarly, at close range the painting appears nearly abstract—a dancing network of innumerable brushstrokes, each depositing a specific color. In some areas Cézanne laid characteristically parallel brushstrokes, while in others the brushwork appears looser, more rapidly applied. Stepping back, these varied marks coalesce into a shimmering effect that Cézanne called "vibrations of light."
Where Are We?
There is still some uncertainty as to where and when Pines and Rocks was painted. For years, scholars believed the work was painted in 1904, and that it depicted Aix-en-Provence, an area of southern France where Cézanne would live until his death in 1906. More recently, it has been dated to around 1897. Scholars based this provenance on the relatively thin application of paint on the canvas, a contrast to the thick, often diagonally slanted brushstrokes that characterized Cézanne's final works. Aligning these stylistic clues with Cézanne's biography, it is now believed that that the locale represented is either in the Forest of Fontainebleau or some other region near Paris, where Cézanne spent a good deal of time in the late 1890s.
Still Life with Apples
Still Life with Apples
(1895 - 1898)
Paul Cézanne
Medium
Oil on canvas
Original Title
Nature morte
Provenance
Lillie P. Bliss Collection
Style
Post-Impressionism
Viewing Notes
Throughout his
life, the French painter Paul Cézanne returned again and again to the
still life. Encompassing small—scale domestic scenes rather than grand
public ones, still life was considered the lowliest of genres by the
French Royal Academy, the official arbiter of great art in the
nineteenth century. Yet in Still Life with Apples, Cézanne proved
that this modest genre could be a vehicle for thinking through the
Impressionist project of faithfully representing the appearance of light
and space. "Painting from nature is not copying the object," he wrote,
"it is realizing one's sensations."
Cézanne consistently draws our attention to the quality of the paint and canvas, and we never lose ourselves in illusion. For example, the edges of the fruit in the bowl are hard to define, appearing to shift before our eyes. Cézanne's scene defies the rules of linear perspective (a system for creating the illusion of space on a flat surface, wherein every object is seen from a single, fixed point of view) and instead gives us shifting views. The right corner of the table tilts forward, and fails to align with the left side; the pitcher, the bowl, and the glass all tilt to the left, as if magnetically drawn to the curtain. Even though the artist worked on this painting for a number of years, some areas of canvas are left bare, and others, like the drape of the tablecloth on the right edge of the table, appear unfinished. Still Life with Apples is more than an imitation of life—it is an exploration of seeing and the very nature of painting.
Cézanne consistently draws our attention to the quality of the paint and canvas, and we never lose ourselves in illusion. For example, the edges of the fruit in the bowl are hard to define, appearing to shift before our eyes. Cézanne's scene defies the rules of linear perspective (a system for creating the illusion of space on a flat surface, wherein every object is seen from a single, fixed point of view) and instead gives us shifting views. The right corner of the table tilts forward, and fails to align with the left side; the pitcher, the bowl, and the glass all tilt to the left, as if magnetically drawn to the curtain. Even though the artist worked on this painting for a number of years, some areas of canvas are left bare, and others, like the drape of the tablecloth on the right edge of the table, appear unfinished. Still Life with Apples is more than an imitation of life—it is an exploration of seeing and the very nature of painting.
Still Life with Three Puppies
Still Life with Three Puppies
1888
Paul Gauguin
Medium
Oil on wood
Original Title
Nature morte avec trois petits chiens
Provenance
Mrs. Simon Guggenheim Fund
Style
Post-Impressionism
Viewing Notes
This painting
features three distinct zones: a still life of fruit in the foreground, a
row of three blue goblets and apples diagonally bisecting the canvas,
and three puppies drinking from a large pan. The incongruous scale and
placement of these objects on a dramatically upturned tabletop results
in a disorienting composition.
When Gauguin painted Still Life with Three Puppies, he was living in Brittany among a group of experimental painters, including Emile Bernard. He abandoned naturalistic depictions and colors, declaring that "art is an abstraction" to be derived "from nature while dreaming before it." The puppies' bodies, for example, are outlined in bold blue, and the patterning of their coats mirrors the botanic print of the tablecloth. It is thought that Gauguin drew stylistic inspiration for this painting from Japanese prints, which were introduced to him by his friend and fellow artist Vincent van Gogh that same year, and from children's book illustrations.
When Gauguin painted Still Life with Three Puppies, he was living in Brittany among a group of experimental painters, including Emile Bernard. He abandoned naturalistic depictions and colors, declaring that "art is an abstraction" to be derived "from nature while dreaming before it." The puppies' bodies, for example, are outlined in bold blue, and the patterning of their coats mirrors the botanic print of the tablecloth. It is thought that Gauguin drew stylistic inspiration for this painting from Japanese prints, which were introduced to him by his friend and fellow artist Vincent van Gogh that same year, and from children's book illustrations.
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