It goes from Tiepolo to Tintoretto -- is this like the thirteenth floor in a building?
(However, I did go through the images by those two artists and became enthralled, although the enlargements are not very good).
A late DeKooning (difficult to find the canvasses from the fifties online):
Untitled V
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LW, this is one of Dekoonings better late works. Remember Firenze's argument that DK's late works were inferior to early works? I tend to agree, feeling that they appear "lazy", too formulaic--stemming most likely from his Alzheimer's. This picture, however, is more complex, with more overpainting and delicious subtleties of accident.
Tartarin, I think you might be allowed to change your mind on the ten....
I like that La Tour painting also...stupendous. Interesting angle of view...
I am going to have to learn how to post photos here at last. While I managed to do the avatar, I haven't succeeded with one of my own photos into text.
Will be forced to reread the directions in the Help Forum. Back later...
Great topic, Vivien!
But now you've got me in a spin! ONLY TEN?
I'll have to give this some thought - The first 2 that came to mind were a Bonnard & a huge, colourful O'Keefe.
I'll be back!
I know that I have to have at least one Matisse on my list. I've been trying to narrow it down to 2 or 3 must-haves but I'm not there.
There is a Leger called The Mechanic. It has always reminded me of my uncle. So it is on the list. There is no way around that.
I saw a Rembrandt, I think it was in D.C. It looked astonishingly like my grandmother. Which makes sense, but is still disconcerting. Off to track down my Leger and Rembrandt. I could be decades winnowing down Matisse.
well, the Leger was easy!
Fernand Léger: "le Mécanicien" (1918)
in the Musée d'Art Moderne, Lille
Tartarin- Iv'e seen that one at the Kimball. Are you a Texan?
Lightwizard- I usually don't appreciate DeKooning, but that was a nice one.
I picked Titian also for art history kudos for inventing glaze painting. Previously, paintings were done with impasto oils, tempera and other mediums. The transparancies that glow from within in a glaze painting surpass anything painted in impasto as far as representational oil painting. One drawback of acrylics is they don't work well as transparant glaze as the pigment tends to take on a peculiar and unattractive graininess. I've seen artists try and paint goache in transparancies and it looks even worse. Titian was also the first artist to paint on canvas (debated to this day, of course) although most of his work is on gessoed board.
DeKooning became more influenced by the contraptunal style of Duchamp and the Russian constructivist in his later work. His early work is almost entirely original. He did start out creating work for interior designers and learned about color to the degree that no other abstract expressionist can really come close to.
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LW, the more I look at Dekoonings "Untitled V" the more I enjoy it. It is wonderful in its rhythms; it dances on the canvas. Could you say more about (or refer me to a writing on the subject of) Duchamp's "contrapuntal style"? I'm assuming this has to do with the rhythmic effects.
LW you are so right about the luminosity of glazing with oils - Turner exploited this in his light filled works like the Petworth series
It is also a technique that i use in parts of paintings
I've only seen de Kooning in books/on TV but don't really relate to his work - maybe if i saw an original i might?
I scanned Thomas Eakin's The Actress from my Manet/Velasquez show book. This is a portrait I like viscerally. It's about 5 feet wide and 7 feet high...I'm sure I could find room for it.
Hmm, I see on preview it doesn't "develop", and the photo is not on my hard drive. Any hints from the more photoposting able here?
hmm, I shows up fine on little k's site, under A2K general. I must have gummed up getting the url. Will try again in a few minutes.
How about sculpture? Anybody know the artist? c.i.
Freud
In my last life oil class, our instructor chose a book on Freud, on of only 4 or 5 she chose to show us through the semester. I agree, powerful, is the word. Although they make you uneasy, the amorphouse shapes of color next to color keep drawing you back.......and there is something brutal...Picasso like, in that the physical body can be UGLYand still be a great painting. After this book I was inclined to interpret our next model who was a bit heavy even more expressively so and it worked out well..
We tend to choose attractive subjects, to make pictures that others will understand, and Freud is reflecting his wisdom and his age and it is wonderful!
