tag:blogger.com,1999:blog-1788687372618958592024-03-13T15:36:41.454-07:00Marie Dauenheimer's Art and Anatomy BlogMarie Dauenheimerhttp://www.blogger.com/profile/08737335775162472766noreply@blogger.comBlogger73125tag:blogger.com,1999:blog-178868737261895859.post-39559605690653793752015-06-03T15:27:00.002-07:002015-06-04T05:18:50.933-07:00Visiting the Gabriele Munter House in Murnau, Germany<div class="MsoNormal">
In the summer of 1909, in the beautiful Bavarian town of
<a href="http://en.wikipedia.org/wiki/Murnau_am_Staffelsee">Murnau</a>, nestled in the Alps, the 20<sup>th</sup> century art movement, <a href="http://www.moma.org/explore/collection/ge/styles/blaue_reiter">The Blue Rider</a> (The Blaue Reiter) had its genesis. That was the summer that artists
<a href="http://nmwa.org/explore/artist-profiles/gabriele-m%C3%BCnter">Gabriele Munter</a> (1877-1962) and <a href="http://en.wikipedia.org/wiki/Wassily_Kandinsky">Wassily Kandinsky</a> (1866-1944) found a charming
house on the hill overlooking Murnau, with stunning views of the Alps. The
colorful village houses, intense light, local folk art, along with images of
St. George slaying the dragon, would inspire the ground breaking works of the
artists of the Blue Rider movement. Kandinsky, Munter, <a href="http://www.franzmarc.org/">Franz Marc</a>, <a href="http://en.wikipedia.org/wiki/August_Macke">August Macke</a>
and <a href="http://www.moma.org/collection/artist.php?artist_id=2896">Alexi von Jawlensky</a>, painted together in this picturesque town, and
influenced each other’s work.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTnMzOYIolRYODK64RGQ162URFKpQ4EydTX3p2NVA1pfzheECjT0EGI80qePlszh0qGx8QcQYWci-Q6-24DFEPc9q7fkAnt_te2xIif4FYBLERChS0HvxXERcdEGlyEf7CEzl4r-5D8tpb/s1600/MunterHOuse.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTnMzOYIolRYODK64RGQ162URFKpQ4EydTX3p2NVA1pfzheECjT0EGI80qePlszh0qGx8QcQYWci-Q6-24DFEPc9q7fkAnt_te2xIif4FYBLERChS0HvxXERcdEGlyEf7CEzl4r-5D8tpb/s320/MunterHOuse.jpg" width="282" /></a></div>
Munter House in Murnau. Photo by Marie Dauenheimer</div>
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Kandinsky, Munter and their friends gathered at the “Russian
House”, as the locals called it, to paint <a href="http://en.wikipedia.org/wiki/En_plein_air">en plein air</a>.<span style="mso-spacerun: yes;"> </span>Influenced by local folk art <span style="mso-spacerun: yes;"> </span>(paintings on small glass panels, with a bright
palette and heavy dark lines) their work became more expressive, with an abstract
quality.<span style="mso-spacerun: yes;"> </span>After disassociating themselves
from the <a href="http://en.wikipedia.org/wiki/Neue_K%C3%BCnstlervereinigung_M%C3%BCnchen">Neue Künstlervereinigung München </a><span style="mso-spacerun: yes;"> </span>art movement,<span style="mso-spacerun: yes;"> </span>Kandinsky and Marc decided to start their own
group, and write an almanac of their artistic philosophy.<span style="mso-spacerun: yes;">
</span>Kandinsky took inspiration in his favorite images of St. George slaying
the dragon, while Marc drew from his love of painting animals, combined the
Blue Rider was born.<span style="mso-spacerun: yes;"> </span>The first almanac featured
a cover image of an abstracted horse and rider.<o:p></o:p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwR7xgI7pgzerAbJR9iFNm0sq1yFGMMH73zsxd7tCaaC1EcxmaxUqFUbYGgiGSWO53kX3sjtp3gcHPgSJ64WMqGtdyB80i2tmcKZwosDVXQ9OsndPO05m-PXsTOhywijdJ4CYvS1M7wzlK/s1600/BlaueReiter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwR7xgI7pgzerAbJR9iFNm0sq1yFGMMH73zsxd7tCaaC1EcxmaxUqFUbYGgiGSWO53kX3sjtp3gcHPgSJ64WMqGtdyB80i2tmcKZwosDVXQ9OsndPO05m-PXsTOhywijdJ4CYvS1M7wzlK/s320/BlaueReiter.jpg" width="245" /></a></div>
The Blue Rider Almanac cover by Wassily Kandinsky, 1911<br />
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The Blue Rider movement lasted from 1911-1914, and its
artists shared a similar approach and sensibility to painting.<span style="mso-spacerun: yes;"> </span>Their use of expressive, symbolic color, dramatic
brushwork,<span style="mso-spacerun: yes;"> </span>and spiritual themes
dominated their paintings.<o:p></o:p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtvX_jVnqd2DGBR6iXCLniWGfRst_RLY_hStiDwzXekdPtsCEU-F55gTC_hfbfbLUYGiQDHyZwlNM-zZdnFnlaTZRdBjWpMecpR3Mas6nnsybSQRWWr8MlPVVuIBN7evIRldLUjR_Y7zgB/s1600/upheaval_L5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtvX_jVnqd2DGBR6iXCLniWGfRst_RLY_hStiDwzXekdPtsCEU-F55gTC_hfbfbLUYGiQDHyZwlNM-zZdnFnlaTZRdBjWpMecpR3Mas6nnsybSQRWWr8MlPVVuIBN7evIRldLUjR_Y7zgB/s320/upheaval_L5.jpg" width="320" /></a></div>
Yellow Cow by Franz Marc, 1911<br />
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Kandinksy and Munter lived in the “Russian House” from 1909-1914, when the onset of WWI forced Kandinsky and von Jawlensky to return to their
native land of Russia.<span style="mso-spacerun: yes;"> </span>Tragically, both
Franz Marc and Auguste Macke were killed in battle.<o:p></o:p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgppfaoBcdzDsC2jiE5iB7FjOeMcJ0dmTIyuUiThbm-7mmT2570wAKS2u0T3sI7LLaQELqUb8eNuMeuUa4GJARsmCkvIXuThHAF5eYtGe-vv851friHLJ6mOXG2MoDk_XxefEypA_zjM545/s1600/Vassily_Kandinsky%252C_1908%252C_Murnau%252C_Dorfstrasse.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgppfaoBcdzDsC2jiE5iB7FjOeMcJ0dmTIyuUiThbm-7mmT2570wAKS2u0T3sI7LLaQELqUb8eNuMeuUa4GJARsmCkvIXuThHAF5eYtGe-vv851friHLJ6mOXG2MoDk_XxefEypA_zjM545/s320/Vassily_Kandinsky%252C_1908%252C_Murnau%252C_Dorfstrasse.jpg" width="320" /></a></div>
Village Street in Murnau by Wassily Kandinsky, 1908<br />
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Gabrielle Munter lived in this beautiful house in Murnau
until her death in 1962.<o:p></o:p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_i3oka3dpyebXO6km4CNTHEqfNLRRkpcQot_kk4AZq81L2OIN8lOJlbrDJ255H76fFYkDJkQWWa2hf8qBpkWEzMMAhdZxEN_ARNSYZGTNuQhVtX4tBUgjRN6KhpxCXwFGFv-hlpU0LpVW/s1600/photo%255B14%255D.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_i3oka3dpyebXO6km4CNTHEqfNLRRkpcQot_kk4AZq81L2OIN8lOJlbrDJ255H76fFYkDJkQWWa2hf8qBpkWEzMMAhdZxEN_ARNSYZGTNuQhVtX4tBUgjRN6KhpxCXwFGFv-hlpU0LpVW/s320/photo%255B14%255D.jpg" width="320" /></a></div>
Staircase in Munter House painted by Wassily Kandinsky, 1901. Photo by Marie Dauenheimer<br />
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The Munter House is now a museum open to the public. I had
the pleasure of visiting this historic home while recently traveling through
Upper Bavaria. While none of Kandinsky’s paintings are on view, there are some
of Munter’s works, along with hand painted furniture made by the couple, and
local folk art, which inspired the Blue Rider artists. The presence of
Kandinsky and Munter is felt in this house, their palettes are displayed side
by side near a window overlooking one of the beautiful views that inspired
them. <o:p></o:p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNqHi-YLDsl8cOhkeonQqazfhuFS_7dLr3jrYkAHWramIW000jtGOpf_WGmgigH4NtwJ9PkkEp2y-cIUQXkhKExAku5WkKKA5R6LmJBKd792XWYbEZ1ClGaD3vhMSANt3yR-FJmZdMt1_7/s1600/Palete.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNqHi-YLDsl8cOhkeonQqazfhuFS_7dLr3jrYkAHWramIW000jtGOpf_WGmgigH4NtwJ9PkkEp2y-cIUQXkhKExAku5WkKKA5R6LmJBKd792XWYbEZ1ClGaD3vhMSANt3yR-FJmZdMt1_7/s320/Palete.jpg" width="320" /></a></div>
Wassily Kandinsky and Gabrielle Munter's palettes, Munter House, photo by Marie Dauenheimer<br />
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An hour away in Munich the largest collection of Kandinsky’s
work can be viewed at the <a href="http://www.lenbachhaus.de/the-museum/?L=1">Lenbachaus Museum</a>.<span style="mso-spacerun: yes;">
</span>In 1962 Gabriele Munter donated a vast collection of over<o:p></o:p></div>
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1,000 paintings, drawings and prints, all created by the
Blue Rider artists. <o:p></o:p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCgJ6W-nXB7DPpjyCJl04sXfRQF_id429Y7YZMqBeHBXFETmaUTilz0jTiiv2icGEA1MGwmfCMMWwNHbMrXtUIuk7WkXJPZ8LwRkqLGvXoJ6SJBJ9FBvujsEPPPJMbVl_UuJ4u57ClBWJI/s1600/photo%255B8%255D.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCgJ6W-nXB7DPpjyCJl04sXfRQF_id429Y7YZMqBeHBXFETmaUTilz0jTiiv2icGEA1MGwmfCMMWwNHbMrXtUIuk7WkXJPZ8LwRkqLGvXoJ6SJBJ9FBvujsEPPPJMbVl_UuJ4u57ClBWJI/s320/photo%255B8%255D.jpg" width="320" /></a></div>
View of Murnau from the Munter House. Photo by Marie Dauenheimer<br />
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For more information on the Munter House I recommend the
book <i style="mso-bidi-font-style: normal;">The Munter House in Murnau</i> by
Matthias Muhling and Isabelle Jansen.<span style="mso-spacerun: yes;">
</span>There is also a wonderful chapter about the Munter House in the book <i style="mso-bidi-font-style: normal;"><a href="http://www.amazon.com/Artists-Houses-New-smaller-format/dp/0865652767">Artists’ Houses</a></i> by Gerard-Georges
Lemaire.<span style="mso-spacerun: yes;"> </span><br />
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Dandelions by Gabrielle Munter<br />
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For more information on
visiting the Munter House visit their website:<o:p></o:p></div>
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http://www.muenter-stiftung.de/en/the-munter-house/<o:p></o:p></div>
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Marie Dauenheimerhttp://www.blogger.com/profile/08737335775162472766noreply@blogger.com2tag:blogger.com,1999:blog-178868737261895859.post-29837596902763636622014-11-04T08:21:00.002-08:002015-06-03T15:29:17.822-07:00Henri Matisse: The Cut Outs at the Museum of Modern Art in New York “Instead of drawing and then applying color, I draw directly
with the color.”<br />
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<o:p></o:p></div>
<div class="MsoNormal">
These are words Matisse wrote to his friend and fellow
artist <a href="http://en.wikipedia.org/wiki/Pierre_Bonnard">Pierre Bonnard</a> describing his paper cut- out works.<o:p></o:p></div>
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<br /></div>
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<a href="http://en.wikipedia.org/wiki/Henri_Matisse">Henri Matisse </a>(1869-1954) was a prolific French artist whose
career spanned six decades.<span style="mso-spacerun: yes;"> </span>His body of
work includes beautiful paintings of figures, still lives and landscapes, best
known for their strong palette and varied textures.<span style="mso-spacerun: yes;"> </span>However Matisse considered his later
work--paper cut-outs- his life's masterpieces. These stunning large-scale paper
cut-outs were created, as Matisse called it by, “drawing with scissors.”<o:p></o:p></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYvv-4G4IhshvfH7CuT6_2BVA8xW_PSeFmqgMLZ9hkNvNSr9JEF4DOCftkRzYH0tsmf33q4qhx9LHXUa9z5C5Hxtg_g6ljCBsrCTmO4FwVogDmmzFIdzegONKzoXFjj-X_b_DKoKxyMVgZ/s1600/Matisse-The-Dessert-Harmony-in-Red-Henri-1908-fast.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="328" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYvv-4G4IhshvfH7CuT6_2BVA8xW_PSeFmqgMLZ9hkNvNSr9JEF4DOCftkRzYH0tsmf33q4qhx9LHXUa9z5C5Hxtg_g6ljCBsrCTmO4FwVogDmmzFIdzegONKzoXFjj-X_b_DKoKxyMVgZ/s1600/Matisse-The-Dessert-Harmony-in-Red-Henri-1908-fast.jpg" width="400" /></a></div>
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<i>The Red Room</i> by Matisse, 1908 (oil on canvas).</div>
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Currently on view at the <a href="http://www.moma.org/">Museum of Modern Art</a> (MoMA) in NewYork is the most comprehensive Matisse cut-out exhibition ever mounted.<span style="mso-spacerun: yes;"> </span>The show, which was on view at the <a href="http://www.tate.org.uk/visit/tate-modern">Tate Modern</a> in London, will be at MoMA until February 8, 2015, and is a must see for
anyone interested Matisse's later works.<o:p></o:p></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7OUduXzHDHQa8rs4-pNe1DCYLlCCnDtK3_DCqImSPGRCnxOVY_a8Wh2zuKEghEoZkYNYQ4QT9v21-E7o2g31d0eVGqu0pnMxNMLA1YCrxrliLC_PrFq-UjSj7qxWet52JfFhEwTxLb5YT/s1600/id_010new_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7OUduXzHDHQa8rs4-pNe1DCYLlCCnDtK3_DCqImSPGRCnxOVY_a8Wh2zuKEghEoZkYNYQ4QT9v21-E7o2g31d0eVGqu0pnMxNMLA1YCrxrliLC_PrFq-UjSj7qxWet52JfFhEwTxLb5YT/s1600/id_010new_1.jpg" width="400" /></a></div>
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<i> The Horse, Rider and Clown</i> by Matisse, 1943 (cut paper)</div>
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Matisse first use cut paper in his work creating the
Barnes mural for Dr. Albert Barnes’ famed <a href="http://www.barnesfoundation.org/">Barnes Foundation</a> in Merion,
Pennsylvania (now located in downtown Philadelphia).<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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<span style="mso-spacerun: yes;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3rQW6tJwWQN1bmFs12b2eCWDy1mMzoET5-wiH4MWUG9ySHvwWtB2j0CI2H-BvXYsEK057tIuh1GI67E_9NoGI0hyphenhyphennBQVvfXThifVL5hh3wkE0LmAhE3j2uSmbwVohgxuV_46hRXnK9NuJ/s1600/the-dance.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="274" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3rQW6tJwWQN1bmFs12b2eCWDy1mMzoET5-wiH4MWUG9ySHvwWtB2j0CI2H-BvXYsEK057tIuh1GI67E_9NoGI0hyphenhyphennBQVvfXThifVL5hh3wkE0LmAhE3j2uSmbwVohgxuV_46hRXnK9NuJ/s1600/the-dance.jpg" width="400" /></a></div>
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<i>The Dance Mural</i> by Matisse, 1932-1933 (oil on Canvas), Barnes Foundation, Philadelphia, PA</div>
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Henri Matisse used cut paper in the 1930s and early 1940s as
a compositional aid while working on paintings.<span style="mso-spacerun: yes;">
</span>In <i style="mso-bidi-font-style: normal;">Still Life with Shells</i>
(1940) Matisse cut out the shape of the various objects in his composition and
used string to simulate the tabletop.<span style="mso-spacerun: yes;"> </span>This
allowed Matisse to move the elements around until he arrived at the desired
composition. <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxJ4iQ43MpwUK6nI0JCqCYLZcqdjjnQccKEkT5uEtZ1EwjpBbs61NfiTJFCtdI6pFL7Pc9rjlBeQHnfthN00TJTnFYRVsVjZpmRzhy7hl_ivvJWM3PX-hsddnQdZkygEOX4tUpfhOEhViR/s1600/Mat97.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxJ4iQ43MpwUK6nI0JCqCYLZcqdjjnQccKEkT5uEtZ1EwjpBbs61NfiTJFCtdI6pFL7Pc9rjlBeQHnfthN00TJTnFYRVsVjZpmRzhy7hl_ivvJWM3PX-hsddnQdZkygEOX4tUpfhOEhViR/s1600/Mat97.jpg" width="400" /></a></div>
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<i> Still Life with Shells</i> by Matisse, 1940 (oil on canvas)</div>
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<br /></div>
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In 1941, after recovering from abdominal surgery, Matisse
found easel painting too strenuous so he started experimenting with cutting
<a href="http://en.wikipedia.org/wiki/Gouache">gouache</a> painted paper into abstracted organic shapes.<span style="mso-spacerun: yes;"> </span>With the aid of several assistants Matisse
was able to “cut directly into color”. The paper cut outs were attached to the
studio walls using thumbtacks.<span style="mso-spacerun: yes;"> </span>Matisse
directed the lively compositions from his bed or wheelchair.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHAD2TzPLPB2JujvQUScrcjDBt2GWYvRZpYCA51kagYuYb6rlpD6euELy9T0uYuiSCYenamWhtB6Llkzv-GUApuVveRp85UZUJKoGw92q3T1pjP2vklEnd-FDTxGIBZn6zI8kAn5FpT739/s1600/2649759fecb3942342bf4286bc6d16d4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHAD2TzPLPB2JujvQUScrcjDBt2GWYvRZpYCA51kagYuYb6rlpD6euELy9T0uYuiSCYenamWhtB6Llkzv-GUApuVveRp85UZUJKoGw92q3T1pjP2vklEnd-FDTxGIBZn6zI8kAn5FpT739/s1600/2649759fecb3942342bf4286bc6d16d4.jpg" width="400" /></a></div>
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Matisse creating cut-outs in his studio, 1940s</div>
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<br /></div>
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<span style="mso-spacerun: yes;">The wall size </span>“The Parakeet and the Mermaid” features
animated plants, pomegranates and other organic shapes including a blue
parakeet and mermaid.<span style="mso-spacerun: yes;"> </span>“I have made a
little garden all around me where I can walk. There are leaves, fruits and a
bird. I have become a parakeet and found myself in the work.”<o:p></o:p></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHevcSjbC8ic0kePrsewr1lO6pHNTYHrTfw_5rPucCco7n8tFvzFLUKYgluN8_JeW0UfI7NhxhA8ec-IAGxjvF9B1r0YDjks5fx26HKRS9gjfc9DHnScv6OL6PNT03v_tfdj4iNfqx5I_B/s1600/Henri-Matisse---The-Parak-001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHevcSjbC8ic0kePrsewr1lO6pHNTYHrTfw_5rPucCco7n8tFvzFLUKYgluN8_JeW0UfI7NhxhA8ec-IAGxjvF9B1r0YDjks5fx26HKRS9gjfc9DHnScv6OL6PNT03v_tfdj4iNfqx5I_B/s1600/Henri-Matisse---The-Parak-001.jpg" width="400" /></a></div>
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<i> The Parakeet and the Mermaid</i> by Matisse, 1952, wall size paper cut-out mural</div>
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In <span style="mso-spacerun: yes;"> </span>1948 Matisse
began work on a four year cut out project for the <a href="http://en.wikipedia.org/wiki/Chapelle_du_Rosaire_de_Vence">Chapel of the Rosary</a> located
near his studio in <a href="http://en.wikipedia.org/wiki/Vence">Vence</a> on the <a href="http://en.wikipedia.org/wiki/French_Riviera">French Riveria</a>.<span style="mso-spacerun: yes;">
</span>Matisse’s extensive work for the chapel included radiant stained glass windows,
and expressive line drawings painted on tiles that dominate the chapel.<span style="mso-spacerun: yes;"> </span>Matisse also designed vestments and a
tabernacle for the chapel.<span style="mso-spacerun: yes;"> </span>“It is the result of
all my active life. Despite all its
imperfections, I consider it my masterpiece.”</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Oj3rgj7pg4Ni1nvGPC5ILM3XpIrJzVmCwHrLOmInxSgqSdqyN3c09XqSPvrPb_SKyqG9dvRotsJDdZsqDzFTEEzfaUe17IJ6HHSiXLAxRPPEIS3O09ZdrbmPS8IYQ174RX4C0qg7A4iM/s1600/chapel-venc3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Oj3rgj7pg4Ni1nvGPC5ILM3XpIrJzVmCwHrLOmInxSgqSdqyN3c09XqSPvrPb_SKyqG9dvRotsJDdZsqDzFTEEzfaUe17IJ6HHSiXLAxRPPEIS3O09ZdrbmPS8IYQ174RX4C0qg7A4iM/s1600/chapel-venc3.jpg" width="395" /></a></div>
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The Chapel of the Rosary in Vence, France, by Matisse, 1948-1952</div>
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<o:p></o:p></div>
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I highly recommend a visit to see this wonderful exhibition
of at MoMA!<span style="mso-spacerun: yes;"> </span>I also recommend the catalog,
<i style="mso-bidi-font-style: normal;">Henri Matisse: The Cut-Outs</i> published
by the Museum of Modern Art .<span style="mso-spacerun: yes;"> </span>Another
book of interest on Matisse and his later works is <i style="mso-bidi-font-style: normal;">Henri Matisse, Drawing with Scissors, Masterpieces from the Late Years</i>
by Olivier Berggruen and Max Hollein, published by Prestel. <span style="mso-spacerun: yes;"> </span>For a book on Matisse’s masterpiece The Chapel
of the Rosary I recommend <i style="mso-bidi-font-style: normal;">Matisse The
Chapel at Vence </i>published in 2013 by the Royal Academy of Arts<o:p></o:p></div>
Marie Dauenheimerhttp://www.blogger.com/profile/08737335775162472766noreply@blogger.com0tag:blogger.com,1999:blog-178868737261895859.post-23339989784473298852014-01-29T15:38:00.000-08:002014-01-30T05:00:44.128-08:00The Dying Gaul from the Capitoline Museum, Rome<!--[if gte mso 9]><xml>
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In celebration of 2013, the <i>Year of Italian Culture,</i> the <a href="http://www.nga.gov/content/ngaweb.html">National Gallery of Art</a> was lent the
masterpiece <i><a href="http://en.wikipedia.org/wiki/Dying_Galatian">The Dying Gaul</a></i>. On loan from the <a href="http://en.museicapitolini.org/">Capitoline Museum</a> in Rome
this magnificent sculpture was at the National Gallery of Art until January 26.
2014. I had the opportunity to see this masterpiece of pathos and beauty.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4Gwy6ToYQIayBnMi861Nzamtkkf3E59aNzeDmPIVw88vvVQqU-w8PpaA5-WMtrQCi0Qsv11BwK1urLc6EaxxtDHajfuhCiby5LYaC6MS4xFNf99doYGl5ggMbIkM3rEPo8J2_W9Q9bVO8/s1600/photo.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4Gwy6ToYQIayBnMi861Nzamtkkf3E59aNzeDmPIVw88vvVQqU-w8PpaA5-WMtrQCi0Qsv11BwK1urLc6EaxxtDHajfuhCiby5LYaC6MS4xFNf99doYGl5ggMbIkM3rEPo8J2_W9Q9bVO8/s1600/photo.JPG" height="400" width="300" /></a></div>
<i> The Dying Gaul, </i>marble sculpture at the National Gallery of Art, Washington, DC.<br />
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<o:p></o:p></div>
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<i>The Dying Gaul</i>, a
marble sculpture created in the first or second century AD, features a soldier
dying from a fatal knife wound. The Dying Gaul is a Roman copy of a <a href="http://en.wikipedia.org/wiki/Hellenistic_art">Hellenistic</a>
bronze. The marble was discovered during
an excavation of the <a href="http://en.wikipedia.org/wiki/Villa_Ludovisi">Villa Ludovisi</a> gardens in 1621-1623. When first found it was described as a dying
gladiator, but in the 18<sup>th</sup>
century scholars found that it was probably a Gallic warrior due to the knotted
hair and torque around his neck. According to this quote from the historian
<a href="http://en.wikipedia.org/wiki/Polybius">Polybius</a> in the second century BC:<o:p></o:p><br />
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<i>“. they fought wearing
nothing but their weapons…Very terrifying too were the appearance and gestures
of the naked warriors…all in the prime of life and finely built men.”<o:p></o:p></i><br />
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The fame of <i>The Dying
Gaul</i> spread as it was copied and reproduced as etchings and bronzes, commemorated
in a poem by <a href="http://en.wikipedia.org/wiki/Lord_Byron">Lord Bryon</a> and celebrated by painters from <a href="http://en.wikipedia.org/wiki/Diego_Vel%C3%A1zquez">Velasquez</a> to <a href="http://en.wikipedia.org/wiki/Jacques-Louis_David">David</a> who
incorporated the famous pose into their work.<o:p></o:p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWLIsjAPxGmp2xOGynKegFwwJESYuN6PQdPPmi2gHkjbrIq7RBlYVdItluRo8GXsrzTAY_3wYQxizyAO0A29UxZH_9o-n2DjnUBfE6dOpY8bURfgqhykGl8woGriAANmvJbDYfn0xE__Y_/s1600/jacqueslouisdavid_patroclus.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWLIsjAPxGmp2xOGynKegFwwJESYuN6PQdPPmi2gHkjbrIq7RBlYVdItluRo8GXsrzTAY_3wYQxizyAO0A29UxZH_9o-n2DjnUBfE6dOpY8bURfgqhykGl8woGriAANmvJbDYfn0xE__Y_/s1600/jacqueslouisdavid_patroclus.jpg" height="282" width="400" /></a></div>
Jacques-Louis David, <i>Male Nude Study</i>, 1780, oil on canvas.</div>
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In 1775 <i>The Dying Gaul</i>
was further immortalize by sculptor <a href="http://en.wikipedia.org/wiki/Agostino_Carlini">Agastino Carlini</a> and anatomist <a href="http://en.wikipedia.org/wiki/John_Hunter_(surgeon)">John Hunter</a>. They posed the flayed corpse of
an executed smuggler into the famous pose and cast it in plaster for the
students to draw. The piece known as
“<a href="http://en.wikipedia.org/wiki/Smugglerius">Smugglerius</a>” in on view today in Royal Academy of Arts in London.<o:p></o:p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxEfPzoqyT2ILc6tAqYJ-RCoyOC-KS1HyG37X_Pt7PSMDgOdEipA5u9JkjPqre8AyDx11efJUZVsUWJkuGtxJrkad9sOJy9GQEPOCkQb9vokhR5yGbA6bJuGpImZzLMBpnNXHFEICC3pmp/s1600/Smugglerius.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxEfPzoqyT2ILc6tAqYJ-RCoyOC-KS1HyG37X_Pt7PSMDgOdEipA5u9JkjPqre8AyDx11efJUZVsUWJkuGtxJrkad9sOJy9GQEPOCkQb9vokhR5yGbA6bJuGpImZzLMBpnNXHFEICC3pmp/s1600/Smugglerius.jpg" height="267" width="400" /></a></div>
William Pink after Agastino Carlini, <i>Smugglerius</i>, 1834 (original cast 1775), plaster.</div>
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Artists continue to find inspiration in this ancient
masterpiece as seen in the work of modern artist <a href="http://en.wikipedia.org/wiki/John_De_Andrea">John De Andrea</a> (1941- ). In
1984 this photorealist sculptor created a contemporary dying gaul when he cast
a human model and created a hyperrealistic sculpture using polyvinyl, oil paint
and acrylic hair. The contrast between De Andrea’s modern, realist figure and the idealized, classical pose of <i>The Dying Gaul</i> is a surprising juxtaposition!<o:p></o:p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHm9YVGNjO1bB9zkHzzCi0-3Gta32hQDOi86Ti4izCwrc14lcjwt_A6d9ZbcRHItIrzwQuIgTOqOgIhyxIrT45BmbvMR-aKkp76nu-ixhSIeXhxXSaG8UhxEtBXGM7Tpk178x_sNQ_cC33/s1600/deandrea18.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHm9YVGNjO1bB9zkHzzCi0-3Gta32hQDOi86Ti4izCwrc14lcjwt_A6d9ZbcRHItIrzwQuIgTOqOgIhyxIrT45BmbvMR-aKkp76nu-ixhSIeXhxXSaG8UhxEtBXGM7Tpk178x_sNQ_cC33/s1600/deandrea18.jpg" height="266" width="400" /></a></div>
John De Andrea, <i>The Dying Gaul</i>, 1984, polyvinyl, oil paint and acrylic hair.</div>
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<!--EndFragment-->Marie Dauenheimerhttp://www.blogger.com/profile/08737335775162472766noreply@blogger.com1tag:blogger.com,1999:blog-178868737261895859.post-31356003817986803872014-01-13T11:53:00.000-08:002014-01-13T11:54:24.196-08:00Vincent Van Gogh in Arles, St. Remy and Auvers, 1888-1890 PART III<!--[if gte mso 9]><xml>
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In May 1890, after spending a year at the asylum in St.
Remy, Van Gogh left Provence and moved to <a href="http://en.wikipedia.org/wiki/Normandy">Normandy</a>. He wanted to be closer to his brother <a href="http://en.wikipedia.org/wiki/Theo_van_Gogh_(art_dealer)">Theo</a>,
but he felt life in Paris would be too stressful. On the advice of fellow painter
<a href="http://en.wikipedia.org/wiki/Camille_Pissarro">Camille Pissarro</a>, Van Gogh found lodging in the small hamlet of <a href="http://en.wikipedia.org/wiki/Auvers-sur-Oise">Auvers-sur-Oise</a>
about 20 miles from Paris in the countryside. This would be Van Gogh’s last
home.</div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidxsbniYqY8Xo2P_q-JtATDPJScY1bPUHHPQcVI6_DzQM6VS1c4oRZ_gihbVA9q5T_5gcKj55Pq42uiF2d5oCCgpmCBvGW8WmhGNNOMKXmMEnd8tNIIIY1XDbUajjowKEaHbwi1eY7QXek/s1600/vincent-van-gogh-vineyards-with-a-view-of-auvers-2994.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidxsbniYqY8Xo2P_q-JtATDPJScY1bPUHHPQcVI6_DzQM6VS1c4oRZ_gihbVA9q5T_5gcKj55Pq42uiF2d5oCCgpmCBvGW8WmhGNNOMKXmMEnd8tNIIIY1XDbUajjowKEaHbwi1eY7QXek/s400/vincent-van-gogh-vineyards-with-a-view-of-auvers-2994.jpg" width="400" /></a></div>
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<i>Vineyards with a View of Auvers</i>, 1890, oil on canvas, Vincent Van Gogh.</div>
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<o:p></o:p></div>
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Auvers was the home of painter <a href="http://en.wikipedia.org/wiki/Charles-Fran%C3%A7ois_Daubigny">Charles Francois Daubigny</a> who
built a house and studio there in 1857. <a href="http://en.wikipedia.org/wiki/Paul_C%C3%A9zanne">Cezanne</a>,
<a href="http://en.wikipedia.org/wiki/Claude_Monet">Monet</a>, Pissarro, Daubigny, <a href="http://en.wikipedia.org/wiki/Jean-Baptiste-Camille_Corot">Corot</a> and <a href="http://en.wikipedia.org/wiki/Paul_Gauguin">Gauguin</a> were among the many artists who
have portrayed the village of Auvers.
Now Van Gogh would paint the charming village full of thatched roof
cottages and beautiful gardens. Van Gogh
would write, “Auvers is decidedly very beautiful.”<o:p></o:p></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbUg3B0uA3557Tc49VLI12pr7OEULRxYiMhGU3JE4TZxquOSnAnFutDssi8LoR4v3X9JX7kTL77RUglv0Ws0N3WoGXfhSQQ0d03F6iN57gFUdw6jjBAM4zMWtwCFHrwN37hOjsqdCsuEJZ/s1600/daubignys-garden-vincent-van-gogh.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="393" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbUg3B0uA3557Tc49VLI12pr7OEULRxYiMhGU3JE4TZxquOSnAnFutDssi8LoR4v3X9JX7kTL77RUglv0Ws0N3WoGXfhSQQ0d03F6iN57gFUdw6jjBAM4zMWtwCFHrwN37hOjsqdCsuEJZ/s400/daubignys-garden-vincent-van-gogh.jpg" width="400" /></a></div>
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<i>Daubigny's Garden</i>, 1890, oil on canvas, Vincent Van Gogh</div>
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Van Gogh lived in Auvers the last 70 days of his life. It was his most prolific time; he created 75
paintings and 50 drawings. His subjects
included the local landscape, gardens, Daubigny’s home and gardens, the town
church, wheat fields and portraits of his physician <a href="http://en.wikipedia.org/wiki/Paul_Gachet">Dr. Gachet</a>, his family and
other friends.<o:p></o:p></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghivnvV57zlj_4U2L2wNri-QTtrH2Tfkqh1uuZGjzCAPBuKb3NhwCoaOOgClnc-alG30W0_1BnELU8_RfssEZFS-xEWiX-qZvz1wxTNa5a2mxiP4dxx1ftj2n8Mj8ArZeWcBFUktf_RrS0/s1600/vangogh-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghivnvV57zlj_4U2L2wNri-QTtrH2Tfkqh1uuZGjzCAPBuKb3NhwCoaOOgClnc-alG30W0_1BnELU8_RfssEZFS-xEWiX-qZvz1wxTNa5a2mxiP4dxx1ftj2n8Mj8ArZeWcBFUktf_RrS0/s400/vangogh-1.jpg" width="400" /></a></div>
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Vincent Van Gogh's room at the Ravoux Inn in Auvers.</div>
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Van Gogh lived in a small cell like room at the <a href="http://www.maisondevangogh.fr/en/">Ravoux Inn</a>. The inn and its café have been
restored and are open to the public. Van
Gogh’s room was a small cell like space on the third floor illuminated by a
small window. <o:p></o:p></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBKisLncJH9697rE5nb9BXzVbwSthVfm8p2tYLRHqr0Kg38Ior0QoL8Lyurq9Xd_OYK3FKB2CeiXEbjLmSIvIktwGaJ94pC7bT-wY-eyY1iOGBtKWeYuXwfSZhAz8oqkMpVSex-8V92kV6/s1600/image004.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBKisLncJH9697rE5nb9BXzVbwSthVfm8p2tYLRHqr0Kg38Ior0QoL8Lyurq9Xd_OYK3FKB2CeiXEbjLmSIvIktwGaJ94pC7bT-wY-eyY1iOGBtKWeYuXwfSZhAz8oqkMpVSex-8V92kV6/s400/image004.jpg" width="311" /></a></div>
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<i> Church at Auvers</i>, 1890, oil on canvas, Vincent Van Gogh</div>
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<br /></div>
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On July 29, 1890 Van Gogh died of a gun shot wound to the
chest, he was 37 years old. Van Gogh is buried in the cemetery in Auvers long
side his brother Theo, who passed away six months later.<o:p></o:p></div>
<div class="MsoNormal">
The <a href="http://www.nga.gov/content/ngaweb.html">National Gallery of Art</a> recently acquired one of Van
Gogh’s last paintings. This stunning
canvas, called <a href="http://www.nga.gov/content/ngaweb/Collection/recent_acquisitions.html">Green Wheat Fields, Auvers</a> bears the hallmaks of Van Gogh’s work- brilliant palette, rich impasto and energetic brushwork. <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHZrlDUQUgGkeM61aJF1a0v7OfMZF5LwCbW0-r3YXib0DcnabVX7xEImDJ81QabFgUQSPm5lNB5Ah6kx5fvHMqvdnbMSpV3sIeRbuOMA2QOy9Nr1r4Dz7QHJXRTDhu_7gMrOPV3fOMFO18/s1600/SUBVOGEL-articleLarge.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHZrlDUQUgGkeM61aJF1a0v7OfMZF5LwCbW0-r3YXib0DcnabVX7xEImDJ81QabFgUQSPm5lNB5Ah6kx5fvHMqvdnbMSpV3sIeRbuOMA2QOy9Nr1r4Dz7QHJXRTDhu_7gMrOPV3fOMFO18/s400/SUBVOGEL-articleLarge.jpg" width="400" /></a></div>
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<i> Green Wheat Fields, Auvers</i>, 1890, oil on canvas, Vincent Van Gogh</div>
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To learn more about visiting Auvers and the House and Studio
of Vincent Van Gogh visit http://www.maisondevangogh.fr/en/.<o:p></o:p></div>
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<br /></div>
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<br /></div>
<!--EndFragment-->Marie Dauenheimerhttp://www.blogger.com/profile/08737335775162472766noreply@blogger.com0tag:blogger.com,1999:blog-178868737261895859.post-38220504479599980252013-12-02T14:51:00.000-08:002013-12-02T14:53:04.373-08:00Vincent Van Gogh in Arles, St. Remy and Auvers, 1888-1890 PART II<!--[if gte mso 9]><xml>
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In my last post I mentioned that the last two years of
<a href="http://en.wikipedia.org/wiki/Vincent_van_Gogh">Vincent van Gogh</a>’s life were his most prolific.
During those last years he lived in <a href="http://en.wikipedia.org/wiki/Arles">Arles</a> and <a href="http://en.wikipedia.org/wiki/Saint-R%C3%A9my-de-Provence">St. Remy</a> in Provence and
<a href="http://en.wikipedia.org/wiki/Auvers-sur-Oise">Auvers</a> in Normandy. My last post discussed his time in Arles before moving to
St. Remy, where he lived from May 1889-May 1990.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7rUwiWOmHn21_jukqQdFufWOnzESga8rI8Fabh3dvSlk_9YlL9t-iHhG0dI1lzU23r3LTeOuxZ1si4NRtxgjQZt3PtliQMMGGKrhGVIBCtDtg2TMvN7SUtlVbO8JbYiyPSfZKhSIHKASa/s1600/Van_Gogh_-_Ba%CC%88ume_im_Garten_des_Hospitals_Saint-Paul.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7rUwiWOmHn21_jukqQdFufWOnzESga8rI8Fabh3dvSlk_9YlL9t-iHhG0dI1lzU23r3LTeOuxZ1si4NRtxgjQZt3PtliQMMGGKrhGVIBCtDtg2TMvN7SUtlVbO8JbYiyPSfZKhSIHKASa/s400/Van_Gogh_-_Ba%CC%88ume_im_Garten_des_Hospitals_Saint-Paul.jpg" width="320" /></a></div>
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"Garden at Saint-Paul-de-Mausole"by Vincent van Gogh, 1889, oil on canvas</div>
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When van Gogh arrived in St. Remy he entered the asylum of
<a href="http://en.wikipedia.org/wiki/Saint-Paul_Asylum,_Saint-R%C3%A9my_(Van_Gogh_series)">Saint-Paul-de–Mausole</a>. Because of his
fragile mental health van Gogh was not permitted to leave the grounds of the
asylum. It’s walled gardens, filled with pine trees, lilacs, roses and irises,
gave van Gogh a peaceful place to paint directly from nature. He wrote his
brother <a href="http://en.wikipedia.org/wiki/Theo_van_Gogh_(art_dealer)">Theo</a> “When you receive the canvases I’ve done in the garden you’ll see
that I’m not too melancholy here”. The masterpieces he created on the asylum
grounds include “<a href="http://en.wikipedia.org/wiki/Irises_(painting)">The Irises</a>” and “<a href="http://en.wikipedia.org/wiki/The_Starry_Night">Starry Night</a>”. <o:p></o:p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQb61kFK7-q3gg-0hwTqR4qb31lv_gD_VPl_ofvvfTiT8vkKEI3AdZucMfyBXtexpnklr4mlWSZQLRhTIy2jPfVip-keLCDsztTiRvtwVsxlVhDT058kcmIWxpSk1QzpW8AgQ5NnZLw9Oe/s1600/irises-1889.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQb61kFK7-q3gg-0hwTqR4qb31lv_gD_VPl_ofvvfTiT8vkKEI3AdZucMfyBXtexpnklr4mlWSZQLRhTIy2jPfVip-keLCDsztTiRvtwVsxlVhDT058kcmIWxpSk1QzpW8AgQ5NnZLw9Oe/s400/irises-1889.jpg" width="400" /></a></div>
"Irises" by Vincent van Gogh, 1889, oil on canvas.<br />
<b><br /></b></div>
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Many of the paintings van Gogh created in St. Remy are from
direct observation. However “Starry
Night”, which represents the nighttime view from his hospital room, was painted
during the day and from memory.
Considered by many to be van Gogh’s most important work “Starry Night” shows
his comfort with using the landscape to inspire his imagination.<o:p></o:p><br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1HeK0jsJbQizEyvA8PgXKE5KmEy6YSWAXiEcc9HQ9kZaFOCZobMU4ugvZ2XRNza9H-hi3L3pS8cJD8uVLAY6sxfISXjUwxcrxCzNoosf49wvuji4ckaaXrgAzO-Mn8Hs8M9N56lhSo0Vx/s1600/1280px-Van_Gogh_-_Starry_Night_-_Google_Art_Project.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1HeK0jsJbQizEyvA8PgXKE5KmEy6YSWAXiEcc9HQ9kZaFOCZobMU4ugvZ2XRNza9H-hi3L3pS8cJD8uVLAY6sxfISXjUwxcrxCzNoosf49wvuji4ckaaXrgAzO-Mn8Hs8M9N56lhSo0Vx/s400/1280px-Van_Gogh_-_Starry_Night_-_Google_Art_Project.jpg" width="400" /></a></div>
"Starry Night" by Vincent van Gogh, 1889, oil on canvas.</div>
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After a few months van Gogh was allowed beyond the asylum
grounds to paint in the surrounding countryside. The resulting masterpieces include
“Olive Trees” and “Cypresses”.<o:p></o:p><br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQKrilNqIndtrt-4aWjNLfAexcg4JOXFwTXswNhPfk9zE1cvTgN1AHG3sBJ-prKE_D9byw_-edISWhvFNOaqmr65QzYPiLEmTidOZxkE-TFIqNzu-LW3DUXaj-RiDLGVjWsPIRRSizM1x5/s1600/Olive+Trees+by+Van+Gogh.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQKrilNqIndtrt-4aWjNLfAexcg4JOXFwTXswNhPfk9zE1cvTgN1AHG3sBJ-prKE_D9byw_-edISWhvFNOaqmr65QzYPiLEmTidOZxkE-TFIqNzu-LW3DUXaj-RiDLGVjWsPIRRSizM1x5/s400/Olive+Trees+by+Van+Gogh.jpg" width="400" /></a></div>
"Olive Trees" by Vincent van Gogh, 1889, oil on canvas.</div>
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From his room van Gogh painted some of his most beloved
still lives including the “<a href="http://en.wikipedia.org/wiki/Still_Life:_Vase_with_Pink_Roses_(Van_Gogh)">Still Life: Vase with Pink Roses</a>”. The roses were originally pink and contrasted
with the stark green background. Over
time the pink has faded and left a stunning, subtle painting of white
roses. <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcsawXBxnF6SDjQn5JRbP1rHSGYfrUY7ug-mFaC2T_1TKeMaJzX6uexG2kGzSWtJRmpHLwISe_ge4FARcLzcd7uUNoFRX7suNNxBk7JTSff6J_OFHs1_DndLcIxMOSnAC_Xm-XN1DyPkb1/s1600/Roses_-_Vincent_van_Gogh.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcsawXBxnF6SDjQn5JRbP1rHSGYfrUY7ug-mFaC2T_1TKeMaJzX6uexG2kGzSWtJRmpHLwISe_ge4FARcLzcd7uUNoFRX7suNNxBk7JTSff6J_OFHs1_DndLcIxMOSnAC_Xm-XN1DyPkb1/s400/Roses_-_Vincent_van_Gogh.jpg" width="400" /></a></div>
"Still Life:Vase with Pink Roses" by Vincent van Gogh, 1889, oil on canvas.<br />
<b><br /></b></div>
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The asylum at Saint-Paul-de-Mausole is still in existence
and open to the public. I visited there
in the spring of 2012 and was able to walk the lovely gardens that inspired van
Gogh. I also visited his small room where so many masterpieces were created!<o:p></o:p><br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHHZoDnbIUNcgkSIGsFodCkCk7dv0TaYgo2S3vXdmx7zW45XYO4ICRFNjb5MhGeWivUbvfYOmYfyiacF2sHhNzKqoVYwO7-D9rHvM8itb1Hhp3eqVdq-eR2B6uollIjfLGAkEFYMZfHJXo/s1600/photo%5B2%5D.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHHZoDnbIUNcgkSIGsFodCkCk7dv0TaYgo2S3vXdmx7zW45XYO4ICRFNjb5MhGeWivUbvfYOmYfyiacF2sHhNzKqoVYwO7-D9rHvM8itb1Hhp3eqVdq-eR2B6uollIjfLGAkEFYMZfHJXo/s400/photo%5B2%5D.JPG" width="300" /></a></div>
View of the garden at Saint-Paul-de-Mausole, 2012. Photo by Marie Dauenheimer.<br />
<br /></div>
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In May of 1890 van Gogh decided to leave the asylum at St.
Remy and move north. Afraid that living
in Paris would be too difficult he sought the council of painter <a href="http://en.wikipedia.org/wiki/Camille_Pissarro">Camille Pissarro</a>. Pissarro suggested van Gogh
move to <a href="http://en.wikipedia.org/wiki/Auvers-sur-Oise">Auvers-sur-Oise</a> in Normandy, about 20 miles from Paris. It was here that he would become a patient of <a href="http://en.wikipedia.org/wiki/Portrait_of_Dr._Gachet">Dr. Gachet</a>, live out the last months of his life, and experience his most
prolific painting interval.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkQr59vvELEj5IWYie38TXayBStdIhnDvPTLFmOQMeCSdPA-zkUneuqsp9CVDrTIc9M3cbFdGTW7B2LtHHqPFkGT1XBrm5j9Nh7H_znEpKE_lKb2_MoxZzKS8N74-UzsCWSWroeGblw62Y/s1600/photo%5B3%5D.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkQr59vvELEj5IWYie38TXayBStdIhnDvPTLFmOQMeCSdPA-zkUneuqsp9CVDrTIc9M3cbFdGTW7B2LtHHqPFkGT1XBrm5j9Nh7H_znEpKE_lKb2_MoxZzKS8N74-UzsCWSWroeGblw62Y/s400/photo%5B3%5D.JPG" width="300" /></a></div>
View from Vincent van Gogh's room at Saint-Paul-de-Mausole, 2012. Photo by Marie Dauenheimer<br />
<br /></div>
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For more information about visiting St. Remy and the asylum<o:p></o:p></div>
<div class="MsoNormal">
http://www.tripadvisor.com/ShowUserReviews-g187256-d246640-r136912609-St_Paul_de_Mausolee-Saint_Remy_de_Provence_Bouches_du_Rhone_Provence.html<o:p></o:p><br />
<br /></div>
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I toured Arles and St. Remy with tour guide <a href="http://www.tripadvisor.com/Attraction_Review-g187212-d1896755-Reviews-Experience_Provence_Private_Tours-Avignon_Vaucluse_Provence.html">Marlene Boyer</a> of
<a href="http://www.experience-provence.fr/">Experience Provence</a>. <o:p></o:p></div>
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I highly recommend touring Arles and St. Remy with Marlene!<o:p></o:p></div>
<!--EndFragment-->Marie Dauenheimerhttp://www.blogger.com/profile/08737335775162472766noreply@blogger.com0tag:blogger.com,1999:blog-178868737261895859.post-13106399860779267192013-09-30T08:47:00.002-07:002013-10-01T11:29:44.831-07:00Vincent van Gogh in Arles, St. Remy and Auvers, 1888-1890 PART I<!--[if gte mso 9]><xml>
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The last two years of <a href="http://en.wikipedia.org/wiki/Vincent_van_Gogh">Vincent van Gogh</a>’s life were his most
prolific. He lived in three different
towns during this time, <a href="http://en.wikipedia.org/wiki/Arles">Arles</a> and <a href="http://en.wikipedia.org/wiki/Saint-R%C3%A9my-de-Provence">St. Remy</a> (in Provence), and <a href="http://en.wikipedia.org/wiki/Auvers-sur-Oise">Auvers-sur-Oise</a>
(Normandy). I have had the opportunity
to visit these three locations. I enjoyed the insight
these unique places brought to my understanding of Van Gogh and his work. <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaLDs325ldKDMvOxttf_ddGbwKLHE-pIlklKgqoXE4U1ASPJuhHbysM4J5uhRv65acWGjUpESABbkosBITSV_nMoxvsU9w_2feVtrYEbjkkOglsWXAiERIW_Ap2WF_uT2z0cl-JGqcsZ1N/s1600/the_garden_at_arles.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaLDs325ldKDMvOxttf_ddGbwKLHE-pIlklKgqoXE4U1ASPJuhHbysM4J5uhRv65acWGjUpESABbkosBITSV_nMoxvsU9w_2feVtrYEbjkkOglsWXAiERIW_Ap2WF_uT2z0cl-JGqcsZ1N/s400/the_garden_at_arles.jpg" width="400" /></a></div>
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"Garden at Arles" by Vincent van Gogh, 1888, Oil on canvas.</div>
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On February 20, 1888 van
Gogh moved, from Paris, to Arles in the south of France. He was attracted to the countryside, calling
it “The land of blue tones and gay
colors”. Funded by his brother <a href="http://en.wikipedia.org/wiki/Theo_van_Gogh_(art_dealer)">Theo</a>,
Vincent moved into the now famous <a href="http://en.wikipedia.org/wiki/The_Yellow_House_(painting)">“Yellow House”</a> and set up a studio and a room
for a guest artist.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5ogmUyHxV5c_Ra6S4vid0NmvKRFGePZ6KC5KYRysX8U4ksN9xUaimsYwiLdNgPE92mapuCXvYlQSRwWh1uKIiH8GKn8B3ssRzBiY8y8aPArmPLaH4LMLWeEwpZjE_VdYDFONu3YCdLhXw/s1600/Van_Gogh_Vincent-The_Street_the_Yellow_House.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5ogmUyHxV5c_Ra6S4vid0NmvKRFGePZ6KC5KYRysX8U4ksN9xUaimsYwiLdNgPE92mapuCXvYlQSRwWh1uKIiH8GKn8B3ssRzBiY8y8aPArmPLaH4LMLWeEwpZjE_VdYDFONu3YCdLhXw/s400/Van_Gogh_Vincent-The_Street_the_Yellow_House.jpg" width="400" /></a></div>
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"The Yellow House" by Vincent van Gogh, 1888, oil on canvas.<o:p></o:p></div>
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While in Arles van Gogh was inspired to paint the local farmhouses
and gardens. His paintings from this period
feature confident impasto brushstrokes and a brilliant palette. Indeed, van Gogh wrote “Ah, these farmhouse
gardens with lovely big red Provence roses, the vines, the fig trees; it’s
quite poetic.”<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBio-RXmhHfkEpDlCq9QXmjYg12i2pDbNiUsACmBglqGxUrGay_3EYaIEEkxPWfFuWsH9muMFGB5xXP00U-XUmEJLlUNMLqhRFuphyuEexCvs8YuYdhW0bQF1p6mcg_bqGosnJKoWJ4bcw/s1600/View+of+Arles+with+Irises+by+Vincent+Van+Gogh+OSA460.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="332" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBio-RXmhHfkEpDlCq9QXmjYg12i2pDbNiUsACmBglqGxUrGay_3EYaIEEkxPWfFuWsH9muMFGB5xXP00U-XUmEJLlUNMLqhRFuphyuEexCvs8YuYdhW0bQF1p6mcg_bqGosnJKoWJ4bcw/s400/View+of+Arles+with+Irises+by+Vincent+Van+Gogh+OSA460.jpg" width="400" /></a></div>
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"View of Arles with Irises" by Vincent, van Gogh, 1888, oil on canvas.</div>
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On October 23, 1888 <a href="http://en.wikipedia.org/wiki/Paul_Gauguin">Paul Gauguin</a> (1848-1903) arrived and stayed with
Vincent. Together the two artists painted, and unfortunately argued. During the
two months they lived together unrest grew between them. On
December 23, 1888, after a confrontation with Gauguin, van Gogh mutilated his
left ear with a razor. Van Gogh was
admitted to the <a href="http://en.wikipedia.org/wiki/Hospital_in_Arles_(Van_Gogh_series)">Hospital in Arles</a>, as Gauguin fled for Paris. <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCJT2E0ncSS29isfkL4-4opp7SiWlOTeutBs_Ffbx2P1cyKKkJ4qr6d2s2Qt5hTFHMXGeLlLRdDiql8PdtejLT1I7uMMbLakmNgEJmPnm4QqQXD3_GF7d4GLZw78BWuCghGldXWrLsWGHl/s1600/Van_Gogh_Vincent-The_Courtyard_of_the_Hospital_at_Arles.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="321" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCJT2E0ncSS29isfkL4-4opp7SiWlOTeutBs_Ffbx2P1cyKKkJ4qr6d2s2Qt5hTFHMXGeLlLRdDiql8PdtejLT1I7uMMbLakmNgEJmPnm4QqQXD3_GF7d4GLZw78BWuCghGldXWrLsWGHl/s400/Van_Gogh_Vincent-The_Courtyard_of_the_Hospital_at_Arles.jpg" width="400" /></a></div>
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"Courtyard at the Hospital at Arles" by Vincent van Gogh, 1888, oil on canvas.</div>
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While at the hospital van Gogh did two paintings of the
lovely flower filled courtyard. After
being released from the hospital van Gogh returned to the yellow house, but due
to demands from locals he was forced to leave the city. In February 1889 van Gogh moved 15 miles
northeast to the asylum of <a href="http://en.wikipedia.org/wiki/Saint-Paul_Asylum,_Saint-R%C3%A9my_(Van_Gogh_series)">Saint-Paul-de–Mausolein St. Remy.</a> It was here that he would create his most
inspired works including “<a href="http://en.wikipedia.org/wiki/The_Starry_Night">Starry Night</a>” and the “<a href="http://en.wikipedia.org/wiki/Irises_(painting)">Irises</a>”.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg08Yxgjm5GfSGca13voeNvBTyIis-lPbfIEqbVeX4PVxBW6E4wJKS1zTNcxaS-X7x33ZzPN-bbBTbrLGe2yC6gbTpOTNjPxydbS-4xIRbXZqik3VfCVGabMBSyxzSa-sS-FVqjjpcUkHr/s1600/photo%5B1%5D.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg08Yxgjm5GfSGca13voeNvBTyIis-lPbfIEqbVeX4PVxBW6E4wJKS1zTNcxaS-X7x33ZzPN-bbBTbrLGe2yC6gbTpOTNjPxydbS-4xIRbXZqik3VfCVGabMBSyxzSa-sS-FVqjjpcUkHr/s400/photo%5B1%5D.JPG" width="300" /></a></div>
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Courtyard of the Hospital in Arles as it is today, photo by Marie Dauenheimer, 2013.</div>
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<o:p> I plan to do future blog postings about van Gogh's work and life in St. Remy and Auvers-sur-Oise. In the meantime if you are interested in van Gogh's work there is an upcoming exhibition at the Phillips Collection in Washington, DC. <a href="http://www.phillipscollection.org/exhibitions/2013-10-12-exhibition-van-gogh-repetitions.aspx">"Van Gogh Repetitions"</a> will be up from October 12, 2013-January 26, 2014.</o:p></div>
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<!--EndFragment-->Marie Dauenheimerhttp://www.blogger.com/profile/08737335775162472766noreply@blogger.com0tag:blogger.com,1999:blog-178868737261895859.post-4018282078170962002013-09-16T10:13:00.001-07:002013-09-20T03:19:02.494-07:00Sir Alfred James Munnings Exhibition “Out in the Open” at the National Sporting Library and Museum <!--[if gte mso 9]><xml>
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Located in the beautiful Virginia countryside, in the
historic town of <a href="http://en.wikipedia.org/wiki/Middleburg,_Virginia">Middleburg</a>, is a remarkable museum and library dedicated to the art, literature and culture of horse and field sports, it is called the<span style="color: #343434;"> </span><a href="http://www.nsl.org/">National Sporting Library and Museum</a><span style="color: #343434;">.</span><br />
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<span style="color: #343434;"> National Sporting Library and Museum in Middleburg, Virginia.</span><br />
<span style="color: #343434;"> </span></div>
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I recently had the opportunity to visit this museum and view
an outstanding exhibition called “Out in the Open”, featuring approximately 70
paintings by British artist <a href="http://en.wikipedia.org/wiki/Alfred_Munnings">Sir Alfred James Munnings </a>(1878-1959). Munnings is best known for his paintings of
horses and race scenes. I was familiar with some of his work, but this
comprehensive exhibition made me appreciate the brilliance of this artist.<o:p></o:p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpiIVI0NNpx08QhPq5ylpDUhbDWy7sl4T05ypuk0ygrRqXJHXHRHDGDNyn9Jsoy3q3L3yYpTuVuegNaHQvegvg6yYjGpiOobwIRpqnIT3Y9yao9NLfS2tKxf-bH9zltF0eUhUX1vCJjqol/s1600/article_lamorna_1913_morning_ride_florence_munningssmthumb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpiIVI0NNpx08QhPq5ylpDUhbDWy7sl4T05ypuk0ygrRqXJHXHRHDGDNyn9Jsoy3q3L3yYpTuVuegNaHQvegvg6yYjGpiOobwIRpqnIT3Y9yao9NLfS2tKxf-bH9zltF0eUhUX1vCJjqol/s400/article_lamorna_1913_morning_ride_florence_munningssmthumb.jpg" width="400" /></a></div>
<i>The Morning Ride, Florence Munnings on Horseback</i>, Sir Alfred Munnings, 1913, oil on canvas.<br />
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Munnings did most of his work outside, <i><a href="http://en.wikipedia.org/wiki/En_plein_air">en plein air</a></i>. His confident, rapid brushwork is reminiscent of <a href="http://en.wikipedia.org/wiki/John_Singer_Sargent">John Singer Sargent</a> and <a href="http://en.wikipedia.org/wiki/Joaqu%C3%ADn_Sorolla">Joaquin Sorolla</a> and their depictions of sun soaked
landscapes and figures. Munnings paintings, created outdoors from direct observation,
are brilliant and nuanced. Indeed,
Munnings biographer wrote, “The call of the sun was one of the strongest forces
in his career.”<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIHaeCt_MhQAiHBnhnN2IFZFM2BwsamL_4qkjSyjbzzB9tVtZ-hvzmDQGUcKr-FUZvk6sDXeO_Xj6cb-tOck_4obmIkkTUaGS2udOrc3wBkTkdi4W3HjFJSWY7kecBcVSXiFSuoV20fFld/s1600/Munnings6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="335" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIHaeCt_MhQAiHBnhnN2IFZFM2BwsamL_4qkjSyjbzzB9tVtZ-hvzmDQGUcKr-FUZvk6sDXeO_Xj6cb-tOck_4obmIkkTUaGS2udOrc3wBkTkdi4W3HjFJSWY7kecBcVSXiFSuoV20fFld/s400/Munnings6.jpg" width="400" /></a></div>
<i> Impressions of Cows in a Stream</i>, Sir Alfred Munnings, 1912, oil on canvas.<br />
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The son of a miller, Munnings was born in 1878 in <a href="http://en.wikipedia.org/wiki/Mendham,_Suffolk">Mendham</a>,
Great Britain. In 19<sup>th</sup>
century England horses were part of every life, but it was the gift of a toy
horse that got Munnings interested in this magnificent animal and its portrayal.<o:p></o:p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVuue2GtYUyvVaCDTXelZOTbK42Z1SE3Vkxgmvgt62gaAiGbFBFYq2iAoOxBWi7elf8V65DD3ZKKgOlW-4NwqBCSfx71JoSoEO8qCw__rMiOx3dYmk8XUFXb9eh4sO8qMl9YeRYwlGjPZv/s1600/AJ02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVuue2GtYUyvVaCDTXelZOTbK42Z1SE3Vkxgmvgt62gaAiGbFBFYq2iAoOxBWi7elf8V65DD3ZKKgOlW-4NwqBCSfx71JoSoEO8qCw__rMiOx3dYmk8XUFXb9eh4sO8qMl9YeRYwlGjPZv/s400/AJ02.jpg" width="400" /></a></div>
Study of a Clipped Bay Hunter "Bitter Sweet", Sir Alfred Munnings, 1923, oil on panel.<br />
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Among the various themes painted by Munnings was his
depiction of horse races. One in particular
reminded me of <a href="http://en.wikipedia.org/wiki/Edgar_Degas">Edgar Degas</a> and his race scenes.
“Almost Away” is a tightly composed painting featuring a contrasting riot
of jockey silk colors. This painting, the color and expression of the horses
evokes the raw energy of the race.<o:p></o:p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNBf35ZCjMasfZNRhzTQiZl_Fiz532ooqLPvK2uLwuABvp-QBP7c6y-NGhkIrS2BXKaQH8whCNA8wMNKZc1PbMMBonVgnzpc03OeeAgP0h1vEVtULZ_czd9RHUvtQM6aZLa3L5X65LGwg9/s1600/~.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="331" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNBf35ZCjMasfZNRhzTQiZl_Fiz532ooqLPvK2uLwuABvp-QBP7c6y-NGhkIrS2BXKaQH8whCNA8wMNKZc1PbMMBonVgnzpc03OeeAgP0h1vEVtULZ_czd9RHUvtQM6aZLa3L5X65LGwg9/s400/~.jpg" width="400" /></a></div>
<i> Almost Away</i>, Sir Alfred Munnings, 1945, oil on canvas.</div>
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In many of the paintings Munnings juxtaposes highly polished
passages with abstract ones. In the
piece “In the Covert” he paints the horse and rider in a refined manner and
surrounds them with a futurist like depiction of the hounds and landscape.<o:p></o:p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilaUO4_9rA1T50vx963TbzRPu4SeQga3SgpvTEz78vjkXdvCzAo9oqlFtLO9F31Z0r2_Uco8sePCw0qDXiDO9ZE0c5noLI9pb_YWbHasYmiEvDWt-p3XwbAsY3Cwy9Er3zbUK5_hihud3V/s1600/AJ04.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="322" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilaUO4_9rA1T50vx963TbzRPu4SeQga3SgpvTEz78vjkXdvCzAo9oqlFtLO9F31Z0r2_Uco8sePCw0qDXiDO9ZE0c5noLI9pb_YWbHasYmiEvDWt-p3XwbAsY3Cwy9Er3zbUK5_hihud3V/s400/AJ04.jpg" width="400" /></a></div>
<i> In the Covert</i>, Sir Alfred Munnings, 1920, oil on canvas.</div>
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<a href="http://www.siralfredmunnings.co.uk/">Castle Hill</a> in Essex, Munnings’ elegant home for forty
years, is a museum dedicated to his work. It houses a collection of over 600
works by Munnings including numerous landscapes and cloud studies of the surrounding
countryside.<o:p></o:p><br />
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<i> Cloud Study</i> by Sir Alfred Munnings, oil on canvas.</div>
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This extraordinary exhibition closed on September 15, 2013. The
National Sporting Library and Museum was its only venue. I was very fortunate to see this exhibition before it
closed. I would recommend that if you
are interested in learning more about this fascinating artist you read the
exhibition catalog “Munnings, Out in the Open”’ published by the National
Sporting Museum and Library. There is a
movie called <a href="http://www.summerinfebruary.com/">“Summer in February”</a>, based on the 1996 book by Jonathan Smith of
the same title, about Munnings that is soon to be released.<o:p></o:p></div>
<!--EndFragment-->Marie Dauenheimerhttp://www.blogger.com/profile/08737335775162472766noreply@blogger.com0tag:blogger.com,1999:blog-178868737261895859.post-22873038673952583292013-09-05T10:34:00.002-07:002013-09-20T03:19:58.288-07:00Vesalius Trust Art and Anatomy Tour to Southern Greece in August/September 2014<!--[if gte mso 9]><xml>
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2014 will mark the
500<sup>th</sup> anniversary of the birth of anatomist <a href="http://en.wikipedia.org/wiki/Andreas_Vesalius">Andreas Vesalius</a>. </div>
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<br /></div>
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Vesalius, for whom the <a href="http://www.vesaliustrust.org/">Vesalius Trust</a> is named, was a
Renaissance physician famous for his pioneering treatise <i><a href="http://en.wikipedia.org/wiki/De_humani_corporis_fabrica">De humani corporis fabrica</a></i> (<i>On the Fabric of the Human Body</i>) published
in 1543. Considered the father of modern anatomy Vesalius was just 29 years old
when his iconic work was published. The beautifully illustrated <i>De Fabrica</i> transformed the field of
anatomy and how the human body was viewed and understood.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCvl1wErGaS-cls3CXHj3T_qAdpiefQKLXl1mwjcp1PTzc2mfnQ3K8G1k_ve6Q8GR1_JVT-6VOajGinvN8g5tNWTctF6sq3TaGgTC1SQ5oC_qZaKoIE_Pl0fAmi-pQ3qG_YmkmZu55c2es/s1600/Andreas-Vesalius-1543.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCvl1wErGaS-cls3CXHj3T_qAdpiefQKLXl1mwjcp1PTzc2mfnQ3K8G1k_ve6Q8GR1_JVT-6VOajGinvN8g5tNWTctF6sq3TaGgTC1SQ5oC_qZaKoIE_Pl0fAmi-pQ3qG_YmkmZu55c2es/s400/Andreas-Vesalius-1543.jpg" width="290" /></a></div>
Portrait of Vesalius, the frontispiece from <i>De human corporis fabrica, </i>1543.</div>
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<o:p></o:p></div>
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Since 1997 the
Vesalius Trust has been sponsoring educational travel opportunities. These “<a href="http://www.vesaliustrust.org/about/art-and-anatomy-tours/">Art and Anatomy” tours</a> have transported attendees to exciting venues in Italy,
France, The Netherlands, Belgium, Scotland and England. Each tour has included
the <a href="http://www.aeims.eu/">Association Européenne des Illustrateurs Médicaux et Scientifiques (AEIMS)</a>
conference. These tours offer the opportunity to explore artistic and
anatomical points of interest with like-minded colleagues. Attendees have visited rare anatomy book
collections, anatomical theatres, medical museums and art collections, some
open to the public, but many exclusive. </div>
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<o:p></o:p></div>
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To commemorate the upcoming
Vesalius birthday celebration I am working with a consortium of artistic, medical
and cultural organizations in Europe to build the next Art and Anatomy tour. These
organizations include Association Européenne des Illustrateurs Médicaux et
Scientifiques. This next tour will be to
<a href="http://www.telegraph.co.uk/travel/destinations/europe/greece/8591153/The-southern-Peloponnese-Greece-the-perfect-break.html">Southern Greece</a> from August 29-September 9, 2014.
<o:p></o:p></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm-1ahSCQZ4IOegVH9Uvs8XdxqDQfq3snKTfkUH1rsgbP7zloT0z_wDWtWEFZVdtywvwbIpQ_bcdUwriItirv0zfr-oPvPs_dEUaxF7wtDr7oN8FqUCNHSy0VrGHAgf_SePgxpv_ZGTKzW/s1600/Zante_Town_-_Panorama-no-copyright.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm-1ahSCQZ4IOegVH9Uvs8XdxqDQfq3snKTfkUH1rsgbP7zloT0z_wDWtWEFZVdtywvwbIpQ_bcdUwriItirv0zfr-oPvPs_dEUaxF7wtDr7oN8FqUCNHSy0VrGHAgf_SePgxpv_ZGTKzW/s400/Zante_Town_-_Panorama-no-copyright.jpg" width="400" /></a></div>
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Panorama view of Zante Town on the island of Zakynthos.</div>
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<br /></div>
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Andreas Vesalius was
born in <a href="http://en.wikipedia.org/wiki/Flanders%E2%80%8E">Flanders</a>, present day Belgium, on December 31, 1514. He died on October 15, 1562 on the small
island of <a href="http://en.wikipedia.org/wiki/Zakynthos%E2%80%8E">Zakynthos</a>, in the <a href="http://en.wikipedia.org/wiki/Ionian_Sea%E2%80%8E">Ionian Sea</a>. After much research and discussion the
committee organizing the celebration chose Zakynthos as the venue for their
conference. Vesalius died when his ship
wrecked in the Ionian Sea and he ended up on island of Zakynthos. This island,
well aware of the importance of Vesalius, features many statues, monuments and
streets commemorating the famous physician.<o:p></o:p></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjODc5pLBFk_FAqR_CoprqS1kLUTm5Dh6ok-QwetalywY7YrEhkxr2SKu_GZLZU7GrvpF2khnYDvCRSx_Jo1ZOwyqxZRW1M5BcoU3pXhHyB_q5hIfYZ69AhyphenhyphenNlV16D55LAw1Eh9paz57Hw-/s1600/Parthenon_from_south-by-Thermos(wikimedia).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjODc5pLBFk_FAqR_CoprqS1kLUTm5Dh6ok-QwetalywY7YrEhkxr2SKu_GZLZU7GrvpF2khnYDvCRSx_Jo1ZOwyqxZRW1M5BcoU3pXhHyB_q5hIfYZ69AhyphenhyphenNlV16D55LAw1Eh9paz57Hw-/s400/Parthenon_from_south-by-Thermos(wikimedia).jpg" width="266" /></a></div>
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Parthenon from the south, Athens.</div>
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<b><span style="color: blue; mso-bidi-font-size: 12.0pt;"><br /></span></b></div>
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The twelve-day Art
and Anatomy Tour, “Traversing Southern Greece”, will begin with arrival in the ancient
city of <a href="http://en.wikipedia.org/wiki/Athens">Athens</a>, a bustling metropolis and home to the Acropolis. The first day will comprise a walking tour of
Athens including visits to the <a href="http://en.wikipedia.org/wiki/Temple_of_Hephaestus">Hephaisteion</a>, and the Doric temple of Thespian
one of the best-preserved temples from ancient Greece. The following day will be devoted to a guided
tour of the <a href="http://www.acropolisofathens.gr/">Acropolis</a>, including the <a href="http://en.wikipedia.org/wiki/Parthenon%E2%80%8E">Parthenon</a>, the <a href="http://en.wikipedia.org/wiki/Temple_of_Athena_Nike%E2%80%8E">Temple of Athena Nike</a> and
the <a href="http://en.wikipedia.org/wiki/Caryatid">Porch of the Caryatids,</a> which offer stunning views of Athens. The day will conclude with a tour of the Acropolis
Museum and free time to explore this fascinating city.<o:p></o:p></div>
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The next few days of
the tour will include travel to the sophisticated town of <a href="http://en.wikipedia.org/wiki/Nafplio%E2%80%8E">Nafplion</a> in the <a href="http://en.wikipedia.org/wiki/Peloponnese">Peloponnese</a>.
This port city features polished old world streets lined with elegant Venetian
castles and neoclassical manors. Enroute to Nafplion we will visit the ancient city of <a href="http://en.wikipedia.org/wiki/Corinth%E2%80%8E">Corinth</a> and its Greek and Roman ruins.<o:p></o:p></div>
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The beautiful port city of Nafplion</div>
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Prior to the
Vesalius Conference in Zakynthos the attendees will explore the ancient citadel
of <a href="http://en.wikipedia.org/wiki/Mycenae">Mycenae </a>and <a href="http://en.wikipedia.org/wiki/Epidaurus">Epidaurus</a> and its early theatre designed by sculptor
<a href="http://en.wikipedia.org/wiki/Polykleitos%E2%80%8E">Polykleitos</a>, famous for his masterful sculptures of the human form.<o:p></o:p></div>
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The group will travel
to the beautiful island of Zakynthos via ferry, cruising the Ionian Sea as
Vesalius did in 1514. The group’s home
for the next four days will be the <a href="http://www.palatinohotel.gr/">Palatino Hotel</a>, walking distance to the
conference site. <o:p></o:p></div>
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A few days will be devoted to the “Vesalius Continuum” commemorating the 500<sup>th</sup>
anniversary of Andreas Vesalius’ birth. The
conference schedule includes lectures about Vesalius' work, life and influences
by famous medical scholars such as <a href="http://www.zoominfo.com/p/Ruth-Richardson/255546221%E2%80%8E">Ruth Richardson</a>, author of <i>Death, Dissection and the</i> <i>Destitute</i> and <i>The Making of Gray's Anatomy</i>, and Professor <a href="http://en.wikipedia.org/wiki/Martin_Kemp_(art_historian)%E2%80%8E">Martin Kemp</a> of
the History of Art at <a href="http://en.wikipedia.org/wiki/University_of_Oxford%E2%80%8E">University of Oxford</a>. Kemp is
considered one of the world's leading authorities on Leonardo da Vinci and he has written extensively about
science and art. Facial reconstruction
artist <a href="http://en.wikipedia.org/wiki/Richard_Neave">Richard Neave</a>, famous for his reconstruction of the iceman, will also be
presenting. <o:p></o:p></div>
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After the conference the group will enjoy a special day of touring
the island of Zakynthos. Private boats
will take attendees to the breathtaking <a href="http://en.wikipedia.org/wiki/Zakynthos%E2%80%8E">Blue Caves</a>, the uninhabited island of <a href="http://www.tripadvisor.com/ShowUserReviews-g658915-d3324196-r141442242-Marathonissi_Turtle_Island-Laganas_Zakynthos_Ionian_Islands.html">Marathonisi</a> and the charming village of <a href="http://www.gozakynthos.gr/volimes.zakynthos.php">Volimes</a>, known for it lace work and beautifully
woven wool rugs. <o:p></o:p></div>
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Island of Marathonisi, Zakythnos</div>
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The tour will end after a flight from Zakynthos to Athens with an independent
day to enjoy the city or do an excursion.
A farewell dinner, near the Acropolis, will end the exciting journey
before flights back to the US the next day.<o:p></o:p></div>
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For more information on this tour, including a detailed itinerary
and pricing please contact Marie Dauenheimer at <a href="mailto:dauenheimer@erols.com">dauenheimer@erols.com</a> or
571.216.1472.<o:p></o:p><br />
<br />
Watch for future blog postings highlighting details about the tour and the Vesalius conference.</div>
<!--EndFragment-->Marie Dauenheimerhttp://www.blogger.com/profile/08737335775162472766noreply@blogger.com0tag:blogger.com,1999:blog-178868737261895859.post-29013589131916948872013-09-03T04:24:00.004-07:002013-09-03T09:26:45.464-07:00Albrecht Durer: Master Drawings, Watercolors and Prints from the Albertina<br />
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The <a href="http://www.albertina.at/en%E2%80%8E">Albertina</a> in Vienna, Austria is a museum known for it
outstanding collection of works on paper.
The Albertina maintains a large collection of watercolors, drawings and
prints by the <a href="http://en.wikipedia.org/wiki/Northern_Renaissance%E2%80%8E">Northern Renaissance</a> master <a href="http://en.wikipedia.org/wiki/Albrecht_D%C3%BCrer%E2%80%8E">Albrecht Durer</a> (1471-1528). This past spring the Albertina lent this vast
and impressive collection to the <a href="http://www.nga.gov/%E2%80%8E">National Gallery of Art</a> in Washington, DC.<o:p></o:p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv9WYj1MxeQ0cW2o2tRu_xazcOX0jqz5fmxlMONBWJccwQyc0Xq9jeaMDCF3hkG9juk26Lqhcf1XTMKLUfdOUjT7UtbIozn9nFRWUe9HrZC2prDTu4Ot4jpwt76njMErqIncdwNC01TnVo/s1600/albrecht-durer-01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv9WYj1MxeQ0cW2o2tRu_xazcOX0jqz5fmxlMONBWJccwQyc0Xq9jeaMDCF3hkG9juk26Lqhcf1XTMKLUfdOUjT7UtbIozn9nFRWUe9HrZC2prDTu4Ot4jpwt76njMErqIncdwNC01TnVo/s400/albrecht-durer-01.jpg" width="288" /></a></div>
<i>Self-portrait</i> by Albrecht Durer, 1500, oil painting.</div>
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Durer is known in the history of art for his intense
<a href="http://en.wikipedia.org/wiki/Self-portrait%E2%80%8E">self-portraits</a>, thought by many scholars to be the first self-portraits ever created.
Indeed what scholars believe is the first self portrait made by an artist is in
the exhibition. It is a small detailed
<a href="http://en.wikipedia.org/wiki/Silverpoint%E2%80%8E">silverpoint</a> drawing completed by Durer when he was just 13 years old. (For more information about the silverpoint
technique see my blog posting:<cite><b>mariedauenheimer</b>.<b>blogspot</b>.com/.../<b>silverpoint</b>-drawing-history-and.html</cite>)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR5Q4WSIkVXaX3yhY0x23irKilVuF6sE9CvNEFod7bFDwkQO5SNQbzP3G41qu_zuve32h9DS7KnwIM4wXSZ00HaUzJ-qwNvr119SlRCHCFpGTXUZwcBEkFoFIwHWaukghdCI7LCkuWlrGR/s1600/200-349.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR5Q4WSIkVXaX3yhY0x23irKilVuF6sE9CvNEFod7bFDwkQO5SNQbzP3G41qu_zuve32h9DS7KnwIM4wXSZ00HaUzJ-qwNvr119SlRCHCFpGTXUZwcBEkFoFIwHWaukghdCI7LCkuWlrGR/s400/200-349.JPG" width="275" /></a></div>
<i>Self-portrait</i> by Albrecht Durer, 1484, silverpoint on prepared paper.</div>
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In 1505 Durer travelled to <a href="http://en.wikipedia.org/wiki/Venice%E2%80%8E">Venice </a>and developed one of his
most elegant drawing techniques.Using a
medium blue Venetian paper (made from blue rags) Durer drew with white gouache
and dark ink to create luminous, <a href="http://en.wikipedia.org/wiki/Chiaroscuro%E2%80%8E">chiaroscuro</a> drawings. <o:p></o:p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6-EmyLXIVPTfgbeI58_bEVWWU0eiC8uV53-uLBhBGevxKNOBtwHvBy2dkqpSW5khLJzFBlolDGlKRhQfZA0ZIct1rVcq1wCUkorIWjayGOYZDHffYNVEg2z_yWkfvvB4jd6r_s79Lmbnp/s1600/16125.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6-EmyLXIVPTfgbeI58_bEVWWU0eiC8uV53-uLBhBGevxKNOBtwHvBy2dkqpSW5khLJzFBlolDGlKRhQfZA0ZIct1rVcq1wCUkorIWjayGOYZDHffYNVEg2z_yWkfvvB4jd6r_s79Lmbnp/s400/16125.jpg" width="323" /></a></div>
<i>The Head of an Angel</i> by Albrecht Durer, 1506, brush and ink with wash, heightened with white on blue paper.</div>
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When Durer traveled back to Germany he did not take this
Venetian paper with him, but started making his own paper prepared with a
ground, usually blue, but sometimes green and gray. This is how Durer made one of his most icon
drawings “The Praying Hands”. The
drawing was created in 1508 as a study for an altarpiece for a Frankfurt
church (which burned down in 1724). The drawing was done as a part
of a larger study of one of the apostles. The drawing was later cut down and made into two separate drawings. (see below).<o:p></o:p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiquv34EME6mrN6UH8ZNTP3P4VAfOUyHYvLphfy03Mpj4aA3c7Dz3l8sixOVTNKK0v2tgw_yCOAXgBz4RpSu6Inb_LzBFehpEJeXlGEEspQNMsqJ2VLRt692smkuCvnirVe2i3sIayjI0Vf/s1600/Praying_Hands_-_Albrecht_Durer.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiquv34EME6mrN6UH8ZNTP3P4VAfOUyHYvLphfy03Mpj4aA3c7Dz3l8sixOVTNKK0v2tgw_yCOAXgBz4RpSu6Inb_LzBFehpEJeXlGEEspQNMsqJ2VLRt692smkuCvnirVe2i3sIayjI0Vf/s400/Praying_Hands_-_Albrecht_Durer.png" width="266" /></a></div>
<i>Praying Hands</i> by Albrecht Durer, 1508, brush and wash, heightened with white on blue prepared paper.</div>
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Durer introduced many important artistic traditions to his
Northern European colleagues. His use of
<a href="http://en.wikipedia.org/wiki/Perspective_(visual)%E2%80%8E">linear perspective</a>, masterfully complex <a href="http://en.wikipedia.org/wiki/Woodcut%E2%80%8E">woodcuts</a> and <a href="http://en.wikipedia.org/wiki/Engraving">engravings</a> transformed
printmaking. Durer’s treatises on human anatomy and proportion transformed the
way artists depicted the figure. Finally, like <a href="http://en.wikipedia.org/wiki/Leonardo_da_Vinci">Leonardo</a>, Durer was
fascinated with the overlap of science and art.<o:p></o:p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_m7Py2h1aN9ALJd4PVlGw7O0MrdIpxzVC8d8AtDlinXikyG7DifMz8igP1hpNrkjkQ0lRBtBFA1Ddyo7OSd8uf7WXV8Muq9JkeevEZry-F6duggSed_e3y0DU-7t-KvN4BqParLUGLl-B/s1600/Durer.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_m7Py2h1aN9ALJd4PVlGw7O0MrdIpxzVC8d8AtDlinXikyG7DifMz8igP1hpNrkjkQ0lRBtBFA1Ddyo7OSd8uf7WXV8Muq9JkeevEZry-F6duggSed_e3y0DU-7t-KvN4BqParLUGLl-B/s400/Durer.jpg" width="273" /></a></div>
<i> Male Nude</i> by Albrecht Durer, 1513, pen and brown ink on paper.</div>
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Indeed in Durer’s sublime watercolor “The Great Piece of
Turf” (1503) his art “creates a balance between scientific observation and
artistic poetry”.<o:p></o:p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtvLkY7JEdLyyeYOkeQKVpZNecfLb47er8zZ_KmD2e7cqLEVnz76B_y63gmYyHA4rdyY7ZG565IuNaVAaWY10OcoKJtUOdckbJCpQ9IMNP0PR9vbqMv_OiyL3KZYl7v62HN9JOjA3JcUv-/s1600/Turf_Durer.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtvLkY7JEdLyyeYOkeQKVpZNecfLb47er8zZ_KmD2e7cqLEVnz76B_y63gmYyHA4rdyY7ZG565IuNaVAaWY10OcoKJtUOdckbJCpQ9IMNP0PR9vbqMv_OiyL3KZYl7v62HN9JOjA3JcUv-/s400/Turf_Durer.jpg" width="306" /></a></div>
<i>The Great Piece of Turf </i>by Albrecht Durer, 1503, watercolor and gouache on paper.</div>
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In 1514 Durer experienced a personal crisis when his mother
died. During his mourning he created his
“master prints” about despair and death. They include his print of St. Jerome for which he did his magnificent
study.<o:p></o:p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZpTcCnXL9IyX9ZZFA81TufLuybeMNw3VE_95EgCCsqFYYZaYVr04a0PR-CQqKWDfCA_wSs73bwB2cTZCm1bcRkPv60iZJbwnJynzofjuqp2wBPuyNHLnEJQKM_rAn4qHnG9ikeHjmiLxw/s1600/22DURER-articleInline.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZpTcCnXL9IyX9ZZFA81TufLuybeMNw3VE_95EgCCsqFYYZaYVr04a0PR-CQqKWDfCA_wSs73bwB2cTZCm1bcRkPv60iZJbwnJynzofjuqp2wBPuyNHLnEJQKM_rAn4qHnG9ikeHjmiLxw/s400/22DURER-articleInline.jpg" width="269" /></a></div>
<i>An Elderly Man of Ninety-Three Year</i>s by Albrecht Durer, 1521, brush and ink, heightened with white on gray-violet prepared paper.</div>
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The National Gallery of Art exhibits closed in June. However
I highly recommend the superb catalog published by the National Gallery of Art.It is called "Albrecht Durer, Master Drawings, Watercolors and prints from the Albertina" by Andrew Robison and Klaus Albrecht Schroder.<o:p></o:p></div>
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<!--EndFragment-->Marie Dauenheimerhttp://www.blogger.com/profile/08737335775162472766noreply@blogger.com2tag:blogger.com,1999:blog-178868737261895859.post-62183264918776660382013-07-14T12:42:00.001-07:002013-07-15T04:16:43.188-07:00Richard Diebenkorn, the Berkeley Years 1953-1966<!--[if gte mso 9]><xml>
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I have always enjoyed the “<a href="http:/">Ocean Park</a>” series of abstract
paintings by <a href="http://en.wikipedia.org/wiki/Richard_Diebenkorn">Richard Diebenkorn</a> (1922-1993). These paintings were done when Diebenkorn
moved to Los Angeles and comprise his signature style. These large canvasses
evoke the light and landscape of southern California.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii7ehx6JV_yxyoKt7HP7TsnhcXtuMBTKefOBUlid5nSFkf51vWIOQX3X_Wjd_GUMuVu1KwtUUPoSK1xV49LVWNs0ntbZbDT9S5rXQhA3x4BeG_3fVeN7tnbsJcPciL3YKCQy9LgjjgGJKw/s1600/ocean_park_54.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii7ehx6JV_yxyoKt7HP7TsnhcXtuMBTKefOBUlid5nSFkf51vWIOQX3X_Wjd_GUMuVu1KwtUUPoSK1xV49LVWNs0ntbZbDT9S5rXQhA3x4BeG_3fVeN7tnbsJcPciL3YKCQy9LgjjgGJKw/s400/ocean_park_54.jpg" width="326" /></a></div>
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<i>Ocean Park No. 54</i>, 1972 oil on canvas.</div>
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While in San Francisco last month I had an opportunity to
visit an exhibition of Diebenkorn’s early work, specifically the pieces created
from 1953-1966 when he lived in <a href="http://www.ci.berkeley.ca.us/">Berkeley</a>. The exhibition is at the <a href="http://deyoung.famsf.org/">de Young Museum</a> in <a href="http://www.golden-gate-park.com/">Golden Gate Park</a> and is very
comprehensive and enlightening. <o:p></o:p><br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhI6l68SuCsnYGjJpDq6VIJFMEC90GnbACwxzkQNUtMvk3ZnoNT2UNs03CWvIDdH85LK8kKtf14Ibugc5gVfdJ9tifeKT9r1ANjbFifJ46RNxLkSDWmpGt1RBP1QO_zU6NEIT5O0wALIqZ/s1600/Diebenkorn-abstarct.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhI6l68SuCsnYGjJpDq6VIJFMEC90GnbACwxzkQNUtMvk3ZnoNT2UNs03CWvIDdH85LK8kKtf14Ibugc5gVfdJ9tifeKT9r1ANjbFifJ46RNxLkSDWmpGt1RBP1QO_zU6NEIT5O0wALIqZ/s400/Diebenkorn-abstarct.jpg" width="355" /></a></div>
<i> Berkeley No. 13,</i> 1954, oil on canvas.</div>
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The earliest works in the exhibition are indeed abstract,
graffiti like ink drawings, influenced by the <a href="https://en.wikipedia.org/wiki/Abstract_expressionism%E2%80%8E">abstract expressionists</a>, specifically
<a href="http://en.wikipedia.org/wiki/Willem_de_Kooning%E2%80%8E">de Kooning</a>. As time passes Diebenkorn’s work, much praised by the art community
for its energetic, abstract qualities, becomes more figurative.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjo2ZcunPaVerp8uR_jxUcquy0lgqc4eqWHGzRQ_2q25lI2y_x4r0nAz-yKv-wF06O6JNQwtHPlEMed9IpIYOPwuf2jDYRtPGnmqt94T6OAjHlMg_FTWMNISxlQ7pGG8XmWRgdApK0fB85/s1600/Diebenkorn-pen+and+ink.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjo2ZcunPaVerp8uR_jxUcquy0lgqc4eqWHGzRQ_2q25lI2y_x4r0nAz-yKv-wF06O6JNQwtHPlEMed9IpIYOPwuf2jDYRtPGnmqt94T6OAjHlMg_FTWMNISxlQ7pGG8XmWRgdApK0fB85/s320/Diebenkorn-pen+and+ink.jpg" width="262" /></a></div>
<i> Untitled (Berkeley),</i> 1954, ink on paper.<br />
<br />
In 1955 he created “Chabot Valley” his first
representational landscape. His shift to
figurative work shocked the art world. In 1957 Diebenkorn wrote, “<i>Temperamentally perhaps I had always been a landscape painter.”</i> He further commented, “<i>Abstract literally means to draw from or separate. In this sense every artist is abstract… a
realistic or non-objective approach makes no difference. The result is what counts.”</i></div>
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<i><br /></i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmmBZ-TwUfNU8x5DcDUCOTZq5kXKXEclF0g3IuzYYCXu4Jslj0u0nVciesFzKGuc36dbX4v9PnC3p2we19mX8C_zyqEixf7e2ZOJ3DF-mD77Oo97B09hJAArrZLFZCdJ7ZJjJ-1tD9IWct/s1600/Diebenkorn-earlylandscape.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmmBZ-TwUfNU8x5DcDUCOTZq5kXKXEclF0g3IuzYYCXu4Jslj0u0nVciesFzKGuc36dbX4v9PnC3p2we19mX8C_zyqEixf7e2ZOJ3DF-mD77Oo97B09hJAArrZLFZCdJ7ZJjJ-1tD9IWct/s400/Diebenkorn-earlylandscape.jpg" width="376" /></a></div>
<i> Chabot Valley, </i>1955, oil on canvas.</div>
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Throughout these years Diebenkorn returns to drawing from
the figure. His 1958 piece “Woman in Profile” uses energetic layers of impasto to describe a woman. Diebenkorn
paints the organic shapes of the figure and juxtaposes them to the landscape outside;
the grid pattern of the windows unites the two worlds.<o:p></o:p><br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvH7SaAhMaN1Q30hNsFl4ybWoclyaPs2KRiFwhB4pDL0cacgiCbIJwE8WiYqFcp944XDV6js-3KR_Msz9CBey18Q0A2pN8JUARGXSeOMXsx_3JWTbl645IGHBofnfxRdWxVeDkmF6YX6pr/s1600/Diebenkorn+Woman+in+profile.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvH7SaAhMaN1Q30hNsFl4ybWoclyaPs2KRiFwhB4pDL0cacgiCbIJwE8WiYqFcp944XDV6js-3KR_Msz9CBey18Q0A2pN8JUARGXSeOMXsx_3JWTbl645IGHBofnfxRdWxVeDkmF6YX6pr/s400/Diebenkorn+Woman+in+profile.jpg" width="356" /></a></div>
<i> Woman in Profile</i>, 1958, oil on canvas.</div>
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Diebenkorn’s figure studies or “exercises in seeing” as he
describes them reveal his thought process and works to come. While visiting Leningrad in 1965 his works
take on a Matisse like quality using pattern and flat color. These works anticipate the “Ocean Park”
series.<o:p></o:p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMVoT0RruuYAHyMAcjazcIiZrfrNurCeSY0XT4U9W7EjOGD3GSnJEuTyCHhLIKhlO9GnhDJYmf4CU2xEBHhSRJYDysXr9yFF-wnLqkQwaHBB8fCjOdhpllNfOuEs55dhina2i0BI7kN1gP/s1600/Diebenkorn-Matisse-like.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="343" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMVoT0RruuYAHyMAcjazcIiZrfrNurCeSY0XT4U9W7EjOGD3GSnJEuTyCHhLIKhlO9GnhDJYmf4CU2xEBHhSRJYDysXr9yFF-wnLqkQwaHBB8fCjOdhpllNfOuEs55dhina2i0BI7kN1gP/s400/Diebenkorn-Matisse-like.jpg" width="400" /></a></div>
<i> Recollections of a Visit to Leningrad</i>, 1965, oil on canvas.</div>
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Diebenkorn is a unique American artist. This exhibition of his early work enlightens and informs our undertsanding of his signature work. I highly recommend a visit to the de Young Museum for this
impressive exhibition.The exhibition
catalog, with essays by Emma Acker, Steven A. Nash and Timothy Anglin Burgard, is excellent.<o:p></o:p></div>
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<!--EndFragment-->Marie Dauenheimerhttp://www.blogger.com/profile/08737335775162472766noreply@blogger.com0tag:blogger.com,1999:blog-178868737261895859.post-47510397746504452422013-06-06T15:50:00.003-07:002013-06-07T03:49:33.840-07:00Gustave Moreau Home and Studio in Paris<br />
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<o:p> </o:p>In March I had the occasion to visit the home and studio of
French <a href="http://www.blogger.com/en.wikipedia.org/wiki/Category:Symbolist_painters%E2%80%8E">Symbolist</a> painter <a href="http://en.wikipedia.org/wiki/Gustave_Moreau%E2%80%8E">Gustave Moreau</a> (1826-1898), now the <a href="http://www.musee-moreau.fr/%E2%80%8E">Gustave Moreau National Museum</a> and open to the public. Located in the 9<sup>th</sup>
arrondissement of Paris, on a residential street, is this wondrous artists’
home. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpVxre323QK8nAltt7KH_7JWpZCRfnWEBbnsfYRLDzeblygChuz4cf32zAcLTn5P_iz2z6GS-hYFogSvUSnQdjjikGepvELbHVCTRwNMfoQkOceRcFIzg1gUS7R8OiFsK1hTnZVcprXyBR/s1600/Moreau+interior%5D.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpVxre323QK8nAltt7KH_7JWpZCRfnWEBbnsfYRLDzeblygChuz4cf32zAcLTn5P_iz2z6GS-hYFogSvUSnQdjjikGepvELbHVCTRwNMfoQkOceRcFIzg1gUS7R8OiFsK1hTnZVcprXyBR/s400/Moreau+interior%5D.jpg" width="300" /></a></div>
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Interior of Gustave Moreau's home</div>
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Gustave Moreau lived and worked in this beautiful setting
from 1852, until his death in 1898. The living quarters are small and lavishly decorated
with artwork, fine furniture and ceramics.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjNiDRIwB3k7GW0Kmk7GIPH9wdg646WN1DjdeM59huOukq29bqgRpTw6iMc3CTMZXOUHLDuI1bWRDD-Hd0ZbLLgNrB8aevQDH5fWCxXuEhtZ7Qh86QkBBdH9Hgz-OsSYU600_z8IYBvtjc/s1600/Moreau-second+floor+studio.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjNiDRIwB3k7GW0Kmk7GIPH9wdg646WN1DjdeM59huOukq29bqgRpTw6iMc3CTMZXOUHLDuI1bWRDD-Hd0ZbLLgNrB8aevQDH5fWCxXuEhtZ7Qh86QkBBdH9Hgz-OsSYU600_z8IYBvtjc/s400/Moreau-second+floor+studio.jpg" width="300" /></a></div>
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View of the second floor studio</div>
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To visit the studio, located on the second and third floors,
is to be transported to Moreau’s world. The
space is large and well lit by large windows and ample wall space for the
numerous large-scale works. Moreau’s thousands of framed drawings are handsomely
preserved throughout the studio in flat files and in cases behind drapes (to
keep them from direct light exposure.) <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWmn1I_3jUUR9aqKwl0nNvg_11m_5gGGATnJaitjfYRoN7ev8Unfe-86PRRBgzM5-hJ73ip6bTMuD34wgWEsMuxzDVeEaI1TFK-JscUmAghKiSFZGXrNzr6fABPStLTIb6JhzTq4B3xttm/s1600/Moreau+Staircase.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWmn1I_3jUUR9aqKwl0nNvg_11m_5gGGATnJaitjfYRoN7ev8Unfe-86PRRBgzM5-hJ73ip6bTMuD34wgWEsMuxzDVeEaI1TFK-JscUmAghKiSFZGXrNzr6fABPStLTIb6JhzTq4B3xttm/s400/Moreau+Staircase.jpg" width="300" /></a></div>
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Spiral staircase that leads to the third floor studio and exhibition space.</div>
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Gustave Moreau was a most prolific artist creating an estimated
10,000 paintings drawings, sculptures and watercolors. His focus was large-scale
biblical and mythological scenes. His
studio is a treasure trove of drawings, preparatory sketches and sculptures
made in planning his paintings. These preparatory
objects offer insight into Moreau’s process.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR7QpbARTeL6UrMkbDvfPY1qPTSgP2ca6lYDJ5dRBwUBaniknC0YfpiPUTt9jGsMGdjqPA5RWMVXhpxdmJDX5BYhNK7L6rhxjD-iOObJXe4PuGjGeYbeXaeCId_RN7qQ0sb9GxS3Le9ECX/s1600/Moreau-horsesculpture.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR7QpbARTeL6UrMkbDvfPY1qPTSgP2ca6lYDJ5dRBwUBaniknC0YfpiPUTt9jGsMGdjqPA5RWMVXhpxdmJDX5BYhNK7L6rhxjD-iOObJXe4PuGjGeYbeXaeCId_RN7qQ0sb9GxS3Le9ECX/s400/Moreau-horsesculpture.jpg" width="300" /></a></div>
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Horse sculptures by Moreau, created as studies for his paintings.</div>
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While studying at the <a href="http://en.wikipedia.org/wiki/%C3%89cole_des_Beaux-Arts">Ecole des Beaux-Arts</a> Moreau was
influenced by master painters such as <a href="http://en.wikipedia.org/wiki/Michelangelo%E2%80%8E">Michelangelo</a> and <a href="http://en.wikipedia.org/wiki/Rembrandt%E2%80%8E">Rembrandt</a> as well as
ancient and medieval art. He would go on
to have an effect on the work of <a href="http://en.wikipedia.org/wiki/Henri_Matisse%E2%80%8E">Matisse</a> and the <a href="http://en.wikipedia.org/wiki/Fauvism%E2%80%8E">Fauves</a>, as well as the <a href="http://en.wikipedia.org/wiki/Surrealism%E2%80%8E">surrealists</a> and even the <a href="http://en.wikipedia.org/wiki/Abstract_expressionism%E2%80%8E">abstract expressionists</a>.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglipdJ6Z9HG6lICofEBAiqM2Cd_5uS9ADQkJXQBmDzI_lVKwtLw8vijKXUW1tmer7ncrgmC_8GepxMEn4oPQ170bcJKABzuoG5YFgNNjI1xAn9zwCgfARdeGZZ5BdfroFNkUCW6BJfOhnL/s1600/~.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglipdJ6Z9HG6lICofEBAiqM2Cd_5uS9ADQkJXQBmDzI_lVKwtLw8vijKXUW1tmer7ncrgmC_8GepxMEn4oPQ170bcJKABzuoG5YFgNNjI1xAn9zwCgfARdeGZZ5BdfroFNkUCW6BJfOhnL/s400/~.jpg" width="256" /></a></div>
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"Jupiter and Semele", 1895, oil painting by Gustave Moreau.</div>
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While still in his thirties Moreau wrote, “<i>I think of my death and the fate of all
these works and compositions I have taken such trouble to collect. Separately they will perish, but taken as a
whole they give an idea of what kind of an artist I was and in what kind of
surroundings I chose to live my dreams.”</i></div>
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<i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3lgiL6jK7RSPC0G9yh21e3il-D4Y_klIfhbBjlOjPgDMCCWVwXUbliDSG3tD-W96WcBKTYPn5_Yinvu4I0sdgKQymvpuCTA2gjBYLFb7Del5pVLcHBjIgCeEi06LIF_UwKviuXnO4-Bw1/s1600/Moreau-studio.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3lgiL6jK7RSPC0G9yh21e3il-D4Y_klIfhbBjlOjPgDMCCWVwXUbliDSG3tD-W96WcBKTYPn5_Yinvu4I0sdgKQymvpuCTA2gjBYLFb7Del5pVLcHBjIgCeEi06LIF_UwKviuXnO4-Bw1/s400/Moreau-studio.jpg" width="300" /></a></i></div>
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<i> </i>Third floor studio and exhibition space.</div>
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Moreau’s home opened to the public in 1903. I highly recommend a trip to this fascinating
collection. I also recommend two books
that contain chapters about the museum and collection.
“Artists in Residence” by <a href="http://www.danamicucci.com/">Dana Micucci,</a> this amazing book has inspired me
to visit many artists’ homes, in
including those of Delacroix, Bonheur, Daubigny, Van Gogh and Monet. The book “Artists
Houses” by <a href="http://www.goodreads.com/author/show/178584.G_rard_Georges_Lemaire%E2%80%8E">Gerard-Georges Lemaire</a> is also fascinating.<o:p></o:p></div>
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<o:p> All photographs by Marie Dauenheimer.</o:p></div>
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<!--EndFragment-->Marie Dauenheimerhttp://www.blogger.com/profile/08737335775162472766noreply@blogger.com0tag:blogger.com,1999:blog-178868737261895859.post-59947940125736624112013-03-19T14:57:00.000-07:002013-03-19T16:04:09.813-07:00Blogging from Paris<!--[if gte mso 9]><xml>
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Tomorrow I fly to Paris with my daughter Lily. We plan on sketching and visiting museums we
have heard about, but never had the opportunity to see. I hope to blog about these collections from
my iPad. <o:p></o:p></div>
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<br /></div>
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As a preview here are a few of the museums we hope to visit. At the
top of the list is the<a href="http://musee-jacquemart-andre.com/en/discover"> Musee Jacquemart Andre</a>, recommended by friends Laura
Primrose and Avery Fullerton. This late
19<sup>th</sup> century mansion houses what looks to be an exceptional
collection of paintings, sculptures and decorative arts. The museum is currently the venue for a <a href="http://en.wikipedia.org/wiki/Eug%C3%A8ne_Boudin">Eugene Boudin</a> landscape painting exhibition.<o:p></o:p></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj0Sc4wig7TrkILtVQU7UpJp24exE3ZM4L89HAy1i3YSkqBJucKSx77-TPA9qo3p5_6oZlVYfXnDKWFjK193ecspApYBd5RcuoDzQFIeJU1BtVoducQiAZvPqk8siLxCwqhUmtev7IQYrJ/s1600/Inside-Muse%CC%81e-Jacquemart-Paris-Museum.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj0Sc4wig7TrkILtVQU7UpJp24exE3ZM4L89HAy1i3YSkqBJucKSx77-TPA9qo3p5_6oZlVYfXnDKWFjK193ecspApYBd5RcuoDzQFIeJU1BtVoducQiAZvPqk8siLxCwqhUmtev7IQYrJ/s400/Inside-Muse%CC%81e-Jacquemart-Paris-Museum.jpg" width="400" /></a></div>
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Inside the Musee Jacquemart Andre</div>
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<br /></div>
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Also on the list is <a href="http://carnavalet.paris.fr/%20-">Musee Carnavalet,</a> set in two Renaissance
style mansions in the <a href="http://en.wikipedia.org/wiki/Le_Marais">Marais</a> section of Paris, this museum highlights the
history of Paris.<o:p></o:p></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzeOuf1Fk_ipwqzHqQviK-Rgy_jADPgYApzfAwG2Kn1Vl9NCeqZcGND7POllDo97Hhno-6BXcWGI1VXaKWioXd3swTYKIyhWhy8pcCgiyFJ6p3OsCS29ZbSl1OBYPhKZe19bARJ56ZP0Cn/s1600/Carnvalet-php.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzeOuf1Fk_ipwqzHqQviK-Rgy_jADPgYApzfAwG2Kn1Vl9NCeqZcGND7POllDo97Hhno-6BXcWGI1VXaKWioXd3swTYKIyhWhy8pcCgiyFJ6p3OsCS29ZbSl1OBYPhKZe19bARJ56ZP0Cn/s400/Carnvalet-php.jpg" width="400" /></a></div>
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<o:p> Central garden at Musee Carnavalet</o:p></div>
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<o:p><br /></o:p></div>
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The <a href="http://www.lesartsdecoratifs.fr/">Musee des Arts Decoratifs</a> is know for their elegant
exhibitions of fashion history. The collection offers furniture and fashion
designs from the Middle Ages through the present day. While there Lily and I hope to see the
current exhibition <a href="http://www.lesartsdecoratifs.fr/francais/accueil-292/une-486/francais/mode-et-textile/expositions-70/actuellement-447/fashioning-fashion-deux-siecles-de/">“Fashioning Fashion: Two Centuries of European Fashion 1700–1915”</a>.<o:p></o:p></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg0HOKou7tr_jirkmN1PjdHWrunztJaQc1ZCv1TlISgK_fn1IIbjVYTLKNcD2MYlA8McOsO-hxCOUVs2T1fRPGNxjbmEzlLvh2IUDl5B2Tz34fFxkNRU28fYKHRCbcph0yElpECgEij7gy/s1600/77962_overall-inside-view-of-musee-des-arts-decoratifs-before-official-reopening-after-a-decade-of-work.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg0HOKou7tr_jirkmN1PjdHWrunztJaQc1ZCv1TlISgK_fn1IIbjVYTLKNcD2MYlA8McOsO-hxCOUVs2T1fRPGNxjbmEzlLvh2IUDl5B2Tz34fFxkNRU28fYKHRCbcph0yElpECgEij7gy/s400/77962_overall-inside-view-of-musee-des-arts-decoratifs-before-official-reopening-after-a-decade-of-work.jpg" width="400" /></a></div>
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Inside Musee des Arts Decoratifs.</div>
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<br /></div>
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Finally we hope to visit <a href="http://www.musee-moreau.fr/">Musee Gustave Moreau</a>, the former home and studio of 19<sup>th</sup> century symbolist Guatve
Moreau with thousands of his works on view.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlL8CK85TwbDKCHstfuIvNdDSvOJIwWo1UpSuTG6sLEGzpiaG4qtxzUVIvMgQi_SndPhHz1WMO91OwcRkymuisPNn5sze_VMG5U95NN1N_NiMQ3qA4rytWle-nwCoahJvh1dbsPE-kq6UX/s1600/moreau.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlL8CK85TwbDKCHstfuIvNdDSvOJIwWo1UpSuTG6sLEGzpiaG4qtxzUVIvMgQi_SndPhHz1WMO91OwcRkymuisPNn5sze_VMG5U95NN1N_NiMQ3qA4rytWle-nwCoahJvh1dbsPE-kq6UX/s400/moreau.jpeg" width="400" /></a></div>
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Inside Musee Gustave Moreau.</div>
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<br /></div>
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If time permits we hope we return to the <a href="http://www.musee-orsay.fr/en/home.html">Musee D’Orsay</a>, and visit the <a href="http://en.wikipedia.org/wiki/Petit_Palais">Petite Palais</a> and <a href="http://www.musee-delacroix.fr/en/">Musee Eugene Delacroix.</a><o:p></o:p></div>
<!--EndFragment-->Marie Dauenheimerhttp://www.blogger.com/profile/08737335775162472766noreply@blogger.com1tag:blogger.com,1999:blog-178868737261895859.post-45465800559922990932013-03-10T15:13:00.002-07:002015-02-19T07:31:11.894-08:00Watercolor Wash Drawing with Robert Liberace <!--[if gte mso 9]><xml>
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As many of you know I frequently blog about master drawings
and the process of how they were created.
I am currently taking a master drawing techniques class at the <a href="http://www.theartleague.org/">Art League</a> in Alexandria, Virginia. The instructor,
the renowned <a href="http://www.robertliberace.com/">Robert Liberace</a>, is an accomplished painter, draughtsman and
sculptor. <o:p></o:p></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMOJYnjBVce5YfJCSuNTOoH6QMxAZ_dv05Nct3RwCbWEDha8dFs3t_ZbjMroV080Et-PP_cLxG7yqSZsr0I9iBnkY7qPt3P5odmHCRgLwwLZpkSxuzsyPb0HjZ2Ym27qfgyruzeJD3WKUh/s1600/Lily+and+Liberace.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMOJYnjBVce5YfJCSuNTOoH6QMxAZ_dv05Nct3RwCbWEDha8dFs3t_ZbjMroV080Et-PP_cLxG7yqSZsr0I9iBnkY7qPt3P5odmHCRgLwwLZpkSxuzsyPb0HjZ2Ym27qfgyruzeJD3WKUh/s400/Lily+and+Liberace.jpg" height="400" width="300" /></a></div>
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<o:p> Model Lily Dunlap with Robert Liberace as he sets up the pose.</o:p></div>
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<o:p><br /></o:p></div>
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In todays class Liberace created two very different
portraits using watercolor washes. The
portraits were of my husband and daughter who modeled in 18<sup>th</sup> costume.<o:p></o:p></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbEywwxC4Vjc2cbqp-WOlngd4AyCYD53EVdTkg3N_BQ-yj_myJ0GdGsOZbapszImNYWAYBmntdjYK9rVZp7d92zxUnCObMYJaNofDsyzz9MabKYYhINa0bXAUcK9359zu4iYdNFpBin1z8/s1600/Liberace+sketching.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbEywwxC4Vjc2cbqp-WOlngd4AyCYD53EVdTkg3N_BQ-yj_myJ0GdGsOZbapszImNYWAYBmntdjYK9rVZp7d92zxUnCObMYJaNofDsyzz9MabKYYhINa0bXAUcK9359zu4iYdNFpBin1z8/s320/Liberace+sketching.jpg" height="320" width="274" /></a></div>
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Robert Liberace working on painting of Lily in 18th century costume.</div>
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<br /></div>
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For Liberace the process starts with setting up the pose and
lighting. As he choreographs the pose he
thinks about the light, form, pattern and composition. For the watercolor painting he did of Lily he
used a monochromatic watercolor wash on <a href="http://www.twinrocker.com/">Twinrocker </a>handmade paper. Watercolor wash, unlike ink wash, can be
moved around and manipulated, ink wash tends to stain the paper. <o:p></o:p></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfE7GsMcs0-G8MU5YA192UgfB-nmimzzuWHwmwYvScdtqGz_sauvZDa6QvPwQXwnht1EvP-L05i5GOsAk8oiAyw-N8GRupIhCxNZHX5w7xr_qWSrNCMramXOIjet0k2QyvsQ2H4nogKAQO/s1600/Painting+of+Lily.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfE7GsMcs0-G8MU5YA192UgfB-nmimzzuWHwmwYvScdtqGz_sauvZDa6QvPwQXwnht1EvP-L05i5GOsAk8oiAyw-N8GRupIhCxNZHX5w7xr_qWSrNCMramXOIjet0k2QyvsQ2H4nogKAQO/s400/Painting+of+Lily.jpg" height="400" width="260" /></a></div>
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<o:p> Watercolor wash painting of Lily by Robert Liberace.</o:p></div>
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<o:p><br /></o:p></div>
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As Liberace builds up the form he is conscious of not over
working the dress, he wants to keep the image fresh and fluid. He lets the white of the paper show through as the
highlights and lighter values. he uses dark accents to describe areas of shadow. The fluidity of his brushwork is remeniscent
of <a href="http://en.wikipedia.org/wiki/Giovanni_Battista_Tiepolo">Tiepolo</a>. The figure’s dress and pose recall <a href="http://en.wikipedia.org/wiki/Rococo">Rococo</a> artists such as <a href="http://en.wikipedia.org/wiki/Antoine_Watteau">Watteau</a>
and <a href="http://en.wikipedia.org/wiki/Jean-Honor%C3%A9_Fragonard">Fragonard</a>.<o:p></o:p></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5J8msx4aN7gwPmdX3ZGcGt25CyfpitmvXH4bAkBOQHdj0BsyY-B4CohoOTtJPc6rncdOR07wJ_6GfoQYz6wMDpZXAm7Jrdh4AP9cr-a2ccDZ0v5AKgDFCAzH3fRby2a51GaK7OShoyAI9/s1600/Sam+posing.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5J8msx4aN7gwPmdX3ZGcGt25CyfpitmvXH4bAkBOQHdj0BsyY-B4CohoOTtJPc6rncdOR07wJ_6GfoQYz6wMDpZXAm7Jrdh4AP9cr-a2ccDZ0v5AKgDFCAzH3fRby2a51GaK7OShoyAI9/s400/Sam+posing.jpg" height="400" width="262" /></a></div>
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<o:p> Sam Dunlap posing as a buccaneer.</o:p></div>
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<o:p><br /></o:p></div>
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For the watercolor portrait of Sam, as a buccaneer, Liberace
started with a light graphite sketch and progressed to blocking in the flat
areas of color with light washes. As he
worked he carefully observed the model and the nuances of light, shadow and color
temperature. The resulting portrait is a
sensitive study, done with a confident and energetic brushwork, that captures
the character of the sitter.<o:p></o:p></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSH06SLgOaqteAfckm_3OE3yrt9zrxwKe9lUpLfcmGCNoScj10ueffpNGrhUDEfzr6BW4BGknTxWfnAoG-tkxFmZKiqC0Xi2ITt8LwYYL8K9PDlbPbnz7uRvEDpJ6cLhbBXvg-HbA1ks5a/s1600/Sam-portrait.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSH06SLgOaqteAfckm_3OE3yrt9zrxwKe9lUpLfcmGCNoScj10ueffpNGrhUDEfzr6BW4BGknTxWfnAoG-tkxFmZKiqC0Xi2ITt8LwYYL8K9PDlbPbnz7uRvEDpJ6cLhbBXvg-HbA1ks5a/s400/Sam-portrait.jpg" height="400" width="300" /></a></div>
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Watercolor wash portrait of Sam by Robert Liberace.</div>
<!--EndFragment-->Marie Dauenheimerhttp://www.blogger.com/profile/08737335775162472766noreply@blogger.com0tag:blogger.com,1999:blog-178868737261895859.post-76771982685944503722013-03-04T11:13:00.001-08:002013-03-10T14:12:37.098-07:00Visiting Cezanne’s Studio in Aix en Provence, France<!--[if gte mso 9]><xml>
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“This house in which there was no furniture or ornaments,
was filled up by the presence of the artist, there existed a visible harmony
between the two.” <a href="http://www.amazon.com/C%C3%A9zanne-Georges-Rivi%C3%A8re-GEORGES-RIVIERE/">Georges Riviere</a>, art
critic<o:p></o:p></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQGuS0fGvBZw7W6PJbpzP0fm8MAKkzIzR2giSFYr24sQhGQzBnHwJug9dYIr5JdDMdYmDiyAs3jcH304yIyTfgTex79GTCkZKTyyJk4xgd0Q9fi3Q9DaPNSzV-4NtUWnQmupNHLZ23Am-z/s1600/Cezanne's+Aix+Studio.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQGuS0fGvBZw7W6PJbpzP0fm8MAKkzIzR2giSFYr24sQhGQzBnHwJug9dYIr5JdDMdYmDiyAs3jcH304yIyTfgTex79GTCkZKTyyJk4xgd0Q9fi3Q9DaPNSzV-4NtUWnQmupNHLZ23Am-z/s400/Cezanne's+Aix+Studio.jpg" width="300" /></a></div>
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<o:p> Cezanne's studio in Aix en Provence. Photo by Marie Dauenheimer.</o:p></div>
<div class="MsoNormal">
<o:p><br /></o:p></div>
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Last year I had the unique experience of visiting <a href="http://en.wikipedia.org/wiki/Paul_C%C3%A9zanne">Paul Cezanne</a>’s
(1839-1906) studio in <a href="http://en.wikipedia.org/wiki/Aix-en-Provence">Aix en Provence</a>, France.
It was the last studio Cezanne would have and he would spend four productive
years painting there. <a href="http://www.atelier-cezanne.com/">The studio</a> was
build under Cezanne’s direction and completed in 1902. The plot of land was selected to offer a view
of Cezanne’s muse and often-painted motif, <a href="http://www.ibiblio.org/wm/paint/auth/cezanne/st-victoire/">Mont Sainte Victoire</a>. It is estimated that Cezanne painted his
beloved mountain over 100 times.<o:p></o:p></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgthKPlxnPDBkYUwr1Of6Uc6lmFPGDnu01zGEsQqizV2qY_Qb6AFaQeiSzTsskfd4bPbkRa3gEKWAgage5SUQN_Xo62Jsdp4UbnKDgZp9nXGC8GFuRTqaesTeO49iEanHXcXaQtQ1GjHwj2/s1600/mtst.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="323" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgthKPlxnPDBkYUwr1Of6Uc6lmFPGDnu01zGEsQqizV2qY_Qb6AFaQeiSzTsskfd4bPbkRa3gEKWAgage5SUQN_Xo62Jsdp4UbnKDgZp9nXGC8GFuRTqaesTeO49iEanHXcXaQtQ1GjHwj2/s400/mtst.jpg" width="400" /></a></div>
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Painting by Cezanne of Mont Sainte Victoire.</div>
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<br /></div>
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I visited with my daughter on a drizzly afternoon in April. Lilacs
and other flowering trees were blooming outside the studio. The building is a solid
structure, with a yellow stucco exterior and muted salmon colored shutters. While none of Cezanne’s paintings are on view at
the studio you get a sense of the artist through what is left behind, his still
life props, easel and other accouterments.
This presence and sense of the artist is the reason I love visiting
artist’s studios and homes. <o:p></o:p></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw3Olh5v1XRsjcJi3xYVxDag-xPZsn9j1gpxb5A-BI1KsCdOxzbIDnkcETOxD5aKPqQATZNLq6jjEguaQeJ3kLbbAh4xZgmhB145Op2JpeQA9wJ3WGx-mhRvUDJ15dX0iaB6bN_UVpnKsH/s1600/Cezanne's+studio-interior.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw3Olh5v1XRsjcJi3xYVxDag-xPZsn9j1gpxb5A-BI1KsCdOxzbIDnkcETOxD5aKPqQATZNLq6jjEguaQeJ3kLbbAh4xZgmhB145Op2JpeQA9wJ3WGx-mhRvUDJ15dX0iaB6bN_UVpnKsH/s400/Cezanne's+studio-interior.jpg" width="358" /></a></div>
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Cezanne's studio, interior view.</div>
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<br /></div>
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Cezanne is said to have kept regular business hours for
painting. He arrived at the studio in the
morning and worked until evening surrounded by the blue gray walls and the
cherished objects, bowls, sculptures and skulls, that fill his canvasses. Large windows offered both southern and
northern exposures.<o:p></o:p></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8PWsJSAwYbiNhaG-Vcw6s4LHhSfFjD5tiqG-txWxcVrmRblu-hw-C68lzat-kd0m1qyunjDgbm3ytS0PtGQ7w9PM5rD_PJZZpqzkH3RtutssZYGFLGwyieV4UNURdH4Zn9r8t53prwgYL/s1600/cezanne3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8PWsJSAwYbiNhaG-Vcw6s4LHhSfFjD5tiqG-txWxcVrmRblu-hw-C68lzat-kd0m1qyunjDgbm3ytS0PtGQ7w9PM5rD_PJZZpqzkH3RtutssZYGFLGwyieV4UNURdH4Zn9r8t53prwgYL/s400/cezanne3.jpg" width="400" /></a></div>
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<o:p> Cezanne's studio, interior view.</o:p></div>
<div class="MsoNormal">
<o:p><br /></o:p></div>
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After Cezanne’s death in 1906 the studio was not used
for 15 years. Cezanne’s son sold the studio in 1921 and finally the studio
opened to the public in 1952.<o:p></o:p></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh9TY63F7mVdADvOMvq_qIyuodlqVY0UYrEEnYLhZXXn86T7Qi98IA8x2LK3pF-LlNYJcSS3Oa0n9nzLa2TNjs8Ymy88eIMnzetyC2SUXf5wQJSKUDsLS5RtZLqDWpDqVvxSqHX3YF9XPD/s1600/cezanne-still-life-with-a-ginger-jar-and-eggplants-mid.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh9TY63F7mVdADvOMvq_qIyuodlqVY0UYrEEnYLhZXXn86T7Qi98IA8x2LK3pF-LlNYJcSS3Oa0n9nzLa2TNjs8Ymy88eIMnzetyC2SUXf5wQJSKUDsLS5RtZLqDWpDqVvxSqHX3YF9XPD/s400/cezanne-still-life-with-a-ginger-jar-and-eggplants-mid.jpg" width="400" /></a></div>
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A still life painting by Cezanne featuring objects in his studio.</div>
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<br /></div>
<div class="MsoNormal">
If you are in Provence I highly recommend a visit to the
studio as a homage to Cezanne and his masterful works. For more information on visiting the studio go to <o:p></o:p>www.atelier-<b>cezanne</b>.com</div>
<div class="MsoNormal">
<br /></div>
<!--EndFragment-->Marie Dauenheimerhttp://www.blogger.com/profile/08737335775162472766noreply@blogger.com1tag:blogger.com,1999:blog-178868737261895859.post-29892826992018106652013-02-25T04:24:00.000-08:002013-02-25T04:24:13.414-08:00Painting on Paper, Josef Albers in America
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“Color is fooling us all the time”, so said color theorist
and painter extraordinaire <a href="http://en.wikipedia.org/wiki/Josef_Albers">Josef Albers</a>.
Josef Albers (1888-1976) a German painter, who taught at the <a href="http://en.wikipedia.org/wiki/Bauhaus">Bauhaus</a>, is
best known for this <a href="http://en.wikipedia.org/wiki/Minimalism">minimalist</a> paintings, advances in art education and
influence in the study of color theory.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEileJQZ66lKO2jjZr9tCO-0NaLzeDdNNmt7st9KFpP2z27XXOd1ewkKznxHdE4mBBJH76wENA3suB0rMc3Bbk5xgAIPEPpK8PnGkml07gHqWGaEEnqecN7WAPkMYtZ6PUD1_u2eroQgzvBo/s1600/albers+study.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEileJQZ66lKO2jjZr9tCO-0NaLzeDdNNmt7st9KFpP2z27XXOd1ewkKznxHdE4mBBJH76wENA3suB0rMc3Bbk5xgAIPEPpK8PnGkml07gHqWGaEEnqecN7WAPkMYtZ6PUD1_u2eroQgzvBo/s400/albers+study.jpg" width="252" /></a></div>
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Color study for Homage to the Square by Josef Albers , oil on paper, date unknown.</div>
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In September I had the pleasure of attending an exhibition
of Albers’ works on paper at the <a href="http://www.themorgan.org/">Morgan Library</a> in New York. The show was intriguing in that it featured eighty of Albers’
works on paper. His working sketches if
you will. They offered insight into his
process of his signature style geometric painting.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkplP2Wwy9yRJxRxLp6gmLyF-LVvO1Y8Sb3gPmPaQZTM_lbFt11IzgjPVffT7BUkO2TFT-XJznrp5YD2QpJzyMPOsc5IcHAyTddD-N9On7aXDt7KdPf2xbrNXw-Ts9Tv0-WONQBXWhaiJW/s1600/albers+study+in+red.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkplP2Wwy9yRJxRxLp6gmLyF-LVvO1Y8Sb3gPmPaQZTM_lbFt11IzgjPVffT7BUkO2TFT-XJznrp5YD2QpJzyMPOsc5IcHAyTddD-N9On7aXDt7KdPf2xbrNXw-Ts9Tv0-WONQBXWhaiJW/s400/albers+study+in+red.jpg" width="376" /></a></div>
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Color study for Homage to the Square by Josef Albers , oil on paper, date unknown.</div>
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Josef Albers had a stellar career in art education transforming
ideas on color theory. He taught at the Bauhaus, from 1923-1933, with such
luminaries as <a href="http://en.wikipedia.org/wiki/Wassily_Kandinsky">Wassily Kandinsky</a>, <a href="http://en.wikipedia.org/wiki/Oskar_Schlemmer">Oskar Schlemmer</a> and <a href="http://en.wikipedia.org/wiki/Paul_Klee">Paul Klee</a>, under the
direction of <a href="http://en.wikipedia.org/wiki/Walter_Gropius">Walter Gropius</a>. In 1933 he emigrated to the United States and became
director at the <a href="http://en.wikipedia.org/wiki/Black_Mountain_College">Black Mountain College</a> in North Carolina, where his students
included <a href="http://en.wikipedia.org/wiki/Robert_Rauschenberg">Robert Rauschenberg</a> and <a href="http://en.wikipedia.org/wiki/Cy_Twombly">Cy Twombly</a>. Finally in 1950 he landed at <a href="http://www.yale.edu/">Yale University</a>
for the duration of his career. This is where he would spend the next 25 years
experimenting with color and his geometric paintings.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm2G-1DbLMx25IJFBspFfeRlQx82CWzsHpmwDpXeSF7lTqgsiCeK86SmjcUavlHq1ngklwYZlxraroa_spuJIl0_RkvG_TI4bK80kOdku4KXwZTp-kwi1-572akhFSMP-c2tMMGYHOAzut/s1600/albers-green.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm2G-1DbLMx25IJFBspFfeRlQx82CWzsHpmwDpXeSF7lTqgsiCeK86SmjcUavlHq1ngklwYZlxraroa_spuJIl0_RkvG_TI4bK80kOdku4KXwZTp-kwi1-572akhFSMP-c2tMMGYHOAzut/s400/albers-green.jpg" width="328" /></a></div>
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Color study for Homage to the Square by Josef Albers , oil on paper, date unknown.</div>
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Albers is best known for his abstract painting of
overlapping squares featuring <a href="http://www.tigercolor.com › Color Lab › Color Theory">color harmonies</a>.
He never mixed his colors, but rather used color directly from the tube
applied carefully with a palette knife.
His small scale, hard edge, symmetrical compositions were a response to
the large and gestural works of the abstract expressionists and he would go on
to influence movements such as minimalism and op art.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgXZJEzaf5n1BWwEyps04P0mKrSnuHlvso19qh_fpuRuv7sEevudDb4ymjzlppYuTrR1HR9fUZKtTlfec8zvaoTA7uRTi2bCECofLNJSjjpOio9VTaki7YBQP-QQaNR6KXxk4ylvTB4CCE/s1600/albers-yellow.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgXZJEzaf5n1BWwEyps04P0mKrSnuHlvso19qh_fpuRuv7sEevudDb4ymjzlppYuTrR1HR9fUZKtTlfec8zvaoTA7uRTi2bCECofLNJSjjpOio9VTaki7YBQP-QQaNR6KXxk4ylvTB4CCE/s400/albers-yellow.jpg" width="400" /></a></div>
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Color study for Homage to the Square by Josef Albers , oil on paper, date unknown.</div>
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From 1950 until 1976 Albers focused on his homage to the
square or as he said “I am not paying “homage to the square”. It’s only the dish I serve my craziness
about color in”.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhElRrvL2atG3MolfOV_0NcDzD5syprs5k2zCftexR8G5aQd_i5m4J8S6327J1kiEeVrah602ToO0NDgAwVp9eoSngWTcdgElXMXXMAPwTGZB1HFTO-46jtk06MqWZjNfPbetFTgvJ3UFLg/s1600/albers-gray+and+orange.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhElRrvL2atG3MolfOV_0NcDzD5syprs5k2zCftexR8G5aQd_i5m4J8S6327J1kiEeVrah602ToO0NDgAwVp9eoSngWTcdgElXMXXMAPwTGZB1HFTO-46jtk06MqWZjNfPbetFTgvJ3UFLg/s320/albers-gray+and+orange.jpg" width="227" /></a></div>
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Color study for Homage to the Square by Josef Albers , oil on paper, date unknown.</div>
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Indeed Albers was not crazy, but methodical in his
observations on color harmonies. He
noted on each piece what colors he used and what manufacturer made the paint,
he annotated his use of varnish and other medium “I am not an acrobat in my painting. I am a cook”.<o:p></o:p></div>
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Josef Albers, oil on canvas, Hirschhorn Museum, date unknown.</div>
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The catalog for this exhibition “<a href="http://www.themorgan.org/exhibitions/exhibition.asp?id=62">Painting on Paper, JosefAlbers in America</a>” includes a few fascinating essays by Heinz Liesbroc, Michael
Semff and Isabelle Dervaux.<o:p></o:p></div>
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<!--EndFragment-->Marie Dauenheimerhttp://www.blogger.com/profile/08737335775162472766noreply@blogger.com2tag:blogger.com,1999:blog-178868737261895859.post-83516423825026615982013-02-11T06:56:00.001-08:002013-02-11T06:56:09.234-08:00"Durer to de Kooning" Master Drawings at the Morgan Library<!--[if gte mso 9]><xml>
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It was a pleasure to view the <a href="http://www.themorgan.org/exhibitions/exhibition.asp?id=65">“Durer to de Kooning, 100 Master Drawings from Munich”</a> exhibition at the <a href="http://www.themorgan.org/">Morgan Library</a> in New York. The Morgan is a wonderful, intimate museum and often features master drawings exhibitions.<br />
<br />
Those of you who follow my blog known I have a passionate interest
in master drawings. I enjoy looking,
studying and copying them. I enjoy using
master drawings techniques in my work. Since I have been using pen, ink and
wash, charcoal, and red chalk as of late I decided to focus on drawings in the
exhibition that utilize these materials.<o:p></o:p></div>
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All the drawings in this exhibition were truly masterful and compelling
in their own way. The ones I was most
attracted to were done in a rapid visualization style and showcase an energetic
rather than meticulous style. <a href="http://en.wikipedia.org/wiki/Pontormo">Jacopo Pontormo</a>’s (1494-1557) <a href="http://en.wikipedia.org/wiki/Red_chalk">red chalk</a>
drawing <i>Two Standing Women</i>, (1530) is
stunning for its sense of animation and confident three dimensional rendering. I love the way Pontormo suggests the fluidity
of the gowns without over rendering.
This short hand of line allows the viewer to wonder and speculate about
who these women are.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiFVSLRqZ21QM8wbm9QDVmfC1CL7kqOTzQpOk6iaMG2MD2DX50a6nDFfqVoC_NRhra6XV2yPwrw_Xhg4zkQ0dxvmhuXNt0gHPkMO59hrFqWsbOdIFaUZcM9iYq5oRG87n5vr3oZrzrkhr5/s1600/~.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiFVSLRqZ21QM8wbm9QDVmfC1CL7kqOTzQpOk6iaMG2MD2DX50a6nDFfqVoC_NRhra6XV2yPwrw_Xhg4zkQ0dxvmhuXNt0gHPkMO59hrFqWsbOdIFaUZcM9iYq5oRG87n5vr3oZrzrkhr5/s400/~.jpg" width="276" /></a></div>
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Red chalk drawing <i>Two Standing Women</i> by Jacopo Pontormo, 1530.</div>
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<a href="http://en.wikipedia.org/wiki/Pietro_da_Cortona">Pietro da Cortona</a> (1596-1669), whose anatomical drawings I
have long admired, surprised me with this dynamic <a href="http://en.wikipedia.org/wiki/Pen">pen and ink</a> and wash portrayal
of <i>Age of Bronze:</i> <i>Design for a Mural in the Pitti Palace</i>,
(1641). As you can see from the finished <a href="http://en.wikipedia.org/wiki/Fresco">fresco</a>, Cortona worked out many of the
compositional elements in this initial sketch.
A <a href="http://en.wikipedia.org/wiki/Pentimento">pentimento</a> by Cortona can be seen in the upper right hand corner.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqXi5oTqhbgNAHvxYA_KwP6EgHZMO3vPYaKk_vK1a0w61uieif4Me7qoCa4DetSkxudVy9I2l_7KctZk0a2zt7f2sbZGJW26Mi0JlBvyESCqc3pEPWEXGzxrVkZH1wg1bir6TokVxOS5_o/s1600/~Pietro+da+Cortona.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqXi5oTqhbgNAHvxYA_KwP6EgHZMO3vPYaKk_vK1a0w61uieif4Me7qoCa4DetSkxudVy9I2l_7KctZk0a2zt7f2sbZGJW26Mi0JlBvyESCqc3pEPWEXGzxrVkZH1wg1bir6TokVxOS5_o/s400/~Pietro+da+Cortona.jpg" width="305" /></a></div>
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Pen and ink drawing <i>Age of Bronze</i> by Pietro da Cortona, 1641.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIyb7W7SEdTUbbHpzFYW4O6uUJUSQByO_sYQtniGioC7JP5RMOa9N697ZVvIln4sx1zyHnu1TSvst_VT1cX6p9RqqMms9XJcGXHIjJDaVDjyGyNWp-rkfqR2GLIFY17Wkhx7kCKAbaKC9-/s1600/the-age-of-bronze-1641.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIyb7W7SEdTUbbHpzFYW4O6uUJUSQByO_sYQtniGioC7JP5RMOa9N697ZVvIln4sx1zyHnu1TSvst_VT1cX6p9RqqMms9XJcGXHIjJDaVDjyGyNWp-rkfqR2GLIFY17Wkhx7kCKAbaKC9-/s400/the-age-of-bronze-1641.jpg" width="281" /></a></div>
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Fresco <i>Age of Bronze</i> by Pietro da Cortona, 1641.</div>
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<a href="http://en.wikipedia.org/wiki/Rembrandt">Rembrandt’s</a> (1606-1669) pen, ink and brush drawings have an
energy mirrored by his brushstrokes and layering of paint! In his rapid sketch <i>Saskia Lying in Bed, A Woman at Her Feet</i> (1638) the focus is on
Saskia (Rembrandt's wife) and her contemplative facial expression.
She is drawn with delicate, decisive pen lines, while the bedroom and
maid are loosely described with swift brushstrokes.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWmdxj4kOnCe7B9SyhjCy6qrmC0adMWFQBasUEa1WEYpnyPAlRHmjbnW4MmxY9LDpPWl8X-Qyj9CPKuJSVvNvWqh0faYEVWTf84K52dqmyVLV3IxbmVMnwN_GDVuj-oi_N_wjwj7QLVsoq/s1600/rembrandt.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWmdxj4kOnCe7B9SyhjCy6qrmC0adMWFQBasUEa1WEYpnyPAlRHmjbnW4MmxY9LDpPWl8X-Qyj9CPKuJSVvNvWqh0faYEVWTf84K52dqmyVLV3IxbmVMnwN_GDVuj-oi_N_wjwj7QLVsoq/s400/rembrandt.jpg" width="292" /></a></div>
Pen, ink and brush drawing, <i>Saskia Lying in Bed, A Woman at Her Feet</i> by Rembrandt, 1638. </div>
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The pen and ink drawing <i>Adoration
of the Magi</i> (1610) by <a href="http://en.wikipedia.org/wiki/Jacques_Bellange">Jacques Bellange</a> (1575-1616) displays lively networks
of hatched and crosshatched lines, which draw the viewer’s eye around this forceful
drawing! <o:p></o:p><br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR2RfSbSJei4LHNYAySGJTvUI7UUis62d7k2SBo7LJwN4-FYtntZqvAQiaByKZ8Wm1LZsP0sOj15OW65-NfRYFeecD7zZzKFmCHGVuCfWEWmcKUmJ60xUi6SID2cwBFKT3XR9jnKCXkMTm/s1600/Bellange+drawing.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR2RfSbSJei4LHNYAySGJTvUI7UUis62d7k2SBo7LJwN4-FYtntZqvAQiaByKZ8Wm1LZsP0sOj15OW65-NfRYFeecD7zZzKFmCHGVuCfWEWmcKUmJ60xUi6SID2cwBFKT3XR9jnKCXkMTm/s400/Bellange+drawing.jpg" width="330" /></a></div>
Pen and ink drawing, <i>Adoration of the Magi </i>by Jacques Bellange, 1610.</div>
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I wish I could share all 100 drawings with you! I highly recommend the exhibition catalog by
William M. Griswold and Michael Semff. And an excursion to the Morgan Library,
always a delight!<o:p></o:p></div>
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<!--EndFragment-->Marie Dauenheimerhttp://www.blogger.com/profile/08737335775162472766noreply@blogger.com0tag:blogger.com,1999:blog-178868737261895859.post-33364077240536135112013-02-04T08:06:00.000-08:002013-02-04T09:44:34.998-08:00“Color Line Light” Drawing exhibition at the National Gallery of Art<!--[if gte mso 9]><xml>
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Yesterday I saw the new drawing exhibition, <a href="http://www.nga.gov/exhibitions/dyke.shtm">“Color, Line, Light,French Drawings, Watercolors and Pastels from Delacroix to Signac”</a> at the
<a href="http://www.nga.gov/">National Gallery of Art</a> in Washington, DC. The show was organized with <a href="http://giverny.org/museums/impressionism/">Musée des Impressionnismes</a>,
Giverny and is on view in Washington, DC until May 26, 2013.<o:p></o:p></div>
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A wonderful antidote for the doldrums of winter this
exhibition includes an impressive array of drawings, many in full color, from
the mid 19<sup>th</sup> century to the early 20<sup>th</sup> century. The 100 works, from the collection of <a href="http://www.mdig.fr/spip.php?rubrique199">James T. Dyke</a>, show off many brilliant drawing techniques and subject matters ranging
from landscape, still life to figures and portraits. Indeed this exhibition
will make you reach for neglected art materials and experiment!<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI3_ffUe3mI-oayvjR1OJowJAIwrOZPg1PgCLe4RhICjCk1r1fUHuSbvcrvM-X2Da9Bva7flwLHXWhNyFAu4tfkD2XZFsn1h5avIuMRgEeOEha-HhV8RVdisNyIA3RHXn_SpDHSuebIYEd/s1600/Signac+landscape.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI3_ffUe3mI-oayvjR1OJowJAIwrOZPg1PgCLe4RhICjCk1r1fUHuSbvcrvM-X2Da9Bva7flwLHXWhNyFAu4tfkD2XZFsn1h5avIuMRgEeOEha-HhV8RVdisNyIA3RHXn_SpDHSuebIYEd/s400/Signac+landscape.jpg" width="400" /></a></div>
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Paul Signac, Barges on the Seine at Samois, 1900, Watercolor and gouache.</div>
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The drawing techniques showcased in this broadly ranging
show includes watercolor, gouache, pen and ink, charcoal, pastel and mixed
medium. The periods of art represented include <a href="http://en.wikipedia.org/wiki/Romanticism">romanticism</a>, <a href="http://en.wikipedia.org/wiki/Realism_(arts)">realism</a>, <a href="http://en.wikipedia.org/wiki/Impressionism">impressionism</a>,
<a href="http://en.wikipedia.org/wiki/Post-Impressionism">postimpressionism</a>, <a href="http://en.wikipedia.org/wiki/Pointillism">pointillism</a> (neoimpressionism), <a href="http://en.wikipedia.org/wiki/Symbolism_(arts)">symbolism</a> and <a href="http://en.wikipedia.org/wiki/Les_Nabis">the Nabis</a>.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3gRARwie_Gah-IyamYTa-5yLwRedr9MnzvmLj3O6Q8-f6i7Z6ggwlxBhMyrOew4p5x8ozTMfwnUUbr8cdJ70zhrlk8YS9krOShohYH0Odim-8dLRKvcIa7gKWSdQlgy4W9R4F6MQhxPWT/s1600/Huet-landsacpe.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3gRARwie_Gah-IyamYTa-5yLwRedr9MnzvmLj3O6Q8-f6i7Z6ggwlxBhMyrOew4p5x8ozTMfwnUUbr8cdJ70zhrlk8YS9krOShohYH0Odim-8dLRKvcIa7gKWSdQlgy4W9R4F6MQhxPWT/s400/Huet-landsacpe.jpg" width="400" /></a></div>
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Paul Huet, A Meadow at Sunset, pastel.</div>
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Watercolor techniques range from the tightly rendered paintings
of <a href="http://en.wikipedia.org/wiki/Alexandre_Calame">Alexandre Calame</a>, the confident brushwork of <a href="http://en.wikipedia.org/wiki/Gustave_Dor%C3%A9">Gustave Dore</a>, to the fresh and
freely painted pointillist works by <a href="http://en.wikipedia.org/wiki/Paul_Signac">Paul Signac</a>.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNNny9nox1UKv3ybAb8Dsi1inXzGM0e5MqJFP8qqc5jFpqRnqVciAxVzu9QTgPE54wpiXgNm_aWfplhQF7Lh8rRwCu87YDqj0qpAXFIy-r9Or_xUbsKUhpBPTcis8-ZH5oALEcLC__Us37/s1600/Dore-landscape.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNNny9nox1UKv3ybAb8Dsi1inXzGM0e5MqJFP8qqc5jFpqRnqVciAxVzu9QTgPE54wpiXgNm_aWfplhQF7Lh8rRwCu87YDqj0qpAXFIy-r9Or_xUbsKUhpBPTcis8-ZH5oALEcLC__Us37/s400/Dore-landscape.jpg" width="320" /></a></div>
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Gustave Dore, A River Gorge in a Mountain Landscape, watercolor.</div>
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Charcoal drawings range from a luminous figure study by
<a href="http://en.wikipedia.org/wiki/Paul-Albert_Besnard">Albert Besnard</a> to the dark, ominous, tonal work of <a href="http://en.wikipedia.org/wiki/Charles_Angrand">Charles Angrand</a> and
sensitive realism of <a href="http://en.wikipedia.org/wiki/L%C3%A9on_Augustin_Lhermitte">Leon Augustin Lhermitte</a>.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVw4uibxcjpnOJOtt49zU9TdPCPYRro6x4O6h37JF1frkk_imsm0O7xRbpsDAUWxFAo1oxb-63DEdxA96Qt5f0_n99qyXJYn1woEM664iflDPEoEG39vClwNm9F84_vuRlycj70Mmkmo7e/s1600/French+charcoal+portrait.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVw4uibxcjpnOJOtt49zU9TdPCPYRro6x4O6h37JF1frkk_imsm0O7xRbpsDAUWxFAo1oxb-63DEdxA96Qt5f0_n99qyXJYn1woEM664iflDPEoEG39vClwNm9F84_vuRlycj70Mmkmo7e/s400/French+charcoal+portrait.jpg" width="331" /></a></div>
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Leon Augustin Lhermitte, An Elderly Peasant Women, charcoal.</div>
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The show features the use of pastels, which in the 19<sup>th</sup>
century became a favored medium by many artists thanks to the development of
richer pigmented chalk pastels. <a href="http://en.wikipedia.org/wiki/Paul_Huet">Paul Huet</a> uses a bright palette to layer color in describing a meadow at sunset. While <a href="http://en.wikipedia.org/wiki/Auguste-Louis_Lep%C3%A8re">Auguste Louis Lepere</a> uses an analogous
palette of pastels to draw a pastoral scene.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkJNWEmiafVBWPJ5loSJpvk0tKWmgUJCooPmFGZ2gSzaeAqlGV-MsMJvM6-WwtEgrcVjOtPRzuOd2KxiAnN81_4ZDnc1NY4OqiigIHix9nqRJwKCgdCuheoTeMDW-OqqZ1GwajkAstBaTG/s1600/French+landscape.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkJNWEmiafVBWPJ5loSJpvk0tKWmgUJCooPmFGZ2gSzaeAqlGV-MsMJvM6-WwtEgrcVjOtPRzuOd2KxiAnN81_4ZDnc1NY4OqiigIHix9nqRJwKCgdCuheoTeMDW-OqqZ1GwajkAstBaTG/s400/French+landscape.jpg" width="400" /></a></div>
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<o:p> Auguste Louis Lepere, Chestnut Trees above a River, 1900, pastel.</o:p></div>
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<o:p><br /></o:p></div>
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It is often thought that the impressionist artists didn’t
create many drawings as they painted spontaneously from life. This show offers
many opportunities to see impressionist works on paper. An atmospheric pastel
drawing by <a href="http://en.wikipedia.org/wiki/Claude_Monet">Claude Monet</a> was done in London while he waited for his oils paints to
arrive. <a href="http://en.wikipedia.org/wiki/Edgar_Degas">Edgar Degas</a> is one of many impressionist artists who enjoyed drawing
techniques. The exhibition includes a
few masterful drawings by Degas they are inspired in their use of the
compositional space and in there animated effects.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiULg_7toEcVOK3ymxi_ZZ8k8RrEd1tXx_bU2wNtRlTi5R_Ap4biSLXi4MyxU7GoQdcUnO9NHtP-OgxEWkHgw3KZYoeSoFezykxZ50T2e7tDahJknooEShQ_450_IMQxlS4_68t6HR3Nq_Z/s1600/DEgas+drawing.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiULg_7toEcVOK3ymxi_ZZ8k8RrEd1tXx_bU2wNtRlTi5R_Ap4biSLXi4MyxU7GoQdcUnO9NHtP-OgxEWkHgw3KZYoeSoFezykxZ50T2e7tDahJknooEShQ_450_IMQxlS4_68t6HR3Nq_Z/s400/DEgas+drawing.jpg" width="246" /></a></div>
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Edgar Degas, A Dancer at the Bar, charcoal and white chalk.</div>
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I recommend an excursion to the National Gallery of Art to
see this inspired exhibition. I also
recommend the <a href="http://www.nga.gov/exhibitions/dyke.shtm">exhibition catalog</a>.<o:p></o:p></div>
<!--EndFragment-->Marie Dauenheimerhttp://www.blogger.com/profile/08737335775162472766noreply@blogger.com1tag:blogger.com,1999:blog-178868737261895859.post-9103064469233094382013-01-28T05:11:00.001-08:002013-01-28T06:41:46.695-08:00Drawing the Figure with Pen and Ink<!--[if gte mso 9]><xml>
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I am taking a class at the <a href="http://www.theartleague.org/">Art League</a> in Alexandria,
Virginia with instructor <a href="http://www.robertliberace.com/">Robert Liberace</a>. Liberace is an accomplished painter,
sculptor and draughtsman. The class, “Figure and Portrait: A Modern Approach to
Classical Drawing”, explores drawing the figure through master techniques, such as silverpoint, pen and ink, charcoal, red chalk and
graphite. I hope to post on these
various techniques in the coming weeks.<o:p></o:p></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkz9nvaJGRdDUaAcJh0I-cyD3oBrV3Rcc2CpXgPUb513mM7e0MLwIMKp5BbQERKLYa8-Jg3SFdFVicBWRJS2yHZPr6lW8ipSEGWg_Vq7XpBE-2zsl9jPSaPycu-HFIcfAfzFy0rM6E1GbL/s1600/Liberace+pen+and+ink.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkz9nvaJGRdDUaAcJh0I-cyD3oBrV3Rcc2CpXgPUb513mM7e0MLwIMKp5BbQERKLYa8-Jg3SFdFVicBWRJS2yHZPr6lW8ipSEGWg_Vq7XpBE-2zsl9jPSaPycu-HFIcfAfzFy0rM6E1GbL/s400/Liberace+pen+and+ink.jpg" width="300" /></a></div>
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Robert Liberace, <i>Figure Study</i> in pen and ink, 2012.</div>
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The past two weeks we have been using pen and ink with
watercolor washes to create a three dimensional drawing of the figure. Pen and ink, using flexible nibs, allows the
artist to create energetic, dynamic sketches. <a href="http://en.wikipedia.org/wiki/Rembrandt">Rembrandt</a>’s pen and ink drawings,
characterized by his calligraphic line, are great examples of this technique.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG-zQCo9DLAZm0UkBR8FYzk6Qp8qo5T2Elvq2Rsxu64-pZ8fDjq7mrJVOpIFevnFdHolkWHg84Yfhfg4jU4n-tLNCGwi2_W3eNY1qlrbIYpRCwX0CCk0IHcrFuNHpDMy1VJCV7GNlrtDnr/s1600/Rembrandt-Woman-Having-Her-Hair-Combed-ca-1637-38.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG-zQCo9DLAZm0UkBR8FYzk6Qp8qo5T2Elvq2Rsxu64-pZ8fDjq7mrJVOpIFevnFdHolkWHg84Yfhfg4jU4n-tLNCGwi2_W3eNY1qlrbIYpRCwX0CCk0IHcrFuNHpDMy1VJCV7GNlrtDnr/s400/Rembrandt-Woman-Having-Her-Hair-Combed-ca-1637-38.jpg" width="377" /></a></div>
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Rembrandt van Rijn <i>Woman Having Her Hair Combed,</i> pen and ink, 1637</div>
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Pen and ink can also be used for longer more detailed
studies. It was a favored medium of
<a href="http://en.wikipedia.org/wiki/Michelangelo">Michelangelo</a>, <a href="http://en.wikipedia.org/wiki/Leonardo_da_Vinci">Leonardo</a>, <a href="http://en.wikipedia.org/wiki/Albrecht_D%C3%BCrer">Durer</a> and many other masters. Liberace recommends using
a slightly textured text weight paper such as <a href="http://www.twinrocker.com/">Twinrocker</a> in “Calligraphy
Cream”. To add warmth to the paper he
coats it with a light watercolor wash using <a href="http://en.wikipedia.org/wiki/Ochre">yellow ochre</a> or raw sienna. Since
pen and ink is an unforgiving medium (erasing is difficult if not impossible)
most artists begin with a simple pencil sketch of their subject. <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpvy_NIAh5MMM1iImwIOcXf60_yLnz9BlVOL5cCyddQkyidBZqf6PfsKQNe0NNbKkSz816AlvR0ohN9-LkItt505GaIqetSXpLq1YlQgnzvFra9W1zVVdmXM9iEtn-yIsy1XFNRFgwru0k/s1600/Micehlangelo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpvy_NIAh5MMM1iImwIOcXf60_yLnz9BlVOL5cCyddQkyidBZqf6PfsKQNe0NNbKkSz816AlvR0ohN9-LkItt505GaIqetSXpLq1YlQgnzvFra9W1zVVdmXM9iEtn-yIsy1XFNRFgwru0k/s400/Micehlangelo.jpg" width="290" /></a></div>
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Michelangelo Buonarroti, <i>Studies of the Holy Famil</i>y, pen and ink, 1505.</div>
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When ready to start drawing Liberace recommends using a
sepia ink, such as seen in master drawings, with flexible nibs. The nibs allow the artist to
create lines that go from thick to line as pressure is put on the nib. Rob also uses <a href="http://www.dickblick.com/products/sakura-pigma-micron-pen/">Micron</a> technical pens as he draws. Technical pens (which store their ink in the
pen) allow for a more consistent line.<br />
<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFOeWL_2BthTpMfiY0Cqmb_jK3Ox-wNuv-MeDo-oTcKtVqm4Vn7k_atEvTVvbKZoHZZ07tgmOaxfPU7cpZSiDTfxhLTT8wLE3wVGoC1SRJv8fj6jLRbGIysrCdRzupT64fg_xFoq4GsoUo/s1600/Marie-pen+and+ink+study-legs.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFOeWL_2BthTpMfiY0Cqmb_jK3Ox-wNuv-MeDo-oTcKtVqm4Vn7k_atEvTVvbKZoHZZ07tgmOaxfPU7cpZSiDTfxhLTT8wLE3wVGoC1SRJv8fj6jLRbGIysrCdRzupT64fg_xFoq4GsoUo/s400/Marie-pen+and+ink+study-legs.jpg" width="266" /></a></div>
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<o:p> Marie Dauenheimer, <i>Figure Study</i>, pen and ink, 2013.</o:p></div>
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I highly recommend experimenting with his wonderful medium!<o:p></o:p></div>
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<!--EndFragment-->Marie Dauenheimerhttp://www.blogger.com/profile/08737335775162472766noreply@blogger.com1tag:blogger.com,1999:blog-178868737261895859.post-21286136344037005402013-01-21T12:06:00.001-08:002013-01-22T06:18:33.117-08:00"Bernini Sculpting in Clay" at the Metropolitan Museum of Art<!--[if gte mso 9]><xml>
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<b>“You need to draw
using your eye-that is, imprint everything in your mind-and always make
sketches and drawings of your different ideas…” <o:p></o:p></b></div>
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<b><br /></b></div>
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So said sculptor and architect <a href="http://en.wikipedia.org/wiki/Gian_Lorenzo_Bernini">Gian Lorenzo Bernini</a> (1598-1680)
in 1673. Bernini is best known for his
dramatic sculptures that adorn his native city of Rome. Bernini is credited
with starting the <a href="http://en.wikipedia.org/wiki/Baroque">Baroque</a> movement in sculpture, a hallmark of which is his
masterpiece “Ecstasy of Saint Theresa”created in 1652. This piece can be viewed in the <a href="http://en.wikipedia.org/wiki/Santa_Maria_della_Vittoria">Cornaro Chapel</a>, in the church <a href="http://en.wikipedia.org/wiki/Santa_Maria_della_Vittoria">Santa Maria della Vittoria</a>, Rome.<o:p></o:p></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYbgeRh2KM-mqodphUu0iC0ezPPgAmnwFJgHGlR0XCjm8xmQtWAIWJkUCBdeEFja9WHI5Yq3rPQe94x7KnS8EnCe792Oqo9QMHNPNc49HUz7OGjIX5LLOAS_kW3TYax5OmNLGFA9hRhd3P/s1600/bernini_st_teresa_avila.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYbgeRh2KM-mqodphUu0iC0ezPPgAmnwFJgHGlR0XCjm8xmQtWAIWJkUCBdeEFja9WHI5Yq3rPQe94x7KnS8EnCe792Oqo9QMHNPNc49HUz7OGjIX5LLOAS_kW3TYax5OmNLGFA9hRhd3P/s320/bernini_st_teresa_avila.jpg" width="320" /></a></div>
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"Ecstasy of St. Theresa", 1652, Santa Maria della Vittoria, Rome.</div>
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<br /></div>
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When you see Bernini’s theatrical and life like sculptures
it is natural to wonder what his process was. In December I saw a comprehensive
exhibition that shed light on the way Bernini worked. The exhibition was <a href="http://www.metmuseum.org › Home › Exhibitions">“Bernini Sculpting inClay”</a> at the <a href="http://www.metmuseum.org/">Metropolitan Museum of Art</a> and it featured 39 <a href="http://en.wikipedia.org/wiki/Terracotta">terracotta </a>models,
or “three-dimensional sketches”, created by the the master. These small clay models are bold, expressive
and animated. Numerous drawings accompany the models and aid in understanding
Bernini’s thought process.<o:p></o:p></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ1SOG3Q_dcvPWM6AKnsjeX0x1Xbkmrx3PMY7koRuuJXJdKGCA4cnU0l9o3lhaKWMqKcLzKRqPPYgDie7yFiREyv1y0qZUfkJKGis3pcdkKycH8ZgnlT0FCu_aUcVahPt9JhlUGjapaqMu/s1600/12-associate-of-bernini_head-of-saint-teresa-of-avila_rome.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ1SOG3Q_dcvPWM6AKnsjeX0x1Xbkmrx3PMY7koRuuJXJdKGCA4cnU0l9o3lhaKWMqKcLzKRqPPYgDie7yFiREyv1y0qZUfkJKGis3pcdkKycH8ZgnlT0FCu_aUcVahPt9JhlUGjapaqMu/s320/12-associate-of-bernini_head-of-saint-teresa-of-avila_rome.jpg" width="218" /></a></div>
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Terracotta bozetto for "Ecstasy of St. Theresa", 1647-1652.</div>
<div class="MsoNormal">
<br /></div>
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One of the most impressive “<a href="http://www.britannica.com/EBchecked/topic/76576/bozzetto">bozettos</a>” in the show is a lion
modeled for the <a href="http://en.wikipedia.org/wiki/Fontana_dei_Quattro_Fiumi">“Fountain of Four Rivers”</a> (1651) in Piazza Navona in Rome. As Bernini suggests in the above quote he
modeled the lion from his "mind’s eye", a naturalistic lion exaggerated
in its anatomy and expression!<o:p></o:p></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_BbkGhaljSrPhNfg1acXZBFuLztFlmzOqPR2G-yjvFYYdPG0l8BlcwVo2GOqPyClxIGbpFvL-eJ1OJ8uh8XPZPPm1UL4R-OufJOLdCmn3WLkBRUMqIWL3ha-Yt4OzU09_KECPMqfHcFHz/s1600/Bernini-Lion.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_BbkGhaljSrPhNfg1acXZBFuLztFlmzOqPR2G-yjvFYYdPG0l8BlcwVo2GOqPyClxIGbpFvL-eJ1OJ8uh8XPZPPm1UL4R-OufJOLdCmn3WLkBRUMqIWL3ha-Yt4OzU09_KECPMqfHcFHz/s320/Bernini-Lion.jpg" width="320" /></a></div>
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Terracotta bozetto for the Lion on the "Fountain of Four Rivers", 1649-1650.</div>
<div class="MsoNormal">
<br /></div>
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The largest terracotta in the show is a bozetto for the
<a href="http://en.wikipedia.org/wiki/Piazza_Navona">“Fountain of the Moor”</a>, 1655, Piazza Navona, Rome. This dramatic, twisting
piece embodies the energy of the figure and highlights Bernini’s way of
describing textures-muscle, skin, hair, shell, dolphin and scales. </div>
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<o:p><br /></o:p></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYfZ1DIefPs_VJS85O9JLIdh4LwTfiJl5AMilSjAXLIPiGq-oYX6G77MZs9W_2ces1rrg8dZDiITQ5F73OsMJPWHJkBdV5CcPREEtsX4zaq-6mQFPY86QeYCJtZMpYBWA7rYkRXagkBBxH/s1600/7.-Bernini_Model-for-the-Fountain-of-the-Moor_Kimbell.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYfZ1DIefPs_VJS85O9JLIdh4LwTfiJl5AMilSjAXLIPiGq-oYX6G77MZs9W_2ces1rrg8dZDiITQ5F73OsMJPWHJkBdV5CcPREEtsX4zaq-6mQFPY86QeYCJtZMpYBWA7rYkRXagkBBxH/s320/7.-Bernini_Model-for-the-Fountain-of-the-Moor_Kimbell.jpg" width="213" /></a></div>
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<o:p> Terracotta bozetto for "Fountain of the Moor" 1653.</o:p></div>
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<br /></div>
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It has been suggested that Bernini made 1000s of these
terracotta sculptures, however not considering them finished works of art, but
rather ‘sketches” he didn’t preserve them.
Only 52 remain intact.<o:p></o:p></div>
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<br /></div>
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For more info on Bernini’s life view this video from the
<a href="http://en.wikipedia.org/wiki/Simon_Schama">Simon Schama</a> BBC series <a href="http://www.bbc.co.uk/arts/powerofart/">“The Power of Art”</a>.<o:p></o:p></div>
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http://www.youtube.com/watch?v=95_7l87prmI<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
I recommend the exhibition catalog <a href="http:/">"Bernini Sculpting in Clay"</a> by C.D. Dickerson, III, Anthony Sigel and Ian Wardropper.</div>
<!--EndFragment-->Marie Dauenheimerhttp://www.blogger.com/profile/08737335775162472766noreply@blogger.com0tag:blogger.com,1999:blog-178868737261895859.post-73341774754640211252013-01-14T06:17:00.001-08:002013-01-14T15:27:34.022-08:00"Matisse, In Search of True Painting” at the Metropolitan Museum of Art<!--[if gte mso 9]><xml>
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In 1949 art critic <a href="http://en.wikipedia.org/wiki/Clement_Greenberg">Clement Greenberg</a> wrote of Matisse “A
self assured master who can no more help painting well than breathing.” Indeed when I look at Matisse’s paintings
they show a confidence and bravado in the brushwork, colorful palette and
composition. It was surprising to learn
that painting never came easy to Matisse who "reworked, questioned and
repainted".<o:p></o:p></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSigd_9NMiFQB3ZAjJMXegmYrJ1zvf7BEo1jlmMv0695IGfLeXAOU3uwaKi7ZbXrTMjIXPattibCiBv3mxgdFhM3n18l80SUoIvQGiWNuPNlx9U8drU1t5yhRPnFyJUzF5-rIwRJc1WRGA/s1600/Matisse+still+life.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSigd_9NMiFQB3ZAjJMXegmYrJ1zvf7BEo1jlmMv0695IGfLeXAOU3uwaKi7ZbXrTMjIXPattibCiBv3mxgdFhM3n18l80SUoIvQGiWNuPNlx9U8drU1t5yhRPnFyJUzF5-rIwRJc1WRGA/s320/Matisse+still+life.jpg" width="320" /></a></div>
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<i> Still Life with Compote, Apples and Oranges </i>by Henri Matisse<i>, </i>1899</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The exhibition “<a href="http:/">Matisse: in Search of True Painting</a>”, at the
<a href="http://www.metmuseum.org/">Metropolitan Museum of Art</a> , explores how Matisse used his canvasses as tools,
repeating compositions in order to "compare effect, gauge his progress" and “push
further and deeper into true painting.” <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
By creating multiple paintings of the same subject matter
Matisse experimented with different techniques to explore the subject. He often copied the same image over and over
varying the treatment of the canvas and handling of the paint.<o:p></o:p></div>
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<br /></div>
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In his series of paintings of the “Young Sailor” Matisse
used graphite pencil to block in the figure, he followed with black paint to
re-inforece the outline. His final step
was to use vivid paint, allowing it to drip and run, to emphasize the two
dimensional aspect of the surface. <o:p></o:p><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisxiX9IHSQsNadNCUaHGXNXG06arzMyX97EXGA6dYmyzlYoTmbQkvxZl0JZ1pELtFwhDhicFrIVKsrXshYb7aHEdVXPfzxH1NVvjyJFXou1HyBmwPzSsjhLU9aPHI_matMMjSju1yyeGJQ/s1600/salior.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisxiX9IHSQsNadNCUaHGXNXG06arzMyX97EXGA6dYmyzlYoTmbQkvxZl0JZ1pELtFwhDhicFrIVKsrXshYb7aHEdVXPfzxH1NVvjyJFXou1HyBmwPzSsjhLU9aPHI_matMMjSju1yyeGJQ/s320/salior.jpg" width="260" /></a></div>
<i> Young Sailor I</i> by Henri Matisse, 1906<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUxc2hlFLbVs439LBXwnZXoV7cSXMp7Q_brQxq4TW5tpqIVIhh5bnCcd_1dCSIrb8GK69I5I9xsIZfTrYDEPd0txBewLJxu3DVGVF7izzypFVLJfi2lArkpWL1QBPTdg_UD4L6ZV6QSkdd/s1600/sailor+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUxc2hlFLbVs439LBXwnZXoV7cSXMp7Q_brQxq4TW5tpqIVIhh5bnCcd_1dCSIrb8GK69I5I9xsIZfTrYDEPd0txBewLJxu3DVGVF7izzypFVLJfi2lArkpWL1QBPTdg_UD4L6ZV6QSkdd/s320/sailor+2.jpg" width="262" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<i> Young Sailor II</i> by Henri Matisse, 1906</div>
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A series of three canvasses of “Le Luxe” dominate the
exhibition. Influenced by <a href="http://en.wikipedia.org/wiki/Jean_Auguste_Dominique_Ingres">Ingres</a> and
<a href="http://en.wikipedia.org/wiki/Paul_C%C3%A9zanne">Cezanne</a>, Matisse sought to convey the essential qualities of his figures. Using various materials, such as charcoal,
<a href="http://en.wikipedia.org/wiki/Distemper_(paint)">distemper</a> (a water based medium with a matte surface like <a href="http://www.britannica.com/EBchecked/topic/219703/fresco-painting">fresco</a>) and oil, Matisse
created a dramatic series of figure studies that work independently, but when together
create a powerful series that echo the forms of the figures.<o:p></o:p><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVQt56VhUV6xF1QtK2q1kFFgc1FlmlH4nl8lwpP_Z20nclQ7KZawO4rL-WskZjSW4lfVSBRBgbZ6xLKWS3No0UaGMDheOlms0WwraOG8CI1J22V0bK-3JI1jSwdOnhDNLZfYYHymwnYg-s/s1600/Le+luxe.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="164" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVQt56VhUV6xF1QtK2q1kFFgc1FlmlH4nl8lwpP_Z20nclQ7KZawO4rL-WskZjSW4lfVSBRBgbZ6xLKWS3No0UaGMDheOlms0WwraOG8CI1J22V0bK-3JI1jSwdOnhDNLZfYYHymwnYg-s/s320/Le+luxe.jpg" width="320" /></a></div>
Three versions of <i>Le Luxe</i> by Henri Matisse, the first using charcoal, the second in oil and third using distemper, 1907-08</div>
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<br /></div>
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Another series of paintings by Matisse, highlighted in the
exhibition, are of <a href="http://en.wikipedia.org/wiki/Notre_Dame_de_Paris">Notre Dame</a>. They are
based on the view from his Paris apartment. “I never tire of it, for me it is
always new”. The series, as you can see
moves from a traditional view of the cathedral to one that becomes more abstract. These later paintings giving way and
influencing a new generation of artists seeking “true painting”.<o:p></o:p><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaResAlLisrjCgTSXMPsgs8pLAlbuiOdp9uNipZuWXZUS1NKsm07deISv7MJrD8_wVxh4tU9ULToUiBusxbzZKQz9QW4KgPBQl8Rsq4EqNlNEUh3J36qMQKA7C4dWB3ioSpeVct06whZm4/s1600/Matisse_15.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaResAlLisrjCgTSXMPsgs8pLAlbuiOdp9uNipZuWXZUS1NKsm07deISv7MJrD8_wVxh4tU9ULToUiBusxbzZKQz9QW4KgPBQl8Rsq4EqNlNEUh3J36qMQKA7C4dWB3ioSpeVct06whZm4/s320/Matisse_15.jpg" width="261" /></a></div>
<i> Notre Dame</i> by Henri Matisse, 1900<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-R8jaUGh1dTgHsaqIqS7LP-qKFG_CI0XB8KYvUq518EJCpc-Ry8-Vk6zSLyAf6VXn1ffi1hifSk7ZTVzbfbA4HrKS172w7maLv_ESxG51qZ5j57G1hyphenhyphenM4TTl33bBHOMw2dEZAjO_UGoTI/s1600/Matisse_16.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-R8jaUGh1dTgHsaqIqS7LP-qKFG_CI0XB8KYvUq518EJCpc-Ry8-Vk6zSLyAf6VXn1ffi1hifSk7ZTVzbfbA4HrKS172w7maLv_ESxG51qZ5j57G1hyphenhyphenM4TTl33bBHOMw2dEZAjO_UGoTI/s320/Matisse_16.jpg" width="211" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<i>Notre Dame</i> by Henri Matisse , 1941</div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiSi-h5aa2lvBi_FLbgQj4KQE8_8_wCyojDsLDKiifItTcrStKi-rYOirKmt5unSJKo6NiVE89bGzR4IfcInZXBspxo7M1cWuU1zbnYFgkluFrxU8oF1SGjXK2TH1haZZqgNXL3rz6i_nn/s1600/652px-Henri_Matisse_-_View_of_Notre_Dame._Paris,_quai_Saint-Michel,_spring_1914.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiSi-h5aa2lvBi_FLbgQj4KQE8_8_wCyojDsLDKiifItTcrStKi-rYOirKmt5unSJKo6NiVE89bGzR4IfcInZXBspxo7M1cWuU1zbnYFgkluFrxU8oF1SGjXK2TH1haZZqgNXL3rz6i_nn/s320/652px-Henri_Matisse_-_View_of_Notre_Dame._Paris,_quai_Saint-Michel,_spring_1914.jpg" width="203" /></a></div>
<i> Notre Dame</i> by Henri Matisse, 1914<br />
<br />
I highly recommend this exhibition which is at the Metropolitan Museum of Art through March 17, 2013. I also recommend the catalog edited by Dorthe Aagesen and Rebecca Rabinow.</div>
<!--EndFragment-->Marie Dauenheimerhttp://www.blogger.com/profile/08737335775162472766noreply@blogger.com1tag:blogger.com,1999:blog-178868737261895859.post-38631802591054919892013-01-07T06:03:00.001-08:002013-01-07T12:40:52.471-08:00"Beatrix Potter, the Picture Letters" at the Morgan Library<!--[if gte mso 9]><xml>
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<a href="http://en.wikipedia.org/wiki/Beatrix_Potter">Beatrix Potter</a> (1866-1943) is known to many as the creator of <i><a href="http://en.wikipedia.org/wiki/The_Tale_of_Peter_Rabbit">The Tale of Peter Rabbit</a></i> and many other
children’s stories. What may not be know is that Beatrix Potter was an
accomplished <a href="http://www.gnsi.org/science-illustration">scientific illustrator</a> and an astute businesswoman. Both of these attributes added to her success
as a children’s book author and illustrator.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi-lYFD5SmJLbHdpuZl-UFwts0fW_2aYVFVasiB8wE_w5r7Uwyd0K_s3zTdq2TzdaQibGlahG7mFZsRAX5uxF4bQrOVKKROjk-c0VSQ651cZpIcJhV7vXq3TehW0ccdjMT-umvRwfQxpSh/s1600/bphome.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi-lYFD5SmJLbHdpuZl-UFwts0fW_2aYVFVasiB8wE_w5r7Uwyd0K_s3zTdq2TzdaQibGlahG7mFZsRAX5uxF4bQrOVKKROjk-c0VSQ651cZpIcJhV7vXq3TehW0ccdjMT-umvRwfQxpSh/s320/bphome.jpg" width="253" /></a></div>
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Beatrix Potter and her pet rabbit "Benjamin Bouncer" </div>
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Beatrix Potter was born in London in 1866 into an affluent
family. She enjoyed time at her family’s
city home and in the countryside. Beatrix
and her brother Bertram had a menargie that included mice, rabbits and a hedgehog. When the family travelled to the countryside
Beatrix was fascinated with her natural surroundings and explored them through
drawing.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWmZ5w6C4euwwHfsOmUBV5sWWsp7PgOHHIk5lzuPOnAjAaiRJBW0JY5VZM2e0tKdfnCi3ydzRrc_sIbIfTY9JBGRfgoTc7hu4T-6tgt1YH1dh74djnozgtYuvskTh7tPJRyRVeMeUKPOlP/s1600/potter-Fish+study.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWmZ5w6C4euwwHfsOmUBV5sWWsp7PgOHHIk5lzuPOnAjAaiRJBW0JY5VZM2e0tKdfnCi3ydzRrc_sIbIfTY9JBGRfgoTc7hu4T-6tgt1YH1dh74djnozgtYuvskTh7tPJRyRVeMeUKPOlP/s320/potter-Fish+study.jpg" width="320" /></a></div>
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Beatrix Potter's watercolor drawing of "Boar Fish", 1895.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXAYgCwqH7lC7s8LhIjNLs3v_0n-glhKxjEwgUavpuK5f8msm0cOW-3SE7FCiUpJNxrOAvIVcfLDCzzCrJnaWZPepDKH3q1sA-mwKm_jt1hVET2BZ64vX1Zy0kQgvKB9wbCDImIVbDY8dr/s1600/birds.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXAYgCwqH7lC7s8LhIjNLs3v_0n-glhKxjEwgUavpuK5f8msm0cOW-3SE7FCiUpJNxrOAvIVcfLDCzzCrJnaWZPepDKH3q1sA-mwKm_jt1hVET2BZ64vX1Zy0kQgvKB9wbCDImIVbDY8dr/s320/birds.jpg" width="320" /></a></div>
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Beatrix Potter watercolor and pen and ink drawing of "Studies of a Dead Thrush", 1902.</div>
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The “Beatrix Potter, The Picture Letters” exhibition at the
<a href="http://www.themorgan.org/">Morgan Library</a> in New York is a must see for any Potter enthusiast. The show focuses on Beatrix Potter’s many
beautifully illustrated letters she wrote to children. She corresponded with over forty children including
her former governesses’ family. Perhaps
her most important correspondence was with young Noel Moore for whom she wrote
the <i>Tale of Peter Rabbit</i> complete
with lively pen and ink drawings. The
model for Peter was Beatrix Potter’s own pet rabbit that she described as “An
affectionate companion and quite friend.” <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8Sw0bGUNzhWh4ET6MVOVo5ekAh7LySUH5vQYqehyphenhyphen2FU-AAPerMQvAttkT6UrN1_HfXkSWgrtbJg5UQbdTIlTM2-IJ3ty7IwzrtHoT51wNkUp9Ds9kU6baW-CJoBJz8QRaLx49LpMime7T/s1600/Peter+rabbit.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8Sw0bGUNzhWh4ET6MVOVo5ekAh7LySUH5vQYqehyphenhyphen2FU-AAPerMQvAttkT6UrN1_HfXkSWgrtbJg5UQbdTIlTM2-IJ3ty7IwzrtHoT51wNkUp9Ds9kU6baW-CJoBJz8QRaLx49LpMime7T/s320/Peter+rabbit.jpg" width="264" /></a></div>
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Beatrix Potter's sketches of her pet rabbit Peter, 1899.</div>
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Beatrix attributed her success to the fact that her stories
were written for “real children"- indeed a particular child. Her studies of animals from life and scientific
investigation of mushrooms, plants and landscape add an unusual freshness to
her illustrations. The animals are not
mawkish or oversentimental. Her animal characters
keep a sense of the animal they are drawn from.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy_bQZ3t4UMU67Z7qqOGalOZFrjMGJgsaiE3xTpAt09w-ua-aMLw6gGRjd4-jyPTNaMtMKMfqfiQKJDEBmEN__1cuxsLAvR-UoMcDv7dW4l8ZcsksDxOkw1za8syHHKL1iqgjqUQbcW-8I/s1600/Pter's+dream.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy_bQZ3t4UMU67Z7qqOGalOZFrjMGJgsaiE3xTpAt09w-ua-aMLw6gGRjd4-jyPTNaMtMKMfqfiQKJDEBmEN__1cuxsLAvR-UoMcDv7dW4l8ZcsksDxOkw1za8syHHKL1iqgjqUQbcW-8I/s320/Pter's+dream.jpg" width="251" /></a></div>
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<o:p> Beatrix Potter's illustrated letter "Peter's Dream of a Comfortable Bed" 1899.</o:p></div>
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<o:p><br /></o:p></div>
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The exhibition includes early board games, stuffed animals
and figurines based on the various Potter stories, ever the businesswoman Potter
kept copyright and control of her famous characters.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidxxQupgeUuZ7KKU9Get2MMgjcyEO89sa-uL_n9NO-6aI8e3gIX3bHJjdLfgHPHKL4njgOfps8A-QQq2ToCYV4ZfWptDQyJIHFaAGlK4sT3VEgOF7vnq5xam8GNj1qs0jkJvqFggJ5t4wj/s1600/Peter+Rabbit+illustration.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidxxQupgeUuZ7KKU9Get2MMgjcyEO89sa-uL_n9NO-6aI8e3gIX3bHJjdLfgHPHKL4njgOfps8A-QQq2ToCYV4ZfWptDQyJIHFaAGlK4sT3VEgOF7vnq5xam8GNj1qs0jkJvqFggJ5t4wj/s320/Peter+Rabbit+illustration.jpg" width="318" /></a></div>
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Beatrix Potter's watercolor and pen and ink drawing "His mother put him to bed, </div>
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and made some camomille tea", 1907.</div>
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I highly recommend a visit to the Morgan Library to enjoy
this delightful exhibition!<o:p></o:p></div>
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<br /></div>
<!--EndFragment-->Marie Dauenheimerhttp://www.blogger.com/profile/08737335775162472766noreply@blogger.com0tag:blogger.com,1999:blog-178868737261895859.post-74509844361543744752013-01-02T05:48:00.002-08:002013-01-02T05:49:54.858-08:00Topics for 2013<br />
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Happy New Year! As we
begin the new year I have been brainstorming about blogging topics for
2013. I was in New York for a few days
and I plan on blogging about some amazing exhibitions I saw and plan on
visiting. Among them are the
“Bernini, Sculpting in Clay” and “Matisse: True Painting” at the <a href="http://www.metmuseum.org/">Metropolitan Museum of Art</a>. <o:p></o:p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV4y4fH4_lAr3eTRxIAPk2L9KkjGHOS791_Oo0TbrhsBQfKZNklrPWfpcyXeOL9d9CraTnxryh6USODI2Xgb5zF5lqQStVSlQu9TTJVQ1uNbq5nsZMjHJIE5t0UNh3KhoxWmycyF_NKR56/s1600/bernini.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV4y4fH4_lAr3eTRxIAPk2L9KkjGHOS791_Oo0TbrhsBQfKZNklrPWfpcyXeOL9d9CraTnxryh6USODI2Xgb5zF5lqQStVSlQu9TTJVQ1uNbq5nsZMjHJIE5t0UNh3KhoxWmycyF_NKR56/s320/bernini.jpg" width="320" /></a></div>
Bernini's terracotta sculpture model for the "Lion on Four Rivers Fountain" 1649-50. From the exhibition at the Metropolitan Museum of Art.<br />
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The “Beatrix Potter, The Picture Letters” and “Durer to de
Kooning” exhibitions at the <a href="http://www.themorgan.org/">Morgan Library</a> are worth discussion and
exploration. The <a href="http://www.frick.org/">Frick</a>’s “Mantegna to
Matisse, Master Drawings from the Courtauld Gallery” and <a href="http://www.moma.org ›">MoMA</a>’s “Inventing
Abstraction” look fascinating. The <a href="http://www.nga.gov/">National Gallery of Art’</a>s upcoming French drawing exhibition “Color, Line,
Light: French Drawings, Watercolors, and Pastels from Delacroix to Signac” is
much anticipated for it’s varied collection. <o:p></o:p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZVMmpabILg0Yfae16MH3pjPutSDUN6B8u7WCatBVoe8dn3PncNOSJJX7tpwQ8a9J0lIztOrs-H3rCqKIvcXyZQyfb7jFaaB8EoFXrDllQEggXRH2WNa-7e-iQ6L1KXd2N3bDhYr8T1lI1/s1600/landscape.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZVMmpabILg0Yfae16MH3pjPutSDUN6B8u7WCatBVoe8dn3PncNOSJJX7tpwQ8a9J0lIztOrs-H3rCqKIvcXyZQyfb7jFaaB8EoFXrDllQEggXRH2WNa-7e-iQ6L1KXd2N3bDhYr8T1lI1/s320/landscape.jpg" width="320" /></a></div>
Pastel drawing by Auguste Louis Lepere, 1900. From exhibition "Color, Line, Light: French Drawings from Delacroix to Signac" at the National Gallery of Art.<br />
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I plan on continuing
to blog about master drawing techniques , such as pen and ink and wash and red
chalk. As I prepare my 2014 <a href="http://www.vesaliustrust.org/?page_id=683">Vesalius Trust“Art and Anatomy</a>” tour to Greece and Italy I will continue to blog about
<a href="http://en.wikipedia.org/wiki/Andreas_Vesalius">Andreas Vesalius</a> whose 500<sup>th</sup> anniversary is next year! To reflect the focus of my blog I have added "Art and Anatomy" to my title.<o:p></o:p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWRZWWRRXYoRiVuO2iPvTGMHhwbffYAjRYxQHn3pZFw2RaAF-hQBTfRXvp_h_NDeDFQk_iCRGHLKTlzmYacqO9bU5vjRma8Opd4K4y9nGAynTwsvmU4bGJ3LDSjvNPbzycMoR9ZTcQ6b8Z/s1600/Bellange+drawing.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWRZWWRRXYoRiVuO2iPvTGMHhwbffYAjRYxQHn3pZFw2RaAF-hQBTfRXvp_h_NDeDFQk_iCRGHLKTlzmYacqO9bU5vjRma8Opd4K4y9nGAynTwsvmU4bGJ3LDSjvNPbzycMoR9ZTcQ6b8Z/s320/Bellange+drawing.jpg" width="264" /></a></div>
Pen and ink drawing by Jacques Bellange, 1610. From the "Durer to de Kooning" exhibition at the Morgan Library.<br />
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Thanks for reading, commenting and joining me on my art and
anatomy travels! <o:p></o:p></div>
<!--EndFragment-->Marie Dauenheimerhttp://www.blogger.com/profile/08737335775162472766noreply@blogger.com0tag:blogger.com,1999:blog-178868737261895859.post-22211658399303609372012-12-17T03:18:00.004-08:002012-12-17T03:20:00.527-08:00Michelangelo's "David-Apollo" at the National Gallery of Art<!--[if gte mso 9]><xml>
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On Friday I had the privilege of seeing Michelangelo’s
sculpture ”David-Apollo” (1530) at the <a href="http://www.nga.gov/">National Gallery of Art</a> in Washington,
DC. This beautiful marble sculpture is
on loan from the <a href="http://www.sbas.fi.it/english/musei/bargello/">Museo Nazionale del Bargello</a>, in Florence, to celebrate 2013,
the <a href="http://articles.washingtonpost.com/">Year of Italian Culture</a>. The name of
the sculpture alludes to the conflicting stories that the figure is David,
slayer of Goliath <i>or</i> Apollo, god of
light and sun.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWs0aiwEXxYGrTOQRZRem0vNvh-NHKPl7_DBaTqExk_i9q7YsoGU7LyHWU0m6Lo5dGBXCmeSk81LbNp_5b8XAg_u0JD57Web_V8nQhw6VzAeW89C1yDK0soK8EuED9AVEZEqig6cEWC-MY/s1600/41_00241920~_michelangelo-buonarroti_david-apollo%5B1%5D.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWs0aiwEXxYGrTOQRZRem0vNvh-NHKPl7_DBaTqExk_i9q7YsoGU7LyHWU0m6Lo5dGBXCmeSk81LbNp_5b8XAg_u0JD57Web_V8nQhw6VzAeW89C1yDK0soK8EuED9AVEZEqig6cEWC-MY/s320/41_00241920~_michelangelo-buonarroti_david-apollo%5B1%5D.jpg" width="256" /></a></div>
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Michelangelo's "David-Apollo", marble, 1530.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo3xnmNoueN_-9cWpK199KCiZ23l4Rv2E_R_gEQEqg5jd1-S9q9NwO-SrnvH1DATAEKg5dFNRBo6ZJjWtVgCOAyACBlrJmsDfLtM-7Ee-RN10DE32Tpm-i30IdLe7qPn-aCfraFv29ptcT/s1600/Michelangelo-David-Apollo-detail2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo3xnmNoueN_-9cWpK199KCiZ23l4Rv2E_R_gEQEqg5jd1-S9q9NwO-SrnvH1DATAEKg5dFNRBo6ZJjWtVgCOAyACBlrJmsDfLtM-7Ee-RN10DE32Tpm-i30IdLe7qPn-aCfraFv29ptcT/s320/Michelangelo-David-Apollo-detail2.jpg" width="228" /></a></div>
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Michelangelo's "David-Apollo" Detail</div>
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<a href="http://en.wikipedia.org/wiki/Michelangelo">Michelangelo</a> (1474-1564) was a master of the <a href="http://en.wikipedia.org/wiki/High_Renaissance">High Renaissance</a> and best known for his colossal masterpiece “David” (1501-1504) which
dominates the <a href="http://www.uffizi.firenze.it/musei/?m=accademia">Galleria dell’ Accademia</a> in Florence. Michelangelo is considered
to be one of the greatest artists of all time.
His creations in painting, sculpture, architecture and drawing are among
the greatest masterpieces of Western art.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzUkCK4maIFMeB1Zep4C5vth-Wbi_YaxjI9ITFN3e6ojii2IG0hMHCAQD2AxUtgLfgUEXqt9hInmTeQpZpm_pVAykMTrG_EE1H6Y0ze-9IEZqu_gT_GfhZ558af84Mb-aeSm03UO6cyYCe/s1600/michelangelo-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzUkCK4maIFMeB1Zep4C5vth-Wbi_YaxjI9ITFN3e6ojii2IG0hMHCAQD2AxUtgLfgUEXqt9hInmTeQpZpm_pVAykMTrG_EE1H6Y0ze-9IEZqu_gT_GfhZ558af84Mb-aeSm03UO6cyYCe/s320/michelangelo-1.jpg" width="257" /></a></div>
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Michelangelo's "David", marble, 1501-1504</div>
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While “David” is a large, highly polished piece the
“David-Apollo” is an unfinished, smaller than life size sculpture. This unfinished quality allows the viewer
insight into Michelangelo’s process.
According to the National Gallery of Art, Michelangelo used a point
chisel to rough out the forms and a claw chisel to refine the figure. The roughened areas formed with the point
chisel can be seen on the back of the figure and the tree stump. This juxtaposition of the refined and
roughened marble later inspired 19<sup>th</sup> century French artist <a href="http://en.wikipedia.org/wiki/Auguste_Rodin">Auguste Rodin</a>. Below is one of Rodin’s sculptures to demonstrating
this technique.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI8inhyphenhyphenJy4XiVOfMAV7Cx5JpWsYoUAc2FXLmSpvq1Z5CGHqETqjfIFXETfAS3KG6hzQTScyVz6ntWmPsv9snbgJvte-jkOnhgDSlCXO6UtMYWuTwbDmL1M6SKYcWKFSb4kYBmSFhfmGrc4/s1600/3156_e39d3cd077e46bc.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI8inhyphenhyphenJy4XiVOfMAV7Cx5JpWsYoUAc2FXLmSpvq1Z5CGHqETqjfIFXETfAS3KG6hzQTScyVz6ntWmPsv9snbgJvte-jkOnhgDSlCXO6UtMYWuTwbDmL1M6SKYcWKFSb4kYBmSFhfmGrc4/s320/3156_e39d3cd077e46bc.jpg" width="222" /></a></div>
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Auguste Rodin, "Galatea", marble, 1889</div>
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While Michelangelo posed his “David” in a position of contrapposto,
“David-Apollo” displays a twisting pose called serpentinata. <o:p></o:p></div>
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I highly recommend a visit to the National Gallery Art
before March 3, 21013 when “David-Apollo” returns to Florence.<o:p></o:p></div>
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<!--EndFragment-->Marie Dauenheimerhttp://www.blogger.com/profile/08737335775162472766noreply@blogger.com1tag:blogger.com,1999:blog-178868737261895859.post-45600449884771693642012-12-09T14:50:00.001-08:002012-12-10T10:31:28.656-08:00Silverpoint Drawing, History and Technique<br />
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<a href="http://en.wikipedia.org/wiki/Silverpoint">Silverpoint</a> is a drawing technique with roots that go back
to the time of the <a href="http://en.wikipedia.org/wiki/Renaissance">Renaissance</a>. The
technique involves drawing on prepared paper with a small wire of silver
sharpened to a point, much like a hard graphite pencil. As the stylus is
dragged across the paper it leaves a mark of silver. The layering of these hatched and crosshatched
silver lines build up to create a soft value study. The technique is unique in
that over time the drawing changes and becomes luminous as the silver
tarnishes. <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW1mquV4gX0WaATA7Ipwo3Jx5R9kY9LDX4KN3DbStW1vO9wBev8GJvE7vSRpyo-rCFkmyEAPHNG2X-kh5t2qArAn5TJaB7VWyivYPZ1PeQlFgwKdrIUKh2ia0DIcS9HqUyQd6qTxxdgX0U/s1600/Leonardo+portrait-silverpoint.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW1mquV4gX0WaATA7Ipwo3Jx5R9kY9LDX4KN3DbStW1vO9wBev8GJvE7vSRpyo-rCFkmyEAPHNG2X-kh5t2qArAn5TJaB7VWyivYPZ1PeQlFgwKdrIUKh2ia0DIcS9HqUyQd6qTxxdgX0U/s320/Leonardo+portrait-silverpoint.jpg" width="281" /></a></div>
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Leonardo <i>Study of the Head of a Girl, 1483, silverpoint on brown prepared paper</i></div>
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<a href="http://en.wikipedia.org/wiki/Leonardo_da_Vinci">Leonardo</a>, <a href="http://en.wikipedia.org/wiki/Raphael">Raphael</a> and <a href="http://en.wikipedia.org/wiki/Albrecht_D%C3%BCrer">Durer</a> are all Renaissance masters who
experimented with silverpoint. Durer’s
father was a metal smith and likely introduced his young son to this technique.
Silverpoint is a delicate, but somewhat unforgiving medium; but with some
practice the results can be remarkable. <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHnL2XuUIekNcwgeMpsCIkYzHvXAqb73svb4m6AWIbSPxLKt_56vriIjCcC4OlY8vdokOOTqHL2cprRvoFMBjeVJVhl-74zNsAQoW008YlcZfT9TwYmwWtgczGyxIHC6I8nHNu5xmmQ3W3/s1600/Leonardo+horse.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHnL2XuUIekNcwgeMpsCIkYzHvXAqb73svb4m6AWIbSPxLKt_56vriIjCcC4OlY8vdokOOTqHL2cprRvoFMBjeVJVhl-74zNsAQoW008YlcZfT9TwYmwWtgczGyxIHC6I8nHNu5xmmQ3W3/s320/Leonardo+horse.jpg" width="236" /></a></div>
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Leonardo, <i>Horse Studies, 1493, silverpoint on blue prepared paper</i></div>
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Contemporary artists using silverpoint begin the process,
much as the Renaissance masters did, by preparing their paper with a
ground. The ground can be anything from
house paint to commercially prepared grounds such as <a href="http://www.goldenpaints.com/">Golden’s Artists Supply</a>
“Silverpoint/ Drawing Ground”. Watercolor
can be added to the ground to create a toned surface. Using a rag paper the
ground is applied with a brush and allowed to dry for at least 24 hours.<o:p></o:p></div>
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According to artist/author <a href="http://www.aristidesarts.com/">Juliette Aristides</a> Lord Frederic Leighton worked on this rather large (21 x 15.5 inches) silverpoint drawing "from morning to evening for a full week". </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOZlVP8iXChpcbbGJ3uf77yOtoOxQwv1HFq-R0m65qZeD8zNsC7WpW_Fzc-tchlUJjX5visn_Cl981hBOw4hK0eGDz97KQ8Oh9xQiT1waHoSe47ymqMpT_rhZw6yHogkTXVdxnNMAAyuv5/s1600/Silverpoint+Tree.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOZlVP8iXChpcbbGJ3uf77yOtoOxQwv1HFq-R0m65qZeD8zNsC7WpW_Fzc-tchlUJjX5visn_Cl981hBOw4hK0eGDz97KQ8Oh9xQiT1waHoSe47ymqMpT_rhZw6yHogkTXVdxnNMAAyuv5/s320/Silverpoint+Tree.jpg" width="235" /></a></div>
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<a href="http://en.wikipedia.org/wiki/Frederic_Leighton,_1st_Baron_Leighton">Lord Frederic Leighton,</a> <i>Study of a Lemon Tree</i>, 1858, silverpoint on white prepared paper</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWCR2BIgnUhJ1Ktkltev1WSBxeTVhFxnGpJJOqIBoY6GydEyUlfdjdkFvuYfgizd6UZYYwqSchCSo5aPqy9wvzkUuDT_r1YozXASfVyN8fcpZBLILFgPwUOV42tHShWThMN2Kkb4cBeUHf/s1600/Silverpoint-portrait.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWCR2BIgnUhJ1Ktkltev1WSBxeTVhFxnGpJJOqIBoY6GydEyUlfdjdkFvuYfgizd6UZYYwqSchCSo5aPqy9wvzkUuDT_r1YozXASfVyN8fcpZBLILFgPwUOV42tHShWThMN2Kkb4cBeUHf/s320/Silverpoint-portrait.jpg" width="286" /></a></div>
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Marie Dauenheimer, <i>Portrait Study</i>, 2010, silverpoint on white prepared paper</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinUiw7wKuDuiEOaf6w4Q_mJnRx-Eqh7PcCBc9JQC48WG0Ie-YqY8HL-PZ7J_L67KsEaNQwuVQprgwdCpUcIFy9PcfniP2_SshrIDnh83OlNmtqEuVMIU9TrjFct5eqbkGcH9zsDmWQMz-D/s1600/Silverpoint+drawing-reclining.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinUiw7wKuDuiEOaf6w4Q_mJnRx-Eqh7PcCBc9JQC48WG0Ie-YqY8HL-PZ7J_L67KsEaNQwuVQprgwdCpUcIFy9PcfniP2_SshrIDnh83OlNmtqEuVMIU9TrjFct5eqbkGcH9zsDmWQMz-D/s320/Silverpoint+drawing-reclining.jpg" width="320" /></a></div>
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Marie Dauenheimer, <i>Figure Study</i>, 2012, silverpoint on white prepared paper</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzQjN4qVqLSoix4_lWp-c8xKryLg8Yth1jc6Ri55buI9Il-RZhPoPWT012lEtkvhWLl2HIr4Vj6PaxWUt6r2vkocRX3eYTtFgJGqtspJ6ugM4XZAXDsTDkYX-grWnqKaxXHddT7-EOiduK/s1600/Silverpoint-seatedfigure.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzQjN4qVqLSoix4_lWp-c8xKryLg8Yth1jc6Ri55buI9Il-RZhPoPWT012lEtkvhWLl2HIr4Vj6PaxWUt6r2vkocRX3eYTtFgJGqtspJ6ugM4XZAXDsTDkYX-grWnqKaxXHddT7-EOiduK/s320/Silverpoint-seatedfigure.jpg" width="238" /></a></div>
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Marie Dauenheimer, <i>Figure Study</i>, 2012, silverpoint on white prepared paper</div>
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If you are interested in learning more about how to prepare paper
for silverpoint and about this technique watch this <a href="http://www.goldenpaints.com/technicaldata/silverpoint.php">instructional video from Golden</a> (scroll down).<o:p></o:p></div>
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I highly recommend this technique! It is enjoyable and the results can be brilliant!<o:p></o:p></div>
<!--EndFragment-->Marie Dauenheimerhttp://www.blogger.com/profile/08737335775162472766noreply@blogger.com1tag:blogger.com,1999:blog-178868737261895859.post-45732838319224834242012-12-02T15:29:00.000-08:002012-12-04T07:53:15.886-08:00Durer and Beyond, Central European Drawings, 1400-1700<br />
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In August while at the Metropolitan Museum of Art I saw two
amazing drawings exhibitions. One, which
I blogged about last week, featured the plant drawings of minimalist <a href="http://en.wikipedia.org/wiki/Ellsworth_Kelly">Ellsworth Kelly</a>. These drawings were so beautiful
and elegant for their simple use of line and negative and positive shape.<o:p></o:p></div>
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The “<a href="http://www.metmuseum.org/en/exhibitions/listings/.../durer-and-beyond">Durer and Beyond</a>” exhibition featured many drawings also
created with line. Albrecht Durer’s
energetic ink lines with layers of hatching and crosshatching were a great
contrast to the Kelly drawings!<o:p></o:p></div>
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<a href="http://en.wikipedia.org/wiki/Albrecht_D%C3%BCrer">Albrecht Durer</a>, (1471-1528) of Nuremberg, Germany, is
regarded as the greatest artist of the Northern Renaissance. While still in his twenties Durer became
famous for his woodcuts, such as “<a href="http://www.metmuseum.org/toah/works-of-art/19.73.209">Four Horsemen of the Apocalypse</a>”. He went on to create many masterful paintings,
but his drawings are among his most famous works. Amid his most revered pieces are “<a href="http://en.wikipedia.org/wiki/Great_Piece_of_Turf">The Great Piece of Tuft</a>”, “The <a href="http://en.wikipedia.org/wiki/Praying_Hands_(D%C3%BCrer)">Praying Hands</a>” and “<a href="http://www.wga.hu/html_m/d/durer/2/16/2/10roller.html">Wing of a Roller</a>” Many of these drawings are in the <a href="http://www.albertina.at/en">Albertina</a>
in Vienna.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoEuiebdomaOcn5t0n53lo2Vb0jCSftyWgPiUbWsiaz9VQRUaZUwVtMfAxSRZkHukXEhdt8kl_GBht8r737WDYXKLat2RsK-OQ6yp0Bvv21gY42AcZ5lQSfoHHdhNd4E0sUF5Dq7kzwvng/s1600/300px-Praying_Hands_-_Albrecht_Durer.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoEuiebdomaOcn5t0n53lo2Vb0jCSftyWgPiUbWsiaz9VQRUaZUwVtMfAxSRZkHukXEhdt8kl_GBht8r737WDYXKLat2RsK-OQ6yp0Bvv21gY42AcZ5lQSfoHHdhNd4E0sUF5Dq7kzwvng/s320/300px-Praying_Hands_-_Albrecht_Durer.png" width="213" /></a></div>
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Albrecht Durer, pen and ink on prepared paper, "The Praying Hands", 1508</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvSwVNbGGbwlcCrctg0XSlloudpM1Aeitn1-dW8MGxJdiISLhXrrVhOL4RJpstpeQihY_wssXZERsO2SsnNNHsi0W2sl9kBw5F6NJPdbPOln6A7YFHiiwYzbZUnvfh_JiaImRRyPQcFZRW/s1600/durer-wing-of-roller.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvSwVNbGGbwlcCrctg0XSlloudpM1Aeitn1-dW8MGxJdiISLhXrrVhOL4RJpstpeQihY_wssXZERsO2SsnNNHsi0W2sl9kBw5F6NJPdbPOln6A7YFHiiwYzbZUnvfh_JiaImRRyPQcFZRW/s320/durer-wing-of-roller.jpg" width="320" /></a></div>
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Albrecht Durer, watercolor and gouache, "Wing of a Roller", 1518</div>
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Throughout his life Durer was known for his detailed and
complex self-portraits. The exhibition drawing
below “Self Portrait and Studies of the Artist’s Left Hand and a Pillow”
features such a self-portrait with it’s penetrating gaze. On the <a href="http://en.wikipedia.org/wiki/Recto_and_verso">verso</a> of this drawing is a series of
whimsical drawings of a pillow. The
series almost reads like an animation!<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMDe1ybWj5-sxHZBltSDHuQ66h4IqRBBtsSxfWVWaOh3TkAY-3T6kfzeHceHzzqFgYt7nILtX40oiB4rXuNoCs2WEU_xLrj9AjeZCaDbYBy3Xis7zkNCk4JJAM93mQZMsTJNzMyqLs4QbQ/s1600/22jpdurer2-articleinline.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMDe1ybWj5-sxHZBltSDHuQ66h4IqRBBtsSxfWVWaOh3TkAY-3T6kfzeHceHzzqFgYt7nILtX40oiB4rXuNoCs2WEU_xLrj9AjeZCaDbYBy3Xis7zkNCk4JJAM93mQZMsTJNzMyqLs4QbQ/s1600/22jpdurer2-articleinline.jpg" /></a></div>
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Albrecht Durer, pen and ink, "Self Portrait and Studies of the Artist's Left Hand and a Pillow", 1493</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6AymN9KaqhNg4TKP4vSE8y8PWtLbDmzDmpBLVKm8nfdQi1PocPul_6JX2IrxiIDX2NfFCZGC2s3QD6B1mhjVJmvC2SaYxwaXnbPY7dkUpGbCfvD00Qi3rkwEpcr4YdLwLsR82JNd3J2Mn/s1600/dp809589.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6AymN9KaqhNg4TKP4vSE8y8PWtLbDmzDmpBLVKm8nfdQi1PocPul_6JX2IrxiIDX2NfFCZGC2s3QD6B1mhjVJmvC2SaYxwaXnbPY7dkUpGbCfvD00Qi3rkwEpcr4YdLwLsR82JNd3J2Mn/s320/dp809589.jpg" width="240" /></a></div>
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Albrecht Durer, pen and ink, "Six Studies of a Pillow", 1493</div>
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The exhibition featured 100 drawings created between
1400-1700 by artists from Germany, Austria, Switzerland, Czech Republic among
others. A charming study of a hedgehog
by <a href="http://www.getty.edu/art/gettyguide/artMakerDetails?maker=397">Hans Hoffman</a> (1530-1592) created with watercolor and gouache, highlights
this artist’s love of observing nature down to the smallest detail!<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBszJSpPBO-8kZuYcaczPVnZEZ44XWm2lCe1k3r24ItFdEkQIY8Bva6CDzWB_AezD3ajw6kX9BBN4-lAkqr5xO6KjA4rXRc2Z-WwKbdoXN-H9Rscsgy4C_tR7NGQ82dkcsTgszMrpsVlPh/s1600/hedegehog_2005.347.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBszJSpPBO-8kZuYcaczPVnZEZ44XWm2lCe1k3r24ItFdEkQIY8Bva6CDzWB_AezD3ajw6kX9BBN4-lAkqr5xO6KjA4rXRc2Z-WwKbdoXN-H9Rscsgy4C_tR7NGQ82dkcsTgszMrpsVlPh/s320/hedegehog_2005.347.jpg" width="320" /></a></div>
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Hans Hoffman, watercolor and gouache drawing of a hedgehog, 1584</div>
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If you enjoy looking at master drawings there are two
current exhibitions that you might want to visit. "The Mantegna to Matisse” exhibition at the
<a href="http://www.frick.org/">Frick Collection</a>, will be up through January 27, 2013 and the “Durer to de
Kooning: 100 Master Drawings from Munich” is on view through January 6, 2013 at
the <a href="http://www.themorgan.org/">Morgan Library</a>. I plan on blogging about
both these exhibitions.<o:p></o:p></div>
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<!--EndFragment-->Marie Dauenheimerhttp://www.blogger.com/profile/08737335775162472766noreply@blogger.com0