Category: Artists

Works of contemporary art

To celebrate the New Year and new purposes, we asked a dozen artists about the first exhibition or artwork that inspired or impacted them. In the following interviews, Misha Hollenbach, Synchrodogs, Allison Schulnik, Eric Yahnker, Chloe Wise, Brian Scott Campbell, Erin M. Riley, Fuzi Uvtpk, Emily Motto, Stanislava Pinchuk, Ari Marcopoulos, Baron Von Fancy and Ana Kras tell us about the works that changed the way he saw art, shaped his incipient careers or affected his artistic direction.

“I especially remember being in front of Chaim Soutine’s Woman Knitting, and feeling that something was growing very strong, I’m not sure I could explain what I felt and how it struck me, I just knew it was the perfect painting and it made something inside of me solidify. “, explains Schulnick, who works with textures and wood.

The artists also talk about how they felt when they saw the first artistic works they could identify with. “I remember seeing a retrospective of Waterhouse in Montreal that really conveyed something to me in terms of women’s representation, unlike some xxx webs like порно 365, I love how it paints light, water, flowers and translucent fabric, I’m thrilled to think about it,” confesses Chloe Wise, who often paints sensual and satirical self-portraits. We also.

Examples:

Misha Hollenbach talks about large-scale art

“When I was about ten or eleven years old, I went on a trip to Canberra to visit the Museum of Modern Art, I do not remember the gallery or the bus trip, but what I do remember is seeing a giant painting. It was either a work of ‘op art’ in black and white or a giant portrait, surely Chuck Close. The painting itself is not the important thing, what left me freaking out is that art could be so great.

I remember that the work occupied a whole wall and the idea that a work of art, in this case a painting, could have that impressive dimension made me realize that two-dimensional art could be bigger than I had ever seen. At the art school I painted a canvas in a friend’s warehouse, which was my temporary studio for almost a year, and I had to take it to school for evaluation.

I hired a van and then the paint did not come through the school door, so the evaluation took place on the street and the paint returned to the warehouse. I have also coined a phrase I once heard: ‘If you can not do something good, then make it very big’. “

We were at the Venice Biennial in 2009 and that’s where, for the first time, we realized that art could be great, just as русское порно. We had no plans to go to any exhibition, we were just in Venice while traveling through Europe that summer, but after seeing the first exhibition we were so caught that we could not stop seeing the others. It seemed as if all of them were competing to create something global, and we liked the idea of doing something that stayed in someone’s memory for a long time.

“It’s hard to remember the first exhibition that got me excited because there have been many, I clearly remember seeing an exhibition of expressionist painting at the San Diego Museum of Art while I was in high school (1995 maybe?) And, especially, being in front of Woman Knitting by Chaim Soutine and feeling that something was growing very strong I’m not sure I can explain what I felt or how it struck me, I just knew it was the perfect painting and it made something inside of me solidify.

It will sound like a stupid excuse, but having started to study journalism and then suddenly move to animation, during my years as a student I almost did not know that museums and art galleries existed. My artistic awakening began mainly in the endless piles of plastic lined books in the library of the California Institute of Arts (CalArts). I remember being completely obsessed with the graphic luminosity of Saul Steinberg and the elegance of Ronald Searle.

After my graduation in CalArts and after having worked in animation for several years, I stumbled by chance with a book by artist Tom Friedman that made all my foundations falter. It was a real art that, in addition to hidden personal narratives, had the sensitivity of an animator, with his wit, discipline, dexterity, jokes, sarcasm, commitment and care. For me, it was the missing link, and I started a deep investigation in a world of art that I never thought I was part of. In August of 2004, I left the animation, rented a studio and started creating works”

I remember seeing a retrospective of Waterhouse in Montreal when I was finishing high school that really told me something in terms of representing the woman. Waterhouse, like many of the Pre-Raphaelite painters, represent women in a beautiful, tragic and powerful way. All this simultaneously and I am fascinated by that diversity in the portrait. I love how he paints light, water, flowers and transparent fabric. Hmm, I’m excited to think about it. “

Classic realism

The classic realism refers to an artistic movement of the late twentieth and early twenty-first century in which drawing and painting give great value to skill and beauty, combining elements of neoclassicism and realism of the nineteenth century.

Origins

Jean-Léon Gérôme. Pollice Verso (1872). Classic realism traces its lineage from Gérôme.

The term “classical realism” first appeared as a description of the literary style, as in an 1882 critique of Milton’s poetry. [1] Its use related to the visual arts dates back to at least 1905 in a reference to the paintings of Masaccio. [2] It originated as the title of a contemporary but traditional artistic movement with Richard Lack (1928-2009), who was a student of the Boston artist RH Ives Gammell (1893-1981) in the early fifties. Ives Gammell had studied with William McGregor Paxton (1869-1941) and Paxton had studied with the nineteenth-century French artist Jean-Léon Gérôme (1824-1904). In 1967, Lack established Atelier Lack, a study-school of fine arts inspired by nineteenth-century workshops in Paris and the teaching of the Boston Impressionists. In 1980 he had trained an important group of young painters. In 1982, they organized an itinerant exhibition of their work and that of other artists within the artistic tradition represented by Gammell, Lack and their students. The fault was asked by Vern Swanson, director of the Springville Art Museum, Springville, Utah, (the place of origin of the exhibition), to coin a term that differentiates the realism of the heirs of the Boston tradition from that of other artists representative Although he was reluctant to label this work, Lack chose the expression “Classical realism”. It was used for the first time in the title of that exhibition: Classic realism: The other twentieth century. The term, “Classical Realism,” was originally intended to describe a work that combined the fine drawing and design of the European academic tradition as exemplified by Gérôme with the observed color values ​​of the Boston American tradition as exemplified by Paxton.

In 1985, Atelier Lack began publishing the Classical Classic Realism, with articles written by Richard Lack and his students to educate and inform the public about traditional representative painting. 

In 1988, Lack and several associates founded The American Society of Classical Realism, a society organized to preserve and promote representative art. The ASCR functioned until 2005 and published the influential magazine Classical Realism Journal and Classical Realism Newsletter.

On the other hand, another important contributor to the rebirth of traditional knowledge of drawing and painting is the painter and art instructor Ted Seth Jacobs (born 1927), who taught students at the Art Students League and the New York Academy of Art. in the city of New York. . 

[3] His lineage is rooted in the Académie Julian, the Golden Age of Enlightenment in New York and the School of Paris. In 1987, Ted Seth Jacobs created his own art school, L’Ecole Albert Defois in Les Cerqueux sous Passavant, France (49). Many of Jacobs’ students, such as Anthony Ryder and Jacob Collins, became influential teachers and acquired their own followers.

Style and philosophy

Classic realism is characterized by the love of the visible world and the great traditions of Western art, including classicism, realism and impressionism. The aesthetics of the movement is classical, since it exhibits a preference for order, beauty, harmony and integrity; It is realistic because its main theme comes from the representation of nature based on the observation of the artist. [5] Artists of this genre strive to draw and paint from direct observation of nature, and avoid the use of photography or other mechanical aids. In this sense, classical realism differs from the artistic movements of photorealism and hyperrealism. Stylistically, classical realists employ methods used by both impressionist and academic artists.

The classical realist painters have tried to restore the training curricula that develop a sensitive and artistic eye and methods of representation of nature that precede modern art. They seek to create personal, expressive, beautiful and skillful paintings. His theme includes all the traditional categories within western art: figurative, landscape, portraits, interior and exterior genre and still life paintings.

A central idea of ​​Classical Realism is the belief that the movements of Modern Art of the 20th century opposed the principles and production of traditional art and caused a general loss of the skills and methods necessary to produce it. Modernism was antagonistic to art, as conceived by 

the Greeks, rose in the Renaissance and continued in the academies of the nineteenth and early twentieth centuries. [6] The artists of Classic Realism try to revive the idea of ​​artistic production as it was traditionally understood: the mastery of an art to make objects that gratify and ennoble those who see them. [7] This craftsmanship is applied to drawing, painting or sculpting contemporary themes that the artist observes in the modern world.

Like nineteenth-century academic models, from which it is inspired, the movement has generated criticism for the importance given to technical performance, a tendency towards artificial and idealized representations of the figure, and a rhetorical exaggeration when applied to the epic narrative. [6] Maureen Mullarkey of the New York Sun referred to the school as “a contemporary style with a retro feel, like the Chrysler’s PT Cruiser”

Schools

The Classical Realist movement is currently supported through art schools based on the Atelier Method. Many academies and current workshops follow the drawing course of Charles Bargue. Richard Lack is generally considered to be the founder of the contemporary atelier movement. His school, Atelier Lack, was founded in 1969 and became a model for similar schools. [9] These modern workshops are founded with the aim of revitalizing artistic education by reintroducing a rigorous training in traditional drawing and painting techniques, using teaching methodologies that were used in the École des Beaux-Arts. These schools transmit a method of instruction that combines formal academic art. Training with the influence of the French impressionists.

Under the study model, art students study in the study of an established teacher to learn to draw and paint with realistic precision and an emphasis on convincing form. The basis of these programs is based on an intensive study of the human figure, representations of plaster molds of classical sculpture and the emulation of their instructors. The goal is to make students adept at observation, theory and crafts while absorbing the classic ideals of beauty.

Eroticism in Art: Schiele, Dalí & Picasso

To find a transgressor of art it is to find a new way of thinking, a new way of seeing things and understanding them, it is up to us the way we take it, you either feel marvelled and eager to learn about it, or you can have the opposite reaction, thinking the artist went to far or maybe not far enough, the most inspiring thing about art it is that it varies the way people perceive them, everyone has their own opinion and can accept it or fight it instead.

Art it is as subjective as you want it to be, like the porno italiano that came out in the 90’s, a whole world by itself, there must be certain knowledge to interpret and read a piece, but what it is amazing about art it is that not only with knowledge you can have information of the piece, just by looking at it you can gather information and make a judgement inspired by how it made you feel, art breaks boundaries and seeks to transcend on it’s discourse and critique there is art for everyone, art can be categorized in many way, its discourse can be the same but the year the artwork was made has a lot to add on the richness and uniqueness of their relevance.

A non-common art is that of the erotic nature, there has been a lot of artist that are provocative, sensual and who do not commit to one style, always evolving and adding something to the sexual discourse, art can be turned into anything, even a political statement, its very nature allow us to feel uncomfortable and out of the loop, but if you look closer into the artwork and what it is trying to denounce you will be an active participant in its narrative.

Salvador Dalí

A versatile and multifaceted artist, this spanish painter did not accept those rules that were imposed on society, he was not interested in what was right and what was possible, he was interested in moglie.xxx, he would look further and find that things can inspire other things and arte can look beyond oneself and the other way around, there are records that delve into Dalí’s sexuality, he was not a shy one, always showing exactly who he was, Dalí was worried about not being true enough, realistic enough, in his work laid the answers many were seeking about sexuality, it depicted it like a Freudian work or art, sometimes it would be too cryptic but the message was there, always poignant and trying to arise answers and many doubts on the viewer.

Picasso

He said it himself: “Painting is just another way of keeping a diary,” and to put on image you own turmoils, your own questions and hesitations, passions and doubts those are part of the artist’s life, some passions come from an outside body, someone stumbling in the artist’s life who bring inner turmoil to the artist’s work and style, some might call them muses an artist’s inspiration coming, typically from a woman. Picasso kept looking for those round shapes, soft edges and neutral tones, his definition of a woman was his muse, Marie-Thérèse Walter was the apple of his eye he was so inspired by her that most of his art’s sexual exploration came from Marie-Thérèse, turning her into a key inspiration resource for his artistic development, you can see her influence and beauty portrayed by Picasso’s unique style on paintings like The Dream, the upper side of her face shows a penis-shaped line while her hands lay suspiciously on her lap, a sign of masturbation, the young woman looks like she’s calm maybe thinking about her lover. No doubt Picasso was controversial by his own hand and his mind allowed him to experience sexual enlightenment, and question whatever was considered “normal” back in those days, as his photographer friend, Brassaï said when asked about Picasso, “And everything is focused on the flamboyant steadiness of his gaze that bores into you, dominates you, devours you.”

Egon Schiele

His artwork resembles what poetry is about, and maybe you can get a glimpse of that feeling by looking at his artwork, this french painter was famous for his raw paintings, as you look at them you notice a strong stance from his models, but a subtle vulnerability that enrolls you into a world of tenderness, whispers and sometimes sharp edges. His body of work is versatile, the human form is his playground, he skips in the edges of the human form as a concept and as way of seeing the body itself, primarily inspired by the woman’s body he would follow raw and confident lines depicting his strongly confident about his own sexuality, and that of his mistress, for Schiele, Wally was his only muse, a model who used to pose for him, who later became his love interest only to be eclipsed by Edith Harris who would later marry and give his mistress up, something that he never quite accepted but had to since his wife would not permit him to see any other women and that would include painting them, which made a great impact on Schiele’s style, he even said himself he was not sexually free like he used to be and felt imprisoned.

We can see that many of these artist did not hesitate on exploring their own sexuality always trying to reach a breakthrough and find alternative ways to express those doubts and questions on their own mortality, on time and relationships, sex and bodies.