Sonia Khelil – sonia khelil – my painting
Miércoles, 21 de Octubre de 2009
Archivo
Archivo para la categoría ‘pinturas’
Paul Cézanne
Martes, 13 de Octubre de 2009
From 1872, under Pissarro’s influence, Cézanne painted the rich Impressionist effects of light on different surfaces and even exhibited at the first Impressionist show. But he maintained his concern for solidity and structure throughout, and abandoned Impressionism in 1877. In Le Château Noir, Cézanne does not respond to the flickering light as an Impressionist might; he draws that flicker from deep within the substance of every structure in the painting. Each form has a true solidity, an absolute of internal power that is never diminished for the sake of another part of the composition.
It is the tension between actuality and illusion, description and abstraction, reality and invention, that makes Cézanne’s most unassuming subjects so profoundly satisfying and exciting, and which provided a legacy for a revolution of form that led the way for modern art.
Source: http://www.ibiblio.org/wm/paint/auth/cezanne/works.html
Paul Cézanne
Martes, 13 de Octubre de 2009
Abduction, rape, and murder: these are themes that tormented Cézanne. Abduction (c. 1867, 90 x 117 cm (35 x 46 in)), an early work full of dark miseries, is impressive largely for its turgid force, held barely under his control. These figure paintings are the most difficult to enter into: they are sinister, with passion in turmoil just beneath the surface.
Cézanne’s late studies of the human body are most rewarding, his figures often depicted as bathers merging with the landscape in a sunlit lightness. This became a favorite theme for Cézanne and he made a whole series of pictures on the subject. This mature work is dictated by an objectivity that is profoundly moving for all its seeming emotional detachment.
It was before nature that Cézanne was seized by a sense of the mystery of the world to a depth never expressed by another artist. He saw that nothing exists in isolation: an obvious insight, yet one that only he could make us see. Things have color and they have weight, and the color and mass of each affects the weight of the other. It was to understand these rules that Cézanne dedicated his life.
Source: http://www.ibiblio.org/wm/paint/auth/cezanne/works.html
Paul Cézanne
Martes, 13 de Octubre de 2009
One of the most important works of his early years is the portrait of his formidable father. The Artist’s Father (1866, 199 x 119 cm (78 x 47 in)) is one of Cézanne’s “palette-knife pictures”, painted in short sessions between 1865 and 1866. Their realistic content and solid style reveal Cézanne’s admiration for Gustave Courbet. Here we see a craggy, unyielding man of business, a solid mass of manhood, bodily succint from the top of his black beret to the tips of his heavy shoes. The uncompromising verticals of the massive chair are echoed by the door, and the edges of the small still life by Cézanne on the wall just behind: everything corresponds to the absolute verticals of the edges of the canvas itself, further accentuating the air of certainty about the portrait. Thick hands hold a newspaper–though Cézanne has replaced his father’s conservative newspaper with the liberal L’Evénement, which published articles by his childhood friend, Emile Zola. His father devours the paper, sitting tensely upright in the elongated armchair. Yet it is a curiously tender portrait too. Cézanne seems to see his father as somehow unfulfilled: for all his size he does not fully occupy the chair, and neither does he see the still life on the wall behind him, which we recognize as being one of his son’s. We do not see his eyes– only the ironical mouth and his great frame, partly hidden behind the paper.
Cézanne was in his twenties when he painted The Artist’s Father. Wonderful though it is, with its blacks and greys and umbers, it does not fully indicate the profundity of his developing genius. Yet even in this early work, Cézanne’s grasp of form and solid pictorial structures which came to dominate his mature style are already essential components. His overriding concern with form and structure set him apart from the Impressionists from the start, and he was to maintain this solitary position, carving out his unique pictorial language.
Source: http://www.ibiblio.org/wm/paint/auth/cezanne/works.html
Diana Ricci – Lo que yo hago
Viernes, 9 de Octubre de 2009
Panthère Noire – Album7
Jueves, 8 de Octubre de 2009
Mariangeles Mandagaran – mis cuadros
Domingo, 4 de Octubre de 2009
Luigino Moro – Foto bacheca
Sábado, 3 de Octubre de 2009
son solo parole
scritte per bisogno d’amore,
desideri mai spenti d’intime carezze.
ingannevole sogno che accende speranza
s’infrange sulla scogliera delle illusioni.
mi sveglio allungo la mano e tu ci sei
aspetti paziente quei pochi momenti
tu che il tuo cuore non l’hai mai cambiato
ora i ricordi lacerano il cuore
ma con te al mio fianco verranno sepolti
non resterà nessun rimpianto
di questo illuso amore
Fuente: http://www.facebook.com
Omar Ortiz – Roces
Domingo, 27 de Septiembre de 2009
Omar Ortiz – Amnesia
Sábado, 26 de Septiembre de 2009
Nace en Guadalajara, Jalisco, México en 1977, donde aún reside. Despierta un gran interés por el dibujo y la ilustración desde temprana edad. Cursa la Licenciatura en Diseño para la Comunicación Gráfica, donde aprende a trabajar con diferentes técnicas como el dibujo, pastel, carboncillo, acuarela, acrílico, y la aerografia. Al terminar sus estudios de Diseño Gráfico decide dedicarse al mundo de la pintura. En el año 2002 cursa sus primeras clases de óleo con la Pintora Carmen Alarcón a la cual considera su principal maestra de Artes Plásticas. Actualmente pinta al óleo por considerarla la técnica mas noble.
Un Hiperrealismo – Minimalista donde predominan los blancos, la figura humana y un juego mágico de telas, caracterizan su obra.
Fuente:
- Imagen: http://www.facebook.com
- Texto: http://omarortiz.wordpress.com
Claude Monet
Viernes, 25 de Septiembre de 2009
La Grenouillère (`The Froggery’) was a restaurant and bathing place on a small branch of the Seine at Croissy. It was an extremely popular area because the Railway line from Paris to Saint-Germain, the first to be opened in France, had a station at nearby Chatou. Both Monet and Renoir painted several views of it in 1869 (Monet: La Grenouillère, Metropolitan Museum, New York; Renoir: La Grenouillère, Oskar Reinhardt Collection, Winterthur, Switzerland). Several successful academic painters had houses nearby, and the place was extensively written about, sometimes approvingly, sometimes not so, during the 1860s. It was thought of as a very `contemporary’ subject, and its popularity was confirmed in the year that Monet and Renoir painted it, when it was visited by the Emperor Napoleon III and Eugénie, his wife.
La Grenouillère was a riverside bathing and boating resort, popular among weekend trippers during the Second Empire (1852-1870) and after. It had a floating restaurant which is seen in another of the paintings executed by Monet during his two-month stay there in the late summer of 1869, and it appears in similar works by Renoir often painted sitting alongside Monet. The resort was situated on the Ile de Croissy, facing the left bank of the Seine.
In Monet’s picture, which looks northeasterly, the afternoon light falls from behind the artist–a lighting effect he would have seen in Manet’s studio work. However, although this full-face light is used, it is not exploited for the overall brilliance it gives to more open scenery. Monet only turned to this device in the 1870s. Instead, because of the close proximity of dense, overhanging trees, Monet has produced a study with alternating blocks of dark pierced by patches of dazzling sunlight, resulting in contrasts of light and shade reminiscent of Manet’s work from the early 1860s. The juicy quality of Monet’s paint is also similar to that found in Manet’s work of this decade.
Sheyla Castellanos
Viernes, 18 de Septiembre de 2009
Paul Cézanne
Jueves, 17 de Septiembre de 2009
The abstract side of Cézanne’s art has always been given due weight. It was amusingly emphasized by Ambroise Vollard who, after sitting many times for his portrait, asked how it was getting on. Cézanne’s reply: `I am not displeased with the shirt-front’ seemed to suggest that the human element did not enter into his calculations, that he was simply concerned with planes and gradations of color. On the other hand, his several self-portraits give a remarkable sense of character and towards 1890 there are other signs of his interest in the aspect of human beings, as for example the five versions of The Card Players produced during this period at Aix. The Louvre version, reproduced here, with two players (and a bottle between them to mark the center of the symmetrically balanced composition) could be looked on in the abstract as a magnificent rendering of solid forms, given their appearance of structure by the gradated areas of the thinly applied color. But the fact remains that these are not abstractions but peasant card players in his native Provence. Whether by the sheer veracity of his study of facial planes or through some feeling of kinship with the solid countrymen he was portraying, Cézanne has made them live.
A picture of seventeenth-century card players from the studio of the brothers Le Nain in the museum at Aix and its peasant character first suggested the series to Cézanne though single peasant studies also show his interest in the essentially French type and his capacity to convey its essence. These pictures and the strange Mardi Gras of the same period (the clown and harlequin like two Romantic ghosts taking on substance and swaggering into a new era, perhaps by their strangeness leaving a deeper impression on French artists afterwards than by technique alone) realize the equation of form and content which Cézanne so often lamented he has not attained.
Paul Cézanne
Jueves, 17 de Septiembre de 2009
Paul Cézanne
Jueves, 17 de Septiembre de 2009
House of the Hanged Man, a motif from Auvers-sur-Oise, was probably painted in the spring of 1873. It is among the most heavily worked of Cézanne’s canvases from this decade, and the rare appearance of a signature, and the fact that–with Cézanne’s consent–it was exhibited several times during his lifetime, suggest that it was one of the rare paintings with which he was satisfied. It was executed on a standard portrait 15 canvas, whose squarish shape complements the composition and the solid block-like shapes within it. The ground, although undoubtedly pale because of the striking luminosity of the picture, is hard to identify with confidence without removing the work from its frame. The ground is effectively obliterated by the dense, thick opaque paint layer, although slight paint losses at the outer edges reveal both raw canvas and what is possibly a pale gray or putty-colored ground.
Repeated reworkings, over almost the entire surface, characterize this painting. Canvas texture is practically irrelevant, but the effects of stiff, crusty paint dragged across previously dried brushstrokes, are fundamental to the grainy appearance of the picture. The tactile quality of natural surfaces, the crumbly limestone walls, roof thatch, and dusty road, are recreated by the built-up paint texture. Stiff hog’s hair brushwork is combined with buttery slabs of color applied with a palette knife. In the foreground path this catches on previous brushstrokes, breaking the color to allow earlier colors to show through. This imitates the texture of natural surfaces and creates a vibrant, fragmented paint layer which scatters light, optically enhancing the picture’s paleness and luminosity. Dabbed brushmarks of subtly varied colors construct the thatched roof and the grass bank beneath it, on which the movement of the brushstrokes suggests the movement into space. This directs the eye toward the central pivotal point, which is the sunlit patch of ground between the two main houses.
Paul Cézanne
Jueves, 17 de Septiembre de 2009
Cézanne, Paul (b. Jan. 19, 1839, Aix-en-Provence, Fr.–d. Oct. 22, 1906, Aix-en-Provence)
French painter, one of the greatest of the Postimpressionists, whose works and ideas were influential in the aesthetic development of many 20th-century artists and art movements, especially Cubism. Cézanne’s art, misunderstood and discredited by the public during most of his life, grew out of Impressionism and eventually challenged all the conventional values of painting in the 19th century through its insistence on personal expression and on the integrity of the painting itself. He has been called the father of modern painting.
Encyclopaedia Britannica, 1994
The French painter Paul Cézanne, who exhibited little in his lifetime and pursued his interests increasingly in artistic isolation, is regarded today as one of the great forerunners of modern painting, both for the way that he evolved of putting down on canvas exactly what his eye saw in nature and for the qualities of pictorial form that he achieved through a unique treatment of space, mass, and color.
Cézanne was a contemporary of the impressionists, but he went beyond their interests in the individual brushstroke and the fall of light onto objects, to create, in his words, “something more solid and durable, like the art of the museums.”
Cézanne was born at Aix-en-Provence in the south of France on Jan. 19, 1839. He went to school in Aix, forming a close friendship with the novelist Emile Zola. He also studied law there from 1859 to 1861, but at the same time he continued attending drawing classes. Against the implacable resistance of his father, he made up his mind that he wanted to paint and in 1861 joined Zola in Paris. His father’s reluctant consent at that time brought him financial support and, later, a large inheritance on which he could live without difficulty. In Paris he met Camille Pissarro and came to know others of the impressionist group, with whom he would exhibit in 1874 and 1877. Cézanne, however, remained an outsider to their circle; from 1864 to 1869 he submitted his work to the official SALON and saw it consistently rejected. His paintings of 1865-70 form what is usually called his early “romantic” period. Extremely personal in character, it deals with bizarre subjects of violence and fantasy in harsh, somber colors and extremely heavy paintwork.
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Claude Monet
Lunes, 14 de Septiembre de 2009
An unexpected facet of Monet’s abilities appears in the skill and grace with which he carried out the always difficult commission of full-length, life-size portrait. M. and Mme Gaudibert of Le Havre were the generous and understanding couple who came to Monet’s rescue in a year of cumulative misfortunes. His family disowned him because of his association with Camille by whom he had a child. None of the pictures he sent in the spring to the International Maritime Exhibition at Le Havre was sold and the canvases were seized by his creditors. In the summer, together with Camille and the child, he was thrown out of the lodgings he took at Fécamp. He came near to suicide. The order for portraits of the Gaudiberts and their purchase of other pictures by Monet tided him over the worst of his difficulties for a time and enabled him to resume the painting he had almost abandoned in despair. `Thanks to this gentleman of Le Havre who’s been helping me out’, he wrote to Bazille, `I’m enjoying the most perfect peace and quiet’. He looked forward again to doing `some worthwhile things’.
The portrait of Madame Gaudibert, painted in a chateau near Etretat, is none the less distinguished for being in a quiet key. The lady’s dress was of that dull satin that offered little scope to the colourist but Monet gives dignity to its folds and adds color–discreetly subdued–in shawl, carpet and curtained background that lightens the effect. This is further enlivened by the touches of white at collar and cuffs and in the design of the shawl. Head and hands are painted with a sensitive simplicity.
Source: http://www.ibiblio.org/wm/paint/auth/monet/early/gaudibert/
Claude Monet
Lunes, 14 de Septiembre de 2009
Monet, Claude (b. Nov. 14, 1840, Paris, Fr.–d. Dec. 5, 1926, Giverny)
French painter, initiator, leader, and unswerving advocate of the Impressionist style. He is regarded as the archetypal Impressionist in that his devotion to the ideals of the movement was unwavering throughout his long career, and it is fitting that one of his pictures–Impression: Sunrise (Musée Marmottan, Paris; 1872)–gave the group his name.
His youth was spent in Le Havre, where he first excelled as a caricaturist but was then converted to landscape painting by his early mentor Boudin, from whom he derived his firm predilection for painting out of doors. In 1859 he studied in Paris at the Atelier Suisse and formed a friendship with Pissarro. After two years’ military service in Algiers, he returned to Le Havre and met Jongkind, to whom he said he owed `the definitive education of my eye’. He then, in 1862, entered the studio of Gleyre in Paris and there met Renoir, Sisley, and Bazille, with whom he was to form the nucleus of the Impressionist group. Monet’s devotion to painting out of doors is illustrated by the famous story concerning one of his most ambitious early works, Women in the Garden (Musée d’Orsay, Paris; 1866-67). The picture is about 2.5 meters high and to enable him to paint all of it outside he had a trench dug in the garden so that the canvas could be raised or lowered by pulleys to the height he required. Courbet visited him when he was working on it and said Monet would not paint even the leaves in the background unless the lighting conditions were exactly right.
