Ever gone to a great site in Europe and the measurements of the paintings were in centimeters?
I just did. A great site with marvelous paintings. However, not being skilled in metric system I wondered what the size of the paintings were. So google to the rescue.
To convert cm to inches use the following formula:
1 cm equals 0.3937008 inches
So, to convert 11 cm to inches, multiply 0.3937008 by 11 i.e.,
11 cm = 0.3937008 * 11 inches = 4.3307087 inches
16.5cm x 11cm, oil on board. 6.49″ x 4.33″.
Really lovely paintings!
Postcard from Provence is a diary in daily paintings by British artist Julian Merrow-Smith, following the changing seasons of his adopted home in the Vaucluse, in the South of France. His still life paintings are inspired by objets trouvés, pottery and seasonal produce from the local markets whilst many of his landscape paintings picture scenes within walking distance of his studio.
Amazing site with a lifetime of research and references. You could spend hours learning.
Miles Hodges created an incredible site that is. Warehouse of knowledge insight and beauty. I learned so much. Thank you Mr. Hodges. Truely one Of God’s teachers. he calls his site Kings Academy, I would agree.
I loved all the art.See more
Be sure to check out table of contents: History of Western Art
Just a few examples.
Salvador Dali – The Persistence of Memory (1931) oil on canvas
New York, The Museum of Modern Art
Plazy, History of Art in Pictures, p. 166
Arshile Gorky – To Project, To Conjure (1944) oil on canvas
Plazy, History of Art in Pictures, p. 177
Alberto Giacometti – Walking Man (1949) bronze
Plazy, History of Art in Pictures, p. 175
Today I learned a new term: Lyrical Abstraction. Lyrical Abstraction is a term that was used by Larry Aldrich (the founder of the Aldrich Contemporary Art Museum, Ridgefield Connecticut) in 1969 to describe what Aldrich said he saw in the studios of many artists at that time. Mr. Aldrich, a successful designer and art collector, defined the trend of Lyrical Abstraction and explained how he came to acquire the works. In his “Statement of the Exhibition” he wrote,
“Early last season, it became apparent that in painting there was a movement away from the geometric, hard-edge, and minimal, toward more lyrical, sensuous, romantic abstractions in colors which were softer and more vibrant…The artist’s touch is always visible in this type of painting, even when the paintings are done with spray guns, sponges or other objects…As I researched this lyrical trend, I found many young artists whose paintings appealed to me so much that I was impelled to acquire many of them. The majority of the paintings in the Lyrical Abstraction exhibition were created in 1969 and all are a part of my collection now.”
Often, using the new acrylic paints, they worked to imbue a sculptural, surface dimension to their canvases. As Blazier explains, “These artists loved painting. They scoffed at the serious nihilism of the minimalists.” They merged the abstract and conceptual with bold color, making their work a medley of ideas, brushstroke, color, and emotion – hence, “lyrical.” The museum’s chief curator and organizer of the exhibit, Wendy Blazier, knew of “hundreds of works – beautiful paintings that we had not had the opportunity to show. And there were a group of these strong abstract works from the ’70s and ’80s that showed a seminal period for a group of young, emerging painters.”
This is the case with Expanding Boundaries: Lyrical Abstraction Selections from the Permanent Collection now at the Boca Raton Museum of Art. The show includes nearly 50 works by artists including Natvar Bhavsar, Stanley Boxer, Lamar Briggs, Dan Christensen, David Diao, Friedel Dzubas, Sam Francis, Dorothy Gillespie, Cleve Gray, Paul Jenkins, Ronnie Landfield, Pat Lipsky, Joan Mitchell, Robert Natkin, Jules Olitski, Larry Poons, Garry Rich, John Seery, Jeff Way and Larry Zox.
Jake Berthot partcipated in the Lyrical abstraction exhibition.
I love to peruse sites about artists ans what they think about painting. I came across this interview between the writer for Brookyn Rail and Jake Berthot.
“Berthot: Milton Resnick always said to me, paint to the place where the painting becomes the boss and the painter merely the servant and then you really are painting. In other words, if the painting is already realized, it is not where it should end, but is rather the point where the painting begins. This for me is also the lesson of Cézanne, for he had great clarity in that what appears to be solid at the same time remained open. I believe that in order to enter into this realm of painting one has to have the courage to confront and deal with contradiction. One has to have the courage to embrace both visibility and ambiguity. This is what makes painting a hellish and impossible endeavor, but when a painting is realized, if only for a fleeting moment, it is an exquisite pleasure.
As Emerson once said, “We may climb into the thin and cold realm of pure geometry and lifeless science or sink into that of sensation. Between these extremes is the equator of life, of spirit, of poetry, a narrow belt.” It is precisely here that I, regardless of intention, shape and form, exist as a working artist. It is precisely here, from the two opposites of this narrow belt, that the hard questions are asked and in asking give tension and depth to the spirit of art. Read more.
One of my favorite artists was also considered to be part of the Lyrical Abstarction artists.
Helen Frankenthaler, Mountains and Sea, 1952, on extended loan to the National Gallery of Art, Washington, DC.. NY Times art critic Grace Glueck wrote: Helen Frankenthaler, the lyrically abstract painter whose technique of staining pigment into raw canvas helped shape an influential art movement in the mid-20th century and who became one of the most admired artists of her generation.
The story of Jay DeFeo and The Rose is both a cautionary tale of obsession and an inspiring tale of determination and belief. DeFeo, whose work was on view in a retrospective at The Whitney Museum, was part of a group of Beat Artists living in downtown San Francisco when she began working on The Rose in 1958. She was 29 years old and for the next eight years, she did little else but sit on a stool in her studio, smoking cigarettes, drinking Christian bothers brandy while she painted and scraped away at her vision. Read more Huntington Post
This retrospective offers a revelatory, in-depth encounter with the work of Jay DeFeo (1929-1989), one of the most important and innovative artists of her generation, but one who until now has not been given her due. A quintessential San Francisco artist who rose to national prominence, DeFeo was at the center of a vibrant community of Bay Area artists, poets, and musicians in the 1950s. Although she is best known for her massive, visionary masterpiece The Rose (1958-66), DeFeo created an astoundingly diverse range of works; her unconventional approach to materials and her intensive, physical process make her a unique figure in postwar American art. Presenting close to 130 works, including collages, drawings, paintings, photographs, small sculptures, and jewelry, this definitive exhibition traces DeFeo’s distinctive vision across more than four decades of art making.
Jay DeFeo, The Rose, 1958-66; oil with wood and mica on canvas; Whitney Museum of American Art, New York; gift of The Jay DeFeo Trust, Berkeley, CA, and purchase with funds from the Contemporary Painting and Sculpture Committee and the Judith Rothschild Foundation; © 2012 The Jay DeFeo Trust / Artists Rights Society (ARS), New York
Want the change. Be inspired by the flame
where everything shines as it disappears.
The artist when sketching loves nothing so much
as the curve of the body as it turns away.
What locks itself in sameness has congealed.
Is it safer to be gray and numb?
What turns hard becomes rigid
and is easily shattered.
Pour yourself like a fountain.
Flow into the knowledge that what you are seeking
finishes often at the start and with ending begins.
Every happiness is the child of separation
it did not think it could survive. And Daphne becoming a laurel
dares you to become the wind.
~Rainer Maria Rilke
“When you are in doubt, be still, and wait;
when doubt no longer exists for you, then go forward with courage.
So long as mists envelop you, be still;
be still until the sunlight pours through and dispels the mists
– as it surely will.
Then act with courage.”
― Ponca Chief White Eagle
Thanks to blog by Sharon Kingston
Ellsworth Kelly is an American painter, sculptor, and printmaker associated with Hard-edge painting, Color Field painting and the Minimalist school. His works demonstrate unassuming techniques emphasizing the simplicity of form found similar to the work of John McLaughlin and Kenneth Noland. Kelly often employs bright colors to enhance his works. Although Kelly may be better known for his paintings, he has also pursued sculpture throughout his career. In 1999, the San Francisco Museum of Modern Art announced that it had bought 22 works, paintings, wall reliefs and sculptures by Kelly, valued at more than $20 million. Notable private collectors include, among others, Eli Broad and Gwyneth Paltrow.
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