Books
One Hundred Years of Solitude by Garcia Marquez
Silverview by John Le Carre
Ravenna by Judith Herrin
We should Never Meet by Aimee Phan
Sea People by Christina Thompson
Turn Right at Machu Picchu by Mark Adams
One Hundred Years of Solitude by Garcia Marquez
Silverview by John Le Carre
Ravenna by Judith Herrin
We should Never Meet by Aimee Phan
Sea People by Christina Thompson
Turn Right at Machu Picchu by Mark Adams
Victor Pesce, city of one. notice the subtle change of hue in shadows, and the dynamic composition in seeming simplicity
Still Life with Plums and Blue Pitcher . 14 inches x 14 inches. Amy Weiskopf - “Today’s art world is wildly eclectic and every artist must make stylistic choices that indicate philosophical positions. I finished school in the early 80’s. At that time art tended to be more conceptual than visual. Sociopolitical issues outweighed aesthetics. Beauty, admittedly difficult to define, was considered elitist, trite, shallow, and inextricably tied to white European men. Pleasure, an equally slippery concept, was not discussed much. My reaction was to move to Italy where I spent the next 9 years looking at what those white European men, and a few women, had done.”
Call it the aesthetic experience, the pleasure created by a visual image, a nonverbal image, is particular and intense. In a personal and fairly empirical fashion I went looking for that experience, noticed when it happened, and tried to analyze why. For myself, the pleasure in looking is the fundamental force behind the power of visual arts. I believe painting can provide a particularly complex, therefore, pleasurable experience. This complexity is the result of highly orchestrated visual contrasts: spacial, tonal, chromatic and textural. I am a strict formalist; the structure of the painting creates the visual pleasure. I found still life the most suitable genre for organizing these effects. The sheer joy of looking at the painting, that visual and visceral understanding, so difficult to define, should never be eclipsed by more tangible considerations.”
“while painting can be analyzed in various ways- formally, socially, historically, politically, iconographically, and more. Its truest strength is NONVERBAL. Today it sometimes seems that people are uncomfortable with the ambiguity of a visual experience and want the reassurance of verbal ideas and explanations. Personally I think this is limiting. Exploring looking is much more rewarding and fun.”
Call it the aesthetic experience, the pleasure created by a visual image, a nonverbal image, is particular and intense. In a personal and fairly empirical fashion I went looking for that experience, noticed when it happened, and tried to analyze why. For myself, the pleasure in looking is the fundamental force behind the power of visual arts. I believe painting can provide a particularly complex, therefore, pleasurable experience. This complexity is the result of highly orchestrated visual contrasts: spacial, tonal, chromatic and textural. I am a strict formalist; the structure of the painting creates the visual pleasure. I found still life the most suitable genre for organizing these effects. The sheer joy of looking at the painting, that visual and visceral understanding, so difficult to define, should never be eclipsed by more tangible considerations.”
“while painting can be analyzed in various ways- formally, socially, historically, politically, iconographically, and more. Its truest strength is NONVERBAL. Today it sometimes seems that people are uncomfortable with the ambiguity of a visual experience and want the reassurance of verbal ideas and explanations. Personally I think this is limiting. Exploring looking is much more rewarding and fun.”
Ceremonial Aztec knife made of flaked obsidian.
In ancient Mexican culture this stone was called Itzli, literally the god of stone, as it was used to make weapons for war as well as cutting tools for everyday use.
Culture
Teotihuacan
Title
Mirror with Jaguar or Coyote Mosaic
Origin
México
Date
500 CE–600 CE
Medium
Iron pyrite, jade, shell, magnatite or ilmenite, and spondylus shell
Dimensions
Diam. 19.1 cm (7 1/2 in.)
Credit Line
S. DeWitt Clough and Ada Turnbull Hertle endowments
Reference Number
1994.313
For over 2,000 years, polished stone mirrors were an important component of Mesoamerican attire, ritual, and symbolic imagery. This mirror is made of a single sheet of polished pyrite stone and includes a jade jaguar mosaic at its center. Mirrors often functioned as emblems of rank and office and were typically worn at the small of the back. The depiction of such mirrors in ancient murals, as worn by warriors, priests, and state officials, attests to their importance in the spectacular art of ritual performance in Teotihuacan.
For the above 2, love the geometric jaguars, and use of jade.
For the above 2, love the geometric jaguars, and use of jade.
Gustave Caillebotte: La Place Saint Augustin Temps
love the cropping, the placement of figures, and the bodyflesh pink road
love the cropping, the placement of figures, and the bodyflesh pink road
Van gogh works. First one is two complementary colors at play. Second is monotone. Heartwrenchingly beautiful.His color choices clearly had art and design knowledge in the back of his head. Or he's just very intuitive. His use of lines is also very deliberate. Or his natural ability is just full of magic.
https://www.nga.gov/features/slideshows/vincent-van-gogh.html#slide_6
https://www.nga.gov/features/slideshows/vincent-van-gogh.html#slide_6
