Self Image 2009 by Norman Engel
Monthly Archives: May 2013
[L] Peder Severin Krøyer (P.S. Krøyer),Interior with the Artist’s Wife, c. 1887 Hirschsprung Collection (Denmark)
[R] Self Portrait, 1887.
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Excerpt from ‘Nineteenth-Century Art Worldwide: Journal of Visual Culture’:
“The Danish painter Peder Severin Krøyer (1851–1909) is best known for the landscape and figural paintings he produced as a member of the fin-de-siècle art colony in Skagen, Denmark….The combination of Krøyer’s technical bravado and the persistent appeal of his Skagen imagery have made it difficult for art scholars in Denmark to resist him; at the same time, however, the frivolity of content in his paintings has left scholars reticent to give him full credit for his creative enterprise.”
Reference:
Mednick, T.J. (2011). Danish Internationalism: Peder Severin Krøyer in Copenhagen and Paris. Journal of Nineteenth-Century Art Worldwide, 10(1). Retrieved from http://www.19thc-artworldwide.org/index.php/spring11/danish-internationalism-peder-severin-kroyer-in-copenhagen-and-paris
Cultural Heritage Search Engine
Artistic Inspiration: Edward Hopper
Edward Hopper, Summer Interior, 1909. Whitney Museum of American Art.
“Acid Test” signboard, about 1964
“The adventures of the Merry Pranksters—a band of artists, writers, and students who embraced free expression, defined a lifestyle opposed to mainstream American values, and traveled the country in a psychedelic schoolbus—were popularized in Tom Wolfe’s 1968 book The Electric Kool-Aid Acid Test. Led by the novelist Ken Kesey, the group became a symbol for the counterculture based in San Francisco during the 1960s. In the early 1990s Smithsonian curators contacted Kesey hoping to acquire the famous bus, named Furthur, but it was badly deteriorated. In 1992 they collected archival material and this colorful plywood panel, which the Pranksters used to advertise concerts and poetry readings. Fittingly, Kesey signed the deed of gift with a Day-Glo marker.”
Source: Smithsonian Legacies, ‘Mirror of America’ -http://bit.ly/12k1w4x
Don Reitz, All Those Things I Forgot to Remember, 1994. Salt-glazed Stoneware, Engobes. Arizona State University Art Musuem.
Source: http://asuartmuseum.asu.edu/1995/superbowls/bowl6.php
Masterworks for One and All | The New York Times
Many museums post their collections online, but the Rijksmuseum here has taken the unusual step of offering downloads of high-resolution images at no cost…The museum, whose collection includes masterpieces by Rembrandt, Vermeer, Mondrian and van Gogh, has already made images of 125,000 of its works available through Rijksstudio, an interactive section of its Web sit
Words of Artistic Wisdom [and Criticism]: Robert Hughes
The basic project of art is always to make the world whole and comprehensible, to restore it to us in all its glory and its occasional nastiness, not through argument but through feeling, and then to close the gap between you and everything that is not you, and in this way pass from feeling to meaning. It’s not something that committees can do. It’s not a task achieved by groups or by movements. It’s done by individuals, each person mediating in some way between a sense of history and an experience of the world.
― Robert Hughes, The Shock of the New
“Robert Hughes has been called the ‘most popular art critic in the country,’ and to have given Time magazine its ‘only consistently good writing’ in recent years (Seattle Post-Intelligencer, 4/5/93)…Hughes is probably best known for his strong stance against what he called the ‘commodification and hyping the market’ of the art world in 1980s…The artworks Hughes admires the most are those than embody a sense of fiction, mystery and history. Specifically, Hughes looks for artists who are unafraid to become deeply personal and even autobiographical with their canvases, to bring something intimate to the work. ” (Source: The Art Story – http://www.theartstory.org/critic-hughes-robert.htm
References
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