nighthawk edward hopper where is it

nighthawk edward hopper where is it

Nighthawk edward hopper where is it
Hopper’s stunningly cinematic picture Nighthawks is one of the most reproduced paintings in the history of art. It is hard to know precisely why, except, perhaps, for the fact that we all recognize something of its truthfulness from within our own life experience. It is a picture that speaks of the alienating presence of the modern city. Several individuals – the nighthawks of the title – are gathered together in the brightly lit window of a downtown diner or cafe that spills its pale bluish light out into the street, casting a shadow on the pavement, yet barely holding a threatening inrush of darkness at bay. Beyond its reach, anything might be happening in the darkness. Psychologically speaking, these people are isolates, thrown together as a group, but also locked within themselves, prey to their own fears and fancies. It is a picture of city life in the small hours when an unnatural silence and an uncanny stillness take hold, tugging suggestively at the senses of hearing and vision.
ART EVALUATION
For analysis of paintings
by American realists
like Hopper, see:
How to Appreciate Paintings.

Nighthawk edward hopper where is it
Hopper was an acknowledged influence on the film musical Pennies from Heaven (1981), for which production designer Ken Adam recreated Nighthawks as a set. [28] Director Wim Wenders recreated Nighthawks as the set for a film-within-a-film in The End of Violence (1997). [26] Wenders suggested that Hopper’s paintings appeal to filmmakers because “You can always tell where the camera is.” [29] In Glengarry Glen Ross (1992), two characters visit a café resembling the diner in a scene that illustrates their solitude and despair. [30] The painting was also briefly used as a background for a scene in the animated film Heavy Traffic (1973) by director Ralph Bakshi. [31]
A number of model railroaders, most notably John Armstrong, have recreated the scene on their layouts. [43]

Jo’s handwritten notes about the painting give considerably more detail, including the interesting possibility that the painting’s evocative title may have had its origins as a reference to the beak-shaped nose of the man at the bar:
Starting shortly after their marriage in 1924, Edward Hopper and his wife, Josephine (Jo), kept a journal in which he would, using a pencil, make a sketch-drawing of each of his paintings, along with a precise description of certain technical details. Jo Hopper would then add additional information in which the themes of the painting are, to some degree, illuminated.

Nighthawk edward hopper where is it
Jo Hopper, Edward Hopper’s wife, is the enigmatic red-haired woman seated at the counter. Not only did she model for the painting, but she also kept a detailed journal of each of Hopper’s works. Her role as Hopper’s personal art historian may have even inspired the name behind the painting, where she describes one of the men in the painting as a “night hawk (beak) in dark suit, steel grey hat, black band, blue shirt (clean) holding cigarette.”
The diner in Hopper’s painting was apparently based on a real establishment in Greenwich Village; however, disputes over its legitimacy continue to give rise to heated discussions. Although now a vacant site, the diner was said to have sat between two streets; Greenwich Avenue and Seventh Avenue South.

Nighthawk edward hopper where is it
The sign above the cafe advertising cigars for $5 and the cash register seen in one of the windows outside suggest a kind of everyday American experience. The Nighthawks scene is silent and serene, further highlighting the intense feeling of isolation.
An important piece of Americana, the painting also has an ability to evoke a sense of nostalgia for an America of a time gone by. However, Nighthawks by Edward Hopper remains relevant even today as a subtle critique of the modern world, the world in which we all live, where an overwhelming sense of loneliness, and a deep desire, but ultimate inability, to connect with those around us prevails.

References:

http://en.m.wikipedia.org/wiki/Nighthawks_(painting)
http://www.edwardhopper.net/nighthawks.jsp
http://blog.artsper.com/en/a-closer-look/artwork-analysis-nighthawks-by-edward-hopper/
http://www.widewalls.ch/edward-hopper-nighthawks-painting/
http://www.visual-arts-cork.com/paintings-analysis/nighthawks.htm

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hardin county medical center

hardin county medical center

Hardin county medical center
This clinic operates under a SLIDING SCALE model. This means that it MAY NOT be free depending on your income. You will be required to prove financial need in order to receive free services or services at a reduced cost. This is a health care center funded by the federal government. This means even if you have no insurance you can be covered. The center is also income based for those making an income. This health center can cover services such as checkups, treatment, pregnancy care (where applicable), immunizations and child care (where applicable), prescription medicine and mental and substance abuse where applicable. Contact them at the number provided for full details. Hardin County Regional Health Center is a Community Health Center. In order to get more information on this clinic, click on the icons below. You may be required to join for free in order to access full contact information.
765 Florence Rd , Savannah
1.04 miles away

Hardin county medical center
Rosiclare, IL 62982
Great care Then.

301 Tyson Av Paris, TN
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Tip: Call “Hardin County General Hospital – Hardin Medical Center Home Supply” via phone number (731) 926-8212 for more detailed information about medical equipment and drugs which are being offered by the supplier and discuss about your insurance questions and concerns, payment requirements and application before making any purchase decision or before going directly to the store.
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Hospital Beds: Electric
Continuous Passive Motion (CPM) Devices

References:

http://www.ilhcgh.org/
http://www.familyassets.com/nursing-homes/tennessee/park-rest-hardin-county-health-center
http://www.healthcare4ppl.com/supplier/tennessee/savannah/hardin-medical-center-home-supply-59324.html
http://www.healthcare6.com/supplier/savannah-tn/hardin-county-general-hospital-60214.html
http://en.m.wikipedia.org/wiki/Mountains_and_Sea

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how did edward hopper die

how did edward hopper die

How did edward hopper die
Born in 1882 in Nyack, a small town on the Hudson River about forty miles north of New York City, Edward Hopper was the son of a local businessman. After spending a brief period at a school for illustrators, he attended the New York School of Art from 1900 to 1906. His teachers there were William Merritt Chase, Kenneth Hayes Miller, and Robert Henri. Henri, above all, became important to Hopper, not so much in artistic as in personal terms, for Henri was a man who set high standards for himself and his students. It was also he who pointed out that everyday American life contained an inexhaustible reservoir of new and untried subject matter.
The key accomplishment of the early period was an assimilation of Impressionism. Hopper’s palette grew lighter, his brushwork freer, and his observation more precise. His approach to motifs began to show a growing independence from any model or ideal, both in the American subjects and the Paris ones. Under the Impressionist spell, Hopper discovered the unique light of Paris: “The light was different from anything I had known,” he later recalled. “The shadows were luminous, more reflected light. Even under the bridges there was a certain luminosity.”

Edward Hopper, (born July 22, 1882, Nyack, N.Y., U.S.—died May 15, 1967, New York City), American painter whose realistic depictions of everyday urban scenes shock the viewer into recognition of the strangeness of familiar surroundings. He strongly influenced the Pop art and New Realist painters of the 1960s and 1970s.
Hopper was initially trained as an illustrator, but, between 1901 and 1906, he studied painting under Robert Henri, a member of a group of painters called the Ashcan School. Hopper travelled to Europe three times between 1906 and 1910, but he remained untouched by the experimental work then blossoming in France and continued throughout his career to follow his own artistic course. Although he exhibited paintings in the Armory Show of 1913, he devoted most of his time to advertising art and illustrative etchings until 1924. He then began to do such watercolours as Model Reading (1925), as well as oil paintings. Like the painters of the Ashcan School, Hopper painted the commonplaces of urban life. But, unlike their loosely organized, vivacious paintings, his House by the Railroad (1925) and Room in Brooklyn (1932) show still, anonymous figures and stern geometric forms within snapshot-like compositions that create an inescapable sense of loneliness. This isolation of his subjects was heightened by Hopper’s characteristic use of light to insulate persons and objects in space, whether in the harsh morning light ( Early Sunday Morning, 1930) or the eerie light of an all-night coffee stand ( Nighthawks, 1942).

How did edward hopper die
After returning from his final trip abroad in 1910, Hopper moved permanently to New York City and, in 1913, settled at 3 Washington Square North. This would be his home and studio for the rest of his life. That same year he sold his first painting, Sailing (1911), for $250 at the Armory show in New York. Though he never stopped painting, it would be 11 years before he sold another painting. During that time he continued to earn his living illustrating and, in 1915, he took up printmaking, producing some 70 etchings and dry points over the next decade. Like the paintings for which he would later become renowned, Hopper’s etchings embody a sense alienation and melancholy. One of his better known etchings, Night Shadows (1921) features the birds’-eye viewpoint, the dramatic use of light and shadow, and the air of mystery which would serve as inspiration for many film noir movies of the 1940s. Hopper continued to receive great acclaim for his etchings over the years and considered them an essential part of his artistic development. As he wrote, “After I took up etching, my painting seemed to crystallize.”
Edward Hopper was born into a comfortable, middle-class family in Nyack, New York, in 1882. His parents introduced Edward, and his older sister Marion, to the arts early in life; they attended the theatre, concerts and other cultural events, and visited museums. His father owned a dry goods store where Hopper sometimes worked as a teen. Hopper described him as “an incipient intellectual. less at home with his books of accounts than with Montaigne’s essays.” Both his parents were supportive of his artistic inclinations.

How did edward hopper die
At the age of 37, Edward Hopper received his first open invitation to do a one person exhibit, featuring some of this finest pieces of art. 16 pieces of his work were shown at the Whitney Club, and although none of the pieces were sold at this exhibit, it did point his career in a new direction, it got his art work out to the general public, and he became a more notable name in the type of work and the art forms which he most wanted to focus his career on, for the future works he would create.
Edward Hopper is widely acknoledged as the most important realist painter of twentieth-century America. But his vision of reality was a selective one, reflecting his own temperament in the empty cityscapes, landscapes, and isolated figures he chose to paint. His work demonstrates that realism is not merely a literal or photographic copying of what we see, but an interpretive rendering.

How did edward hopper die
In addition to his influence (see § Influence), Hopper is frequently referenced in popular culture.
Painting will have to deal more fully and less obliquely with life and nature’s phenomena before it can again become great. [65]

References:

http://www.britannica.com/biography/Edward-Hopper
http://m.theartstory.org/artist/hopper-edward/life-and-legacy/
http://www.edwardhopper.net/
http://en.m.wikipedia.org/wiki/Edward_Hopper
http://www.thoughtco.com/egon-schiele-biography-4177835

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juan miro birthday

juan miro birthday

Juan miro birthday

“For me, a picture should be like sparks. It must dazzle like the beauty of a woman or a poem. It must have radiance; it must be like those stones which Pyrenean shepherds use to light their pipes.”
– Joan Miró

Miró was the son of a gold smith and a cabinet maker, and he was trained at the Escuela de Bellas Artes de la Llotja, as well as the Escuela de Arte de Francesco Galí, Circulo Artístico de Sant Lluc. Not many people know that he attended business school as well, and worked as a clerk in his teenage years. However, he abandonded the business world at an early age. Miró was among the first artists to develop automatic drawing as a way to undo previous established techniques in painting, representing the beginning of Surrealism as an art movement.

In 1974, Miró created a tapestry for the World Trade Center in New York City together with the Catalan artist Josep Royo. He had initially refused to do a tapestry, then he learned the craft from Royo and the two artists produced several works together. His World Trade Center Tapestry was displayed at the building [32] and was one of the most expensive works of art lost during the September 11 attacks. [33] [34]
Until the outbreak of the Spanish Civil War, Miró habitually returned to Spain in the summers. Once the war began, he was unable to return home. Unlike many of his surrealist contemporaries, Miró had previously preferred to stay away from explicitly political commentary in his work. Though a sense of (Catalan) nationalism pervaded his earliest surreal landscapes and Head of a Catalan Peasant, it was not until Spain’s Republican government commissioned him to paint the mural The Reaper, for the Spanish Republican Pavilion at the 1937 Paris Exhibition, that Miró’s work took on a politically charged meaning. [29]

Juan miro birthday
Eventually, though, Miró came back to painting. Once his “search-and-destroy” quest ended, “Miró as master painter, the new, oddly adorable artist of popular fame, more or less” began, writes Holland Cotter in The New York Times.
But Miró was also restless with the conventions of surrealism. In 1927 he declared, “I want to assassinate painting.” And he tried. He created 12 groups of experimental works over a decade to try changing art. He cut down the amount of paint he used in his creations, used sandpaper and glue in others, experimented with different shapes and even made collages.

Juan miro birthday
From 1925 to 1928, under the influence of the Dadaists, Surrealists, and Paul Klee, Miró painted “dream pictures” and “imaginary landscapes” in which the linear configurations and patches of colour look almost as though they were set down randomly, as in The Policeman (1925). In paintings such as Dog Barking at the Moon (1926), he rendered figures of animals and humans as indeterminate forms. Miró signed the manifesto of the Surrealist movement in 1924, and the members of the group respected him for the way he portrayed the realm of unconscious experience. The poet André Breton, the chief spokesman of Surrealism, stated that Miró was “the most Surrealist of us all.”
Joan Miró was a Catalan painter who combined abstract art with Surrealist fantasy. His mature style evolved from the tension between his fanciful poetic impulse and his vision of the harshness of modern life. He worked extensively in lithography and produced numerous murals, tapestries, and sculptures for public spaces.

Juan miro birthday
He said, “The painting rises from the brushstrokes as a poem rises from the words. The meaning comes later.”
In 1976 the Joan Miró Foundation Centre of Contemporary Art Study was officially opened in the city of Barcelona and in 1979, four years before his death, he was named Doctor Honoris Causa by the University of Barcelona.

References:

http://en.m.wikipedia.org/wiki/Joan_Mir%C3%B3
http://www.findingdulcinea.com/features/profiles/m/joan-miro.html
http://www.britannica.com/biography/Joan-Miro
http://waldina.com/2018/04/20/happy-125th-birthday-joan-miro/
http://www.artsy.net/artwork/joan-miro-perro-ladrando-a-la-luna

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how to draw like egon schiele

how to draw like egon schiele

How to draw like egon schiele
Schiele died on 31 October 1918 after contracting Spanish flu, just 3 days after his pregnant wife Edith died of the same fate. The last drawing of Edith, titled Edith Schiele on Her Deathbed, captures her exhaustion and suffering.

I love death and I love life
Egon Schiele

How to draw like egon schiele
Mayko felt that the paper Schiele used was important to achieve the effects he did. Apparently he often used Japanese paper. She also thought he would have used dry brush techniques to get those rough marks creating these textures.

Her right shoulder, right knee and the left hand make a big triangle. Adding 2 points – the top of the head & the right elbow – you get a rectangle, which forms a kind of kite shape with the triangle. Marking these shapes very lightly gave me a kind of scaffolding before I started the proper drawing.

How to draw like egon schiele
Schiele was born in 1890 in Tulln, Austria. Even as a child he showed great interest in drawing and, consequently, enrolled in the Wiener Kunstgewerbeschule, a progressive Viennese art school, in 1906. However, because of his great proficiency and talent, the professors at the kunstgewerbeschule soon encouraged him to attend the more traditional Akademie der Bildenden Künste, where he studied with the painter Christian Griepenkerl. Frustrated with the extremely conservative methods of the school, Schiele and a number of young, avant-garde artists, including Anton Peschka, left the school in 1909 to exhibit together as the Neukunstgruppe.
In the summer of 1911, Schiele moved to Neulengbach on the outskirts of Vienna with his girlfriend, Wally Neuzil. However, the townspeople there were scandalized by Schiele’s art and unconventional lifestyle. As a result, they arrested him for supposedly seducing a young girl and imprisoned him for 24 days on the charge that he displayed his “immoral” drawings in the presence of children.

How to draw like egon schiele
We all wish we could draw like Egon Schiele. He could capture anybody. He saw right through a sitter and pulled out the inner character. Sad story though. They should do a movie. David Bowie was going to play him at one time but he waited too long as Schiele died at 28.
This show has a 220 volt cattle prod electric charge running through it. It’s not your typical art show trying (yawn) another attempt at a shock of the new. These powerful drawings bristle with energy. Pencil lines as hard won as railroad tracks tease and hammer out skulls, eye sockets, jaw lines, skeletal hands. They sculpt wasp- waisted models with economy. Not a line out of place here. Exaggeration and distortion madly dance over the structure of anatomy and laws of physics. Nor are they figure drawing exercises but x-rays that bare the soul of the sitter. Secrets rarely escaped this artists burning eye.

How to draw like egon schiele
“Present day standards are so very different than early, 20 th century Austria,” she insists. However, some galleries that show his work place with it an addendum of sorts, outlining his supposed misconduct. Kellir refuses to qualify Schiele’s work in such a manner, stating instead that he is a truly great artist who died too young, and should not be judged by modern day norms.
For modern art fans, the name Egon Schiele is one of the most revered names. For one fan an unbelievable occurrence has transformed his life. Finding something of true and significant importance to the world at large at a yard sale or charity shop rarely happens. Buyers scour shelves and piles of “secondhand everything,” hoping to come across a rare book, or a signed movie poster from the 1930s, or a drawing that is by one of the old masters or modern art heroes.

References:

http://www.lovelifedrawing.com/learning-from-egon-schiele-how-to-develop-your-own-style/
http://drawingatduke.blogspot.com/2009/12/egon-schiele-1890-1918.html?m=1
http://ltproject.com/2015112we-wish-we-could-draw-like-egon-schiele-html/
http://www.thevintagenews.com/2019/07/31/egon-schiele-art-found/
http://www.romper.com/p/how-to-find-the-right-size-nipple-shield-for-you-because-the-fit-makes-all-the-difference-15553069

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images paul klee

images paul klee

Images paul klee
Klee taught at the Bauhaus from January, 1921 to April, 1931. He was a “Form” master in the bookbinding, stained glass, and mural painting workshops and was provided with two studios. In 1922, Kandinsky joined the staff and resumed his friendship with Klee. Later that year the first Bauhaus exhibition and festival was held, for which Klee created several of the advertising materials. And in the same year, the first series of Bauhaus books is published with works by Gropius (International Architecture), Paul Klee, Adolf Meyer, Oskar Schlemmer, and Piet Mondrian. Klee welcomed that there were many conflicting theories and opinions within the Bauhaus: “I also approve of these forces competing one with the other if the result is achievement.”
In his early years, following his parent’s wishes, he focused on becoming a musician; but he decided on the visual arts during his teen years, partly out of rebellion and partly because of a belief that modern music lacked meaning for him. He stated, “I didn’t find the idea of going in for music creatively particularly attractive in view of the decline in the history of musical achievement.” As a musician, he played and felt emotionally bound to traditional works of the eighteenth and nineteenth century, but as an artist he craved the freedom to explore radical ideas and styles. At sixteen, Klee’s landscape drawings already show considerable skill.

Architect Renzo Piano constructed the Zentrum Paul Klee in June 2005. Located in Bern, the museum exhibits about 150 (of 4000 Klee works overall) in a six-month rotation, as it is impossible to show all of his works at once. Furthermore, his pictures require rest periods; they contain relatively photosensitive colors, inks and papers, which may bleach, change, turn brown and become brittle if exposed to light for too long. [106] The San Francisco Museum of Modern Art has a comprehensive Klee collection, donated by Carl Djerassi. Other exhibitions include the Sammlung Rosengart in Luzern, the Albertina in Wien and the Berggruen Museum in Berlin. Schools in Gersthofen, Lübeck; Klein-Winternheim, Overath; his place of birth Münchenbuchsee and Düsseldorf bear his name.
Insula dulcamara, 1938, oil color and colored paste on newsprint on jute on stretcher frame, Zentrum Paul Klee, Bern

Images paul klee
Klee spent much of his adult life teaching at various universities and art schools, including the German Bauhaus School of Art and Düsseldorf Academy. During his tenure at Düsseldorf, he was singled out as a Jew by the Nazi party. The Gestapo searched his home and he was fired from his job. Some of his later works were also seized by the Nazis.
Around 1897, Klee started his diary, which he kept until 1918, and which has provided scholars with valuable insight into his life and thinking. During his school years, he avidly drew in his school books, in particular drawing caricatures, and already demonstrating skill with line and volume. He barely passed his final exams at the “Gymnasium” of Bern, where he qualified in the Humanities. With his characteristic dry wit, he wrote, “After all, it’s rather difficult to achieve the exact minimum, and it involves risks.” On his own time, in addition to his deep interests in music and art, Klee was a great reader of literature, and later a writer on art theory and aesthetics.

Images paul klee
Kunstmuseum Basel, Switzerland
Alphabetically under “K”
Kunstmuseum St.Gallen, Switzerland (mostly in German)
T�nzerpaar , 1923

From the winter semester of 1925/26 until 1930, Klee taught his Design course, alternating between lectures and exercises. From the summer semester of 1927 to 1930, he also offered an additional course that he described as “Weaving Design”. His Weaving teachings were especially focused on the planimetric design of surfaces, forming the largest part of his bundle of teaching notes entitled “Bildnerische Gestaltungslehre” (“Pictorial Design Teaching”). From 1927 to 1929, Klee’s pocket diary also notes formal teaching for 4th-semester students. Together with the Life Drawing course, which he also led in the winter semesters between 1927/28 and 1929/30, and the Free Painting course from 1927/28, these three years of teaching were a great burden on Klee. As a result, he handed in his notice and terminated his teaching on April 1, 1931.
Gropius appointed Josef Albers as a young master before he had even qualified as a journeyman. He was in charge of the preliminary course, where he formulated a pioneering approach to art education.

References:

http://en.m.wikipedia.org/wiki/Paul_Klee
http://www.wikiart.org/en/paul-klee
http://www.artcyclopedia.com/artists/klee_paul.html
http://www.bauhaus100.com/the-bauhaus/people/masters-and-teachers/paul-klee/
http://www.paulklee.net/

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georges seurat sunday afternoon on the island of la grande jatte

georges seurat sunday afternoon on the island of la grande jatte

Georges seurat sunday afternoon on the island of la grande jatte
In 2011, the cast of the US version of The Office re-created the painting for a poster to promote the show’s seventh-season finale. [24]
Seurat’s palette consisted of the usual pigments of his time [12] [13] such as cobalt blue, emerald green and vermilion. Additionally, Seurat used then new pigment zinc yellow (zinc chromate), predominantly for yellow highlights in the sunlit grass in the middle of the painting but also in mixtures with orange and blue pigments. In the century and more since the painting’s completion, the zinc yellow has darkened to brown—a color degeneration that was already showing in the painting in Seurat’s lifetime. [14] The discoloration of the originally bright yellow zinc yellow (zinc chromate) to brownish color is due to the chemical reaction of the chromate ions to orange-colored dichromate ions. [15] In the third stage during 1888–89 Seurat added the colored borders to his composition.

Georges seurat sunday afternoon on the island of la grande jatte
Why did he dedicate so much time to these preparatory sketches? As Pointillists, Seurat and Signac were particularly interested in playing with perception and experiment with optics, resulting in a comprehensive and meticulous painting process.
While the styles explored by Post-Impressionist artists are diverse, most featured flatness, formality, and exaggerated color in their work—characteristics that are evident in A Sunday Afternoon on the Island of La Grande Jatte.

Georges seurat sunday afternoon on the island of la grande jatte
Seurat’s first major pointillist work was Bathers at Asnieres (1883-4, National Gallery, London). Although rejected by the official Paris Salon, the work was shown at the Salon des Independants, an alternative event co-founded by Seurat himself, where he met fellow pointillists Paul Signac (1863-1935) and Henri-Edmond Cross (1856-1910), who helped him to further develop the idiom. Shortly afterwards Seurat began painting A Sunday Afternoon on the Island of La Grande Jatte, which took him two years to finish. It was exhibited for the first time in May 1886 at the final Impressionist exhibition: an ironic occurrence since the work is now seen as one of the first major examples of Post-Impressionist painting (1880-95).
The essential meaning of A Sunday Afternoon on the Island of La Grande Jatte is far from clear. However art critics believe that it should be interpreted in comparison to its sister work Bathers at Asnieres. They believe that ‘La Jatte’ represents the French bourgeoisie, a decaying class that has fallen victim to lust and vice, and which is now in the shadows. In contrast, the sun is shining on the working class bathers of Asnieres, who represent the bright future of France.

Georges seurat sunday afternoon on the island of la grande jatte
Executed on a large canvas painted in 1884, A Sunday Afternoon on the Island of La Grande Jatte reveals everything magical about Seurat’s world – it’s beautiful and disturbing, sunlit and shadowed, silent and noisy, all at the same time. The painting’s dimensions are approximately 2 by 3 meters (7 by 10 feet), representing a truly huge size for pieces painted during this period.
A Sunday Afternoon on the Island of La Grande Jatte was painted in two sessions, the first between May 1884 and March 1885, and the second from October 1885 to May 1886. Seurat claimed he sat in the park for hours upon hours, creating numerous sketches of the various figures in order to perfect their form before he even thought about starting the actual painting.

Georges seurat sunday afternoon on the island of la grande jatte
Thanks to his involvement in the artist collective the Société des Artistes Indépendants, the daring young painter’s reputation was growing before A Sunday on La Grande Jatte —1884 debuted. But while his output was seminal, it was also cut short in 1891 when Seurat died of an undetermined disease at age 31.
Seurat’s groundbreaking techniques were a major turnoff for some critics at the Impressionist exhibit where A Sunday on La Grande Jatte —1884 debuted in 1886. Other observers sneered at the rigid profiles of Seurat’s subjects. Meant to recall Egyptian hieroglyphics, these poses were negatively compared to tin soldiers.

References:

http://mymodernmet.com/georges-seurat-a-sunday-afternoon-on-the-island-of-la-grande-jatte/
http://www.visual-arts-cork.com/paintings-analysis/sunday-afternoon-on-grande-jatte.htm
http://www.widewalls.ch/a-sunday-afternoon-on-the-island-of-la-grande-jatte-georges-seurat/
http://www.mentalfloss.com/article/63510/15-things-you-might-not-know-about-sunday-la-grande-jatte-1884
http://www.visual-arts-cork.com/paintings-analysis/sunday-afternoon-on-grande-jatte.htm

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georges seurat a sunday afternoon on the island of la grande jatte

georges seurat a sunday afternoon on the island of la grande jatte

Georges seurat a sunday afternoon on the island of la grande jatte

NOTE: Seurat’s 19th century colour palette comprised the usual colour pigments of the time, including vermilion, cobalt blue and emerald green. He also used the then-new pigment zinc yellow (zinc chromate), mainly for yellow highlights in the sunlit grass, but additionally in combination with blue and orange hues. Unfortunately, the zinc yellow has gradually darkened to a brownish colour, a process detectable even in Seurat’s lifetime.

For an interpretation of other pictures from the 19th and 20th centuries, see: Analysis of Modern Paintings (1800-2000).

Georges seurat a sunday afternoon on the island of la grande jatte
In 2011, the cast of the US version of The Office re-created the painting for a poster to promote the show’s seventh-season finale. [24]
Some of the characters are doing curious things. The lady on the right side has a monkey on a leash. A lady on the left near the river bank is fishing. The area was known at the time as being a place to procure prostitutes among the bourgeoisie, a likely allusion of the otherwise odd “fishing” rod. In the painting’s center stands a little girl dressed in white (who is not in a shadow), who stares directly at the viewer of the painting. This may be interpreted as someone who is silently questioning the audience: “What will become of these people and their class?” Seurat paints their prospects bleakly, cloaked as they are in shadow and suspicion of sin. [9]

Georges seurat a sunday afternoon on the island of la grande jatte
Georges Seurat, Study for “A Sunday Afternoon on the Island of La Grande Jatte,” 1884 (Photo: Wikimedia Commons Public Domain)
Why did he dedicate so much time to these preparatory sketches? As Pointillists, Seurat and Signac were particularly interested in playing with perception and experiment with optics, resulting in a comprehensive and meticulous painting process.

Georges seurat a sunday afternoon on the island of la grande jatte
La Grande Jatte, toward Clichy, 2006, via wikipedia.org
A Sunday Afternoon on the Island of La Grande Jatte is both the best-known and largest painting Georges Seurat ever created on a canvas. It depicts people relaxing in a suburban park on an island in the Seine River called La Grande Jatte, a popular retreat for the middle and upper class of Paris in the 19th century.

Georges seurat a sunday afternoon on the island of la grande jatte
A Sunday Afternoon on the Island of La Grande Jatte
The planning and cast of Grande Jatte was notoriously as complex as the work itself and Seurat went through many sketched drafts before he arrived on the final plan for the painted piece. The cast comprised three dogs, eight boats and 48 people as they congregated for a Sunday afternoon in the sunny park.

References:

http://en.m.wikipedia.org/wiki/A_Sunday_Afternoon_on_the_Island_of_La_Grande_Jatte
http://mymodernmet.com/georges-seurat-a-sunday-afternoon-on-the-island-of-la-grande-jatte/
http://www.widewalls.ch/a-sunday-afternoon-on-the-island-of-la-grande-jatte-georges-seurat/
http://www.artble.com/artists/georges_seurat/paintings/a_sunday_afternoon_on_the_island_of_la_grande_jatte
http://en.m.wikipedia.org/wiki/A_Sunday_Afternoon_on_the_Island_of_La_Grande_Jatte

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mr kokoschka

mr kokoschka

Mr kokoschka
The perceived hue of an object, produced by the manner in which it reflects or emits light into the eye. Also, a substance, such as a dye, pigment, or paint, that imparts a hue.
1909. Oil on canvas, 30 1/8 x 53 5/8″ (76.5 x 136.2 cm)

One of Kokoschka’s teachers suggested he pursue a career in the fine arts after being impressed by some of his drawings. [2] Against his father’s will, Kokoschka applied to the Kunstgewerbeschule in Vienna, now the University of Applied Arts Vienna. He received a scholarship and was one of few applicants to be accepted. [2] The Vienna Kunstgewerbeschule was a progressive school of applied arts that focused mainly on architecture, furniture, crafts and modern design. Unlike the more prestigious and traditional Academy of Fine Arts Vienna, the Kunstgewerbeschule was dominated by instructors of the Vienna Secession. Kokoschka studied there from 1904 to 1909, and was influenced by his teacher Carl Otto Czeschka in developing an original style.
During World War II, Kokoschka painted anti-Fascist works such as the allegory What We Are Fighting For (1943). [10] Kokoschka left the bustling city center of London and settled in Polperro, in Cornwall. While residing in this seaside village, Kokoschka made paintings depicting landscapes of the harbor, along with The Crab, which began a series of works embedded with political allegories resisting the Nazi regime. [5] Kokoschka’s The Crab was painted between 1939 and 1940, and captures the view of the harbor from the artist’s house in Polperro. This work functions as a self-portrait of the artist, where Kokoschka is the swimmer representing Czechoslovakia. The large crab is symbolic of Neville Chamberlain, the British Prime Minister at the time the painting was created. In explaining this painting, Kokoschka said the crab “would only have to put out one claw to save him from drowning, but remains aloof.” [16] Further, this painting demonstrates the instability he felt as a result of German occupation forcing him to seek refuge in other countries across Europe. This landscape painting, amongst others by Kokoschka, were brought with him to London unfinished where they were transformed into political allegories. [16] While in London, Kokoschka also painted The Red Egg, another political painting referencing the destruction of Czechoslovakia. [13] In this satirical painting, Kokoschka comments on the Munich Agreement of 1939 with grotesque caricatures of Benito Mussolini and Adolf Hitler.

Mr kokoschka
It is first revealed in the episode “Oskar Can’t Read?” that Oskar was illiterate. This could be the reason why Oskar has a hard time finding a job. Arnold was the first to discover that Oskar couldn’t read and volunteered to help him. Soon after the other borders found out. Ernie then placed a bet that Oskar couldn’t learn to read by the end of the month. Of course, money is Oskar’s most important consideration. Oskar gives Chocolate Boy chocolate in exchange that Chocolate Boy reads him the first page of “A Tale of Two Cities” by Charles Dickens in order for him to memorize it and cheat. His plan works at first, but Ernie switches the books and uncovers Oskar’s cheating, disappointing Arnold and the others. Oskar finally decides that he wants to read and Arnold tutors him. Oskar’s final test is to navigate home using directions given to him by Arnold, from an unknown part of town. After hours of waiting, Oskar finally makes it home, proving that he can read. Arnold’s teaching paid off because in the episode “Summer Love,” Oskar reads a store sign without any trouble.
Suzie is Oskar’s hardworking wife and his source of income. She is obviously the breadwinner in the marriage. Oskar and Suzie constantly clash because Suzie is angered that Oskar is unemployed and spends all of their money at the race track betting on horse races. It is not an uncommon scene in the boarding house to see plates being thrown at Oskar from his apartment. At one point, Suzie threw Oskar out of their apartment and Arnold allowed Oskar to stay in his room. After a while, Arnold realized how much of a freeloader Oskar really is and decided to work to get the couple back together. Oskar has shown to love his wife dearly in that same episode. As revealed by Craig Bartlett in a Reddit AMA, at some point before Hey Arnold!: The Jungle Movie, Suzie divorced Oskar and moved out of the boarding house.

Mr kokoschka
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Like most of the paintings completed during Kokoschka’s stay in London, this portrait of Soviet Ambassador Ivan Mikhailovich Maisky has strong political significance. Maisky was closely involved in drawing up the Anglo-Soviet Alliance, after the breakdown of the Nazi-Soviet pact in 1941. Behind him is a statue of Lenin, and a globe turned to display the USSR. Kokoschka later recalled that the Ambassador was reluctant to talk, and hid his face in The Times during many of the 30 sittings.

In 1927, the hitherto biggest solo exhibition of Kokoschka’s work took place in the Zurich Kunsthaus and was a reason for the artist to travel back to Switzerland. The fact that only one of the 101 oil paintings in the exhibition was from a Swiss collection – that of Oskar Reinhart – is proof of the great organizational talent of the then Kunsthaus director, Wilhelm Wartmann. Between 1913 and 1947, Wartmann would show works by his favourite artist in a total of ten exhibitions. Wartmann would all too gladly have incorporated the triptych The Battle of Thermopylae (painted in Villeneuve in 1954) into the new Kunsthaus building, but the work was already promised to the University of Hamburg. Even after the end of the ‘Wartmann era’, it was unimaginable that Kokoschka might not figure on the exhibition programme of the Zurich Kunsthaus. On the occasion of his 80 th birthday in 1966 and again in commemoration of his hundredth birthday in 1986, the Kunsthaus honoured him with large exhibitions.
The first reason for the artist to return to the Continent after his nine-year exile was the large retrospective of his work in the Basel Kunsthalle in early 1947. This happy re-acquaintance with 65 paintings and almost 200 graphic works made it clear to Kokoschka that more had in fact survived the war unscathed than he had hoped for. After the opening, he wrote euphorically to his sister in Prague: ‘I have in nine days in Basel achieved more, a thousand times more, than in 9 years in London’. In view of the stream of visitors, the director of the Kunsthalle, Lucas Lichtenhan, wrote that Basel had turned into ‘a bastion of O.K.-ism’. Kokoschka remained almost the whole year in Switzerland, organizing his career prospects and contacts with Swiss art patrons. He painted landscapes, portraits and published samples of his literary work in the Neue Zürcher Zeitung. Werner Reinhart, a patron of music from Winterthur, made it possible for Kokoschka to stay for longer periods in Sierre, during which Kokoschka painted a portrait of his host – though to Kokoschka’s great disappointment, Reinhart did not buy it. On the Riffelalp, at the foot of the Matterhorn, the painter finally found an ideal place to set up his easel and he straightaway made two paintings of views of the mountain. When the Basel exhibition moved in the summer of 1947 to the Zurich Kunsthaus, Kokoschka was already able to add two landscapes of the Valais Alps.

References:

http://en.m.wikipedia.org/wiki/Oskar_Kokoschka
http://heyarnold.fandom.com/wiki/Oskar_Kokoshka
http://www.tate.org.uk/art/artworks/kokoschka-ambassador-ivan-maisky-n05432
http://www.oskar-kokoschka.ch/index.php/kokoschka-and-switzerland.html
http://www.muchafoundation.org/gallery/themes/theme/art-posters

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klimnt ornament painted

klimnt ornament painted

Many of the works contained in this volume depict erotic scenes of nude women, some of whom are masturbating alone or are coupled in sapphic embraces. [44] [45] When a number of the original drawings were exhibited to the public, at Gallerie Miethke in 1910 and the International Exhibition of Prints and Drawings in Vienna in 1913, they were met by critics and viewers who were hostile towards Klimt’s contemporary perspective. There was an audience for Klimt’s erotic drawings, however, and fifteen of his drawings were selected by Viennese poet Franz Blei for his translation of Hellenistic satirist Lucian’s Dialogues of the Courteseans. The book, limited to 450 copies, provided Klimt the opportunity to show these more lurid depictions of women and avoided censorship thanks to an audience composed of a small group of (mostly male) affluent patrons.
In 1894, Klimt was commissioned to create three paintings to decorate the ceiling of the Great Hall of the University of Vienna. Not completed until the turn of the century, his three paintings, Philosophy, Medicine, and Jurisprudence were criticized for their radical themes and material, and were called “pornographic”. [12] Klimt had transformed traditional allegory and symbolism into a new language that was more overtly sexual and hence more disturbing to some. [12] The public outcry came from all quarters—political, aesthetic and religious. As a result, the paintings (seen in gallery below) were not displayed on the ceiling of the Great Hall. This would be the last public commission accepted by the artist.

References:

http://www.aeclectic.net/tarot/cards/golden-klimt/

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