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Oil paint on canvas
This work was probably painted in preparation for Metabolism (1898-9), which depicts the biblical figures Adam and Eve. In this study, Edvard Munch cast Eve as fiery and seductive by accentuating the red of her hair and creating dramatic highlights on her flesh. In contrast to the final painting, however, she covers her breasts and looks down. Perhaps Munch was exploring the moment in the biblical story when, after disobeying God and being driven from the Garden of Eden, Eve becomes conscious of her nakedness and feels shame for the first time.
[Courtauld Gallery]
From the exhibition
Edvard Munch. Masterpieces from Bergen
(May to September 2022)
Seen together for the first time outside of Scandinavia, the collection presents an exceptional overview of Munch’s development as an artist, providing a rich and comprehensive account of his journey from the early breakthrough pictures of the 1880s which launched his career, through to the expressive and psychologically charged works of the 1890s for which he became known.
The remarkable collection was formed at the beginning of the 20th century by Norwegian industrialist and philanthropist Rasmus Meyer (1858-1916). An early champion of Munch’s work, Meyer knew the artist personally. He astutely acquired major canvases that chart the development of the painter’s unique expressive style that marks Munch as one of the most radical painters of the 20th century. At the time of Meyer’s death in 1916, the canvases encompassed what was then the most comprehensive documentation of Norwegian contemporary art in any collection and the largest single group of works by Edvard Munch. The collection was gifted to the city of Bergen in 1916, and housed since 1924 in a purpose-built gallery in the heart of Bergen, part of KODE Art Museums and Composer Homes.
The exhibition at The Courtauld begins with important early paintings from the 1880s, when Munch was drawing on social realism, Naturalist techniques, and the legacy of French Impressionism to create his own style. This is exemplified by the artist’s first major work, Morning (1884), painted when he was just twenty years old. Despite being controversial at the time for its unconventional style and its intimate subject, the picture helped to establish Munch’s critical and public recognition as a modern painter and was exhibited at the Paris World Fair in 1889.
Another early highlight in the exhibition is Munch’s large-scale canvas Summer Night. Inger on the Beach (1889), a powerful and evocative depiction of his sister Inger sitting by the shoreline of a fjord. This pivotal work has long been celebrated as the painting with which Munch found his artistic voice. Summer Night marks his move towards the expressive and psychologically charged output for which he became famous.
These early paintings launched Munch’s career in Norway and internationally and set the stage for his ground-breaking paintings of the 1890s when his compositions became powerful projections of his emotions and psychological state. Major examples of these 1890s works form the larger part of the exhibition. Instantly recognisable by Munch’s highly expressive handling of paint and rich colour, they include remarkable canvases from the artist’s famous ‘Frieze of Life’ series, such as Evening on Karl Johan (1892), Melancholy (1894-96) and By the Death Bed (1895). Munch’s ‘Frieze of Life’ canvases were intended to address profound themes of human existence, from love and desire to anxiety and death. The artist used his own experiences as source material to create visceral depictions of the human psyche, which he hoped would help others understand their own life. Munch’s ambition to create paintings that operated on a deeply emotional and psychological level, marked him out as one of the most distinctive voices of modern art at the turn of the 20th century.
The exhibition also includes Self-Portrait in the Clinic (1909), one of Munch’s most impressive and introspective self-portraits, painted when he was undergoing treatment for emotional stress in Copenhagen. This powerful work marked a significant and lasting shift in Munch’s style, as he adopted a brighter palette and started applying paint with loose, jagged brushstrokes that left parts of the canvas visible. Munch deployed this new approach to remarkable effect in Youth (1908), one of the paintings Meyer acquired directly from the artist. Its near-life sized depiction of a naked young man on the beach is full of a renewed sense of vitality that characterised Munch’s work at this time.
Edvard Munch. Masterpieces from Bergen is presented in The Courtauld’s Denise Coates Exhibition Galleries and is the second in The Morgan Stanley Series of temporary exhibitions at The Courtauld. The Courtauld’s permanent collection of Impressionist and Post-Impressionist masterpieces, on display in the adjacent newly refurbished LVMH Great Room, provide rich context for the exhibition, revealing some of the artistic inspirations Munch encountered during his experimental years in Paris from 1889 – 1892, where he discovered the modern styles of Gauguin, Toulouse Lautrec and Van Gogh.
[Courtauld Gallery]
Betty Brooklyn aka Betty Blade aka Betty Sword
@ The Art Students League of New York
original painting by Robin Smith / Gheno
I meant to take something really creative and introspective for today, my 50th day. But, alas, I was working on day two alone with both boys. And it was diaper laundry day. And suddenly it was 11:00pm and I hadn't snapped a picture yet. Then the dryer buzzer went off. And there you have it.
That's right, random people viewing this picture. We cloth diaper. No. It's not gross. No. It's not a lot of extra work. No. They don't leak everywhere. (In fact, they're better with leaks than the most expensive disposables we were previously using with big brother.) We use a mix of pockets (brand Fuzzi Bunz) and fitteds (Goodmamas, Mutts and SOS) with covers (Thirsties). Beyond the fact that they're reusable and thus not filling up a landfill...
dang they're so much cuter!
Project365: 50/365!
Charles Leplae, (Leuven, 1903 - Uccle, 1961), was a Belgian sculptor and draftsman. Experimented initially in an expressionist style, but evolved towards a more traditional view. He often sculpted female nudes, which he regularly imparted a reserved, thoughtful, introspective attitude. He was also a known medalist. Hoping to restore the true meaning and character of the art of medal making, he went back to ancient techniques by engraving the patterns directly into the metal of the matrix with a chisel.
Title of the work: Two pregnant woman
This work of art can be admired at the Middelheim open air museum at Antwerp: www.middelheimmuseum.be/en
Charles Leplae, (Leuven, 1903 - Ukkel , 1961), was een Belgische beeldhouwer en tekenaar. Experimenteerde aanvankelijk in een expressionistische stijl, maar evolueerde naar een meer traditionele opvatting. Hij beeldhouwde vaak vrouwelijke naakten, die hij regelmatig een gereserveerde, peinzende, introspectieve attitude toedeelde. Hij was ook een gekend medailleur. In de hoop de ware betekenis en het karakter te herstellen van de kunst van het maken van medailles, ging hij terug naar oude technieken door de patronen rechtstreeks met een beitel in het metaal van de matrix te graveren.
Meer over dit werk: search.middelheimmuseum.be/details/collect/148140
Dit werk kan bewonderd worden in het openlucht museum Middelheim in Antwerpen: www.middelheimmuseum.be/nl
Charles Leplae, (Louvain, 1903 - Uccle, 1961), était un sculpteur et dessinateur belge. Initialement il expérimentait dans un style expressionniste, mais plus tard évoluait vers une vision plus traditionnelle. Il sculptait souvent des nus féminins auxquels il assignait régulièrement une attitude réservée, réfléchie et introspective. Il était également un médailleur connu. Dans l'espoir de restaurer le vrai sens et le caractère de l'art de la médaille, il est revenu aux techniques anciennes en gravant les motifs directement dans le métal de la matrice avec un ciseau.
Titre de l'Å“uvre: Deux femmes enceintes
Cette œuvre peut être admirée au musée en plein air Middelheim à Anvers: www.middelheimmuseum.be/fr
Charles Leplae, (Leuven, 1903 - Uccle, 1961), was a Belgian sculptor and draftsman. Experimented initially in an expressionist style, but evolved towards a more traditional view. He often sculpted female nudes, which he regularly imparted a reserved, thoughtful, introspective attitude. He was also a known medalist. Hoping to restore the true meaning and character of the art of medal making, he went back to ancient techniques by engraving the patterns directly into the metal of the matrix with a chisel.
Title of the work: Two pregnant woman
This work of art can be admired at the Middelheim open air museum at Antwerp: www.middelheimmuseum.be/en
Charles Leplae, (Leuven, 1903 - Ukkel , 1961), was een Belgische beeldhouwer en tekenaar. Experimenteerde aanvankelijk in een expressionistische stijl, maar evolueerde naar een meer traditionele opvatting. Hij beeldhouwde vaak vrouwelijke naakten, die hij regelmatig een gereserveerde, peinzende, introspectieve attitude toedeelde. Hij was ook een gekend medailleur. In de hoop de ware betekenis en het karakter te herstellen van de kunst van het maken van medailles, ging hij terug naar oude technieken door de patronen rechtstreeks met een beitel in het metaal van de matrix te graveren.
Meer over dit werk: search.middelheimmuseum.be/details/collect/148140
Dit werk kan bewonderd worden in het openlucht museum Middelheim in Antwerpen: www.middelheimmuseum.be/nl
Charles Leplae, (Louvain, 1903 - Uccle, 1961), était un sculpteur et dessinateur belge. Initialement il expérimentait dans un style expressionniste, mais plus tard évoluait vers une vision plus traditionnelle. Il sculptait souvent des nus féminins auxquels il assignait régulièrement une attitude réservée, réfléchie et introspective. Il était également un médailleur connu. Dans l'espoir de restaurer le vrai sens et le caractère de l'art de la médaille, il est revenu aux techniques anciennes en gravant les motifs directement dans le métal de la matrice avec un ciseau.
Titre de l'Å“uvre: Deux femmes enceintes
Cette œuvre peut être admirée au musée en plein air Middelheim à Anvers: www.middelheimmuseum.be/fr
Charles Leplae, (Leuven, 1903 - Uccle, 1961), was a Belgian sculptor and draftsman. Experimented initially in an expressionist style, but evolved towards a more traditional view. He often sculpted female nudes, which he regularly imparted a reserved, thoughtful, introspective attitude. He was also a known medalist. Hoping to restore the true meaning and character of the art of medal making, he went back to ancient techniques by engraving the patterns directly into the metal of the matrix with a chisel.
Title of the work: Two pregnant woman
This work of art can be admired at the Middelheim open air museum at Antwerp: www.middelheimmuseum.be/en
Charles Leplae, (Leuven, 1903 - Ukkel , 1961), was een Belgische beeldhouwer en tekenaar. Experimenteerde aanvankelijk in een expressionistische stijl, maar evolueerde naar een meer traditionele opvatting. Hij beeldhouwde vaak vrouwelijke naakten, die hij regelmatig een gereserveerde, peinzende, introspectieve attitude toedeelde. Hij was ook een gekend medailleur. In de hoop de ware betekenis en het karakter te herstellen van de kunst van het maken van medailles, ging hij terug naar oude technieken door de patronen rechtstreeks met een beitel in het metaal van de matrix te graveren.
Meer over dit werk: search.middelheimmuseum.be/details/collect/148140
Dit werk kan bewonderd worden in het openlucht museum Middelheim in Antwerpen: www.middelheimmuseum.be/nl
Charles Leplae, (Louvain, 1903 - Uccle, 1961), était un sculpteur et dessinateur belge. Initialement il expérimentait dans un style expressionniste, mais plus tard évoluait vers une vision plus traditionnelle. Il sculptait souvent des nus féminins auxquels il assignait régulièrement une attitude réservée, réfléchie et introspective. Il était également un médailleur connu. Dans l'espoir de restaurer le vrai sens et le caractère de l'art de la médaille, il est revenu aux techniques anciennes en gravant les motifs directement dans le métal de la matrice avec un ciseau.
Titre de l'Å“uvre: Deux femmes enceintes
Cette œuvre peut être admirée au musée en plein air Middelheim à Anvers: www.middelheimmuseum.be/fr
Charles Leplae, (Leuven, 1903 - Uccle, 1961), was a Belgian sculptor and draftsman. Experimented initially in an expressionist style, but evolved towards a more traditional view. He often sculpted female nudes, which he regularly imparted a reserved, thoughtful, introspective attitude. He was also a known medalist. Hoping to restore the true meaning and character of the art of medal making, he went back to ancient techniques by engraving the patterns directly into the metal of the matrix with a chisel.
Title of the work: Two pregnant woman
This work of art can be admired at the Middelheim open air museum at Antwerp: www.middelheimmuseum.be/en
Charles Leplae, (Leuven, 1903 - Ukkel , 1961), was een Belgische beeldhouwer en tekenaar. Experimenteerde aanvankelijk in een expressionistische stijl, maar evolueerde naar een meer traditionele opvatting. Hij beeldhouwde vaak vrouwelijke naakten, die hij regelmatig een gereserveerde, peinzende, introspectieve attitude toedeelde. Hij was ook een gekend medailleur. In de hoop de ware betekenis en het karakter te herstellen van de kunst van het maken van medailles, ging hij terug naar oude technieken door de patronen rechtstreeks met een beitel in het metaal van de matrix te graveren.
Meer over dit werk: search.middelheimmuseum.be/details/collect/148140
Dit werk kan bewonderd worden in het openlucht museum Middelheim in Antwerpen: www.middelheimmuseum.be/nl
Charles Leplae, (Louvain, 1903 - Uccle, 1961), était un sculpteur et dessinateur belge. Initialement il expérimentait dans un style expressionniste, mais plus tard évoluait vers une vision plus traditionnelle. Il sculptait souvent des nus féminins auxquels il assignait régulièrement une attitude réservée, réfléchie et introspective. Il était également un médailleur connu. Dans l'espoir de restaurer le vrai sens et le caractère de l'art de la médaille, il est revenu aux techniques anciennes en gravant les motifs directement dans le métal de la matrice avec un ciseau.
Titre de l'Å“uvre: Deux femmes enceintes
Cette œuvre peut être admirée au musée en plein air Middelheim à Anvers: www.middelheimmuseum.be/fr
British postcard by Santoro Graphics Ltd., South Yorks, no. C350. Photo: publicity still for My Own Private Idaho (Gus Van Sant, 1991).
Keanu Reeves (1964) is a Canadian actor, producer, director and musician. Though Reeves often faced criticism for his deadpan delivery and perceived limited range as an actor, he nonetheless took on roles in a variety of genres, doing everything from introspective art-house fare to action-packed thrillers. His films include My Own Private Idaho (1991), the European drama Little Buddha (1993), Speed (1994), The Matrix (1999) and John Wick (2014).
Keanu Charles Reeves was born in 1964, in Beirut, Lebanon. His first name means ‘cool breeze over the mountains’ in Hawaiian. His father, Samuel Nowlin Reeves, Jr., was a geologist of Chinese-Hawaiian heritage, and his mother, Patricia Bond (née Taylor), was a British showgirl and later a costume designer for rock stars such as Alice Cooper. Reeves's mother was working in Beirut when she met his father. Upon his parents’ split in 1966, Keanu moved with his mother and younger sister Kim Reeves to Sydney, to New York and then to Toronto. As a child, he lived with various stepfathers, including stage and film director Paul Aaron. Keanu developed an ardor for hockey, though he would eventually turn to acting. At 15, he played Mercutio in a stage production of Romeo and Juliet at the Leah Posluns Theatre. Reeves dropped out of high school when he was 17. His film debut was the Canadian feature One Step Away (Robert Fortier, 1985). After a part in the teen movie Youngblood (Peter Markle, 1986), starring Rob Lowe, he obtained a green card through stepfather Paul Aaron and moved to Los Angeles. After a few minor roles, he gained attention for his performance in the dark drama River's Edge (Tim Hunter, 1986), which depicted how a murder affected a group of adolescents. Reeves landed a supporting role in the Oscar-nominated period drama Dangerous Liaisons (Stephen Frears, 1988), starring Glenn Close and John Malkovich. Reeves joined the casts of Ron Howard's comedy Parenthood (1989), and Lawrence Kasdan's I Love You to Death (1990). Unexpectedly successful was the wacky comedy Bill & Ted's Excellent Adventure (Stephen Herek, 1989) which followed two high school students (Reeves and Alex Winter) and their time-traveling high jinks. The success lead to a TV series and a sequel, Bill & Ted's Bogus Journey (Pete Hewitt, 1991). From then on, audiences often confused Reeves's real-life persona with that of his doofy on-screen counterpart.
In the following years, Keanu Reeves tried to shake the Ted stigma. He developed an eclectic film roster that included high-budget action films like the surf thriller Point Break (Kathryn Bigelow, 1991) for which he won MTV's ‘Most Desirable Male’ award in 1992, but also lower-budget art-house films. My Own Private Idaho (1991), directed by Gus Van Sant and co-starring River Phoenix, chronicled the lives of two young hustlers living on the streets. In Francis Ford Coppola’s adaptation of Bram Stoker’s Dracula (1992), Reeves embodied the calm resolute lawyer Jonathan Harker who stumbles into the lair of Gary Oldman’s Count Dracula. In Europe, he played prince Siddharta who becomes the Buddha in Bernardo Bertolucci’s Italian-French-British drama Little Buddha (1993). His career reached a new high when he starred opposite Sandra Bullock in the hit action film Speed (Jan de Bont, 1994). It was followed by the romantic drama A Walk in the Clouds (Alfonso Arau, 1995) and the supernatural thriller Devil’s Advocate (Taylor Hackford, 1997), co-starring Al Pacino and Charlize Theron. At the close of the decade, Reeves starred in a Sci-fi film that would become a genre game changer, The Matrix (Andy and Lana Wachowski, 1999). Reeves played the prophetic figure Neo, slated to lead humanity to freedom from an all-consuming simulated world. Known for its innovative fight sequences, avant-garde special effects and gorgeous fashion, The Matrix was an international hit. Two sequels, The Matrix Reloaded (Andy and Lana Wachowski, 1999) and The Matrix Revolutions (Andy and Lana Wachowski, 1999) followed and The Matrix Reloaded was even a bigger financial blockbuster than its predecessor.
Now a major, bonafide box office star, Keanu Reeves continued to work in different genres and both in bid-budget as in small independent films. He played an abusive man in the supernatural thriller The Gift (Sam Raimi, 2000), starring Cate Blanchett, a smitten doctor in the romantic comedy Something’s Gotta Give (Nancy Meyers, 2003) opposite Diane Keaton, and a Brit demon hunter in American-German occult detective action film Constantine (Francis Lawrence, 2005). His appearance in the animated science fiction thriller A Scanner Darkly (Richard Linklater, 2006), based on the novel by Philip K. Dick, received favourable reviews, and The Lake House (Alejandro Agresti, 2006) , his romantic outing with Sandra Bullock, was a success at the box office. Reeves returned to Sci-fi as alien Klaatu in The Day the Earth Stood Still (Scott Derrickson, 2008), the remake of the 1951 classic. Then he played a supporting part in Rebecca Miller's The Private Life of Pippa Lee (2009), which starred Robin Wright and premiered at the 59th Berlin International Film Festival. Reeves co-founded a production company, Company Films. The company helped produce Henry's Crime (Malcolm Venville, 2010), in which Reeves also starred. The actor made his directorial debut with the Chinese-American Martial arts film Man of Tai Chi (2013), partly inspired by the life of Reeves' friend, stuntman Tiger Chen. Martial arts–based themes continued in Reeves's next feature, 47 Ronin (Carl Rinsch, 2013), about a real-life group of masterless samurai in 18th-century Japan who avenged the death of their lord. Variety magazine listed 47 Ronin as one of "Hollywood's biggest box office bombs of 2013". Reeves returned as a retired hitman in the neo-noir action thriller John Wick (Chad Stahelski, David Leitch, 2014). The film opened to positive reviews and performed well at the box office. A sequel, titled John Wick: Chapter Two, is currently in production and is scheduled to be released in 2017. This year, he could be seen in the psychological horror film The Neon Demon is (Nicolas Winding Refn, 2016) and the romantic horror-thriller Bad Batch (Ana Lily Amirpour, 2016). Reeves’ artistic aspirations are not limited to film. In the early 1990s, he co-founded the grunge band Dogstar, which released two albums. He later played bass for a band called Becky. Reeves is also a longtime motorcycle enthusiast. After asking designer Gard Hollinger to create a custom-built bike for him, the two went into business together with the formation of Arch Motorcycle Company LLC in 2011. Reported to be one of the more generous actors in Hollywood, Reeves helped care for his sister during her lengthy battle with leukemia, and has supported such organizations as Stand Up To Cancer and PETA. In January 2000, Reeves's girlfriend, Jennifer Syme, gave birth eight months into her pregnancy to Ava Archer Syme-Reeves, who was stillborn. The strain put on their relationship by their grief resulted in Reeves and Syme's breakup several weeks later. In 2001, Syme died after a car accident.
Sources: Biography.com, Wikipedia and IMDb.
[Tehran, Iran] Wise old man in introspective book reading, a Persian miniature drawing by Farshchian at the Sa'ad Abad museum complex in Tehran.
©2016 Germán Vogel - All rights reserved - No usage allowed in any form without the written consent of the photographer
I swear, these are the last :P
Black White.
Up Down.
Left Right.
East West.
Call them as you want.
Here are my opposite poles.
my self-portraits feel so different this year - introspective, shot while very connected to myself; rather than last year's dares to others.
What an incredibly introspective week it's been.
I've been busy doing some 'housecleaning.'
'Housecleaning of the soul' that is.
Life's been a whole lotta crazy in the last few years.
I guess I really didn't know how crazy it's been because I was kinda busy livin' it.
Reacting to it.
I stepped back in the last week and took a good hard look at how things were going.
I'll tell you what...
I feel really good right now.
There was a little business I hadda do with my soul and I did just that.
Body and soul have come to an agreement.
They're on the same page.
The craziness is gone.
The cause of all of that is far behind me and it has become irrelevant.
Yeah...
I've seen some things I wish I could 'unsee.'
But fuck it.
It ain't a problem no more.
I can only describe the last few weeks ago as spitting up a 'psychic hairball.'
That's about it.
You know how the cat makes those strange noises and does those convulsions?
You know it's gotta feel good to get rid of that hairball.
Really good.
It doesn't look too pleasant..
And it's probably not...
but you know the cat is feelin' good when that hairball is gone.
There was a 'hairball' in my life that's gone now.
And I can't tell you just how good that feels.
I didn't know what to do with myself right after all that passed I guess.
I'd been dealing with it for so long.
It had become a way of life.
It really consumed so much time and energy.
The 'hairball' is gone.
Not a problem anymore.
I spent the last week looking inward and asking myself a lot of questions.
How do I want to live?
What strategies will I implement to move towards making my dreams come true?
The energy that I put into that has paid off.
I feel like a freakin' new man.
I'm telling you it's that good.
It's time to make things happen instead of reacting to things that happen.
I feel really proactive.
My focus has returned.
My memory is sharpening.
The crazy dreams are all gone.
I've still got some work to do...
who doesn't?
But the foundation's been laid.
I want that sailboat.
I've got a plan and it's going to work.
A little more time and I'll hit the streets again.
I've missed them.
There's so much more I want to do.
And I want to do it better.
My soul stands strong.
My dreams are within sight.
I do believe it's time to set sail.
An introspective picture of an introspective gopher tortoise (Gopherus polyphemus), or at least one hiding from the big man with the tripod a few yards away. A tortoise trying to hide from the scary world around it in plain sight can, if you rationalize it right, serve as an excellent metaphor for the human condition. The photo was taken at Paynes Creek State Historical Preserve in Florida.
It was originally shot in color (I shoot everything in color) but I couldn't get the mood right with color, so I switched to b&w. I liked the mood that came out in b&w, but I didn't like the tone. Just before I decided I was being way to picky, I added a slight sepia tone and it all came together. Editing done in Adobe Photoshop CS5.
She looks like a boxer meditating before a match here. Definitely one of my favorites of the shoot. I'm really glad I got was I looking for in this one.
I used some duvatine (sp?) wrapped around a 500W photoflood to create a stylized spot/glorified snoot. I also put a rotary speed knob in-line used as a dimmer. It is placed directly above the subject. The light kept smoking the duv so I had to work fast.
Exposure: 0.125 sec (1/8)
Aperture: f/4.5
Focal Length: 14 mm
ISO Speed: 200