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A gift from a friend: I didn't realize they still made these sort of souvenir decals - like this one from Yellowstone.
Size: 14"x11"x .5"
Medium: Acrylic Paints and Texture
Colors: Blue, Primary Yellow, White and textures
Modern, contemporary painting can make a bold statement in a traditional setting!
Substrate: Canvas. The painting continues around the sides of the hand-stretched gallery-style wrap canvas. Mount without frame or with frame. Will add frame upon request.
The painting is signed on the front, dated and signed on the back.
Style: Abstract Expressionism, Contemporary, Modern Art, Abstract Painting.
Date: 2007
Original: Yes, NOT a print, giclee or reproduction. This painting comes to you directly from my own studio.
Protective finish: Yes, an acrylic high gloss finish has been applied to protect the painting from dust, UV rays and to give depth to the painting.
Standard Deviations: Types and Families in Contemporary Design exhibition at MoMA. The exhibition runs through January 30, 2012.
More info at moma.org/visit/calendar/exhibitions/1152
🙏 #saopaulo #brasil #rua #brazil #cellphonephotography #fotodecelular #aluguelnaodorme #tudipretoebranco #blackandwhitephotography #fotografiamoderna #modernart #abstractart #abstractphotography #bwphotography #bw #pb
Where Do We Come From? What Are We? Where Are We Going?
1897–98
Paul Gauguin, French, 1848–1903
Oil on canvas
Standard Deviations: Types and Families in Contemporary Design exhibition at MoMA. The exhibition runs through January 30, 2012.
More info at moma.org/visit/calendar/exhibitions/1152
* at the start of the movie he hears a horrific tune accompanied by the sound of helicopter blades; that tune is one he always avoided for it was written and directed by the devil himself. part one of four
Madonna
1958
Salvador Dalí (Spanish, 1904-1989)
Oil on canvas; 88 7/8 x 75 1/4 in. (225.7 x 191.1 cm)
Salvador Dalí became an official member of the Surrealist group in 1929, and even after he was expelled by its leader, André Breton, in 1941, his work continued to reflect the influence of Surrealist thought and methodology. Dalí's paintings feature intellectual puzzles and visual ambiguities, and his style is marked by superrealistic illusionism that is used to describe completely unrealistic, fanciful subjects. Madonna is one of several works Dalí made after 1941 that uses classical imagery as the basis for Surrealist invention. Here, he paints two different simultaneous subjects with a profusion of gray and pink dots: a Madonna and Child based on Raphael's Sistine Madonna (Gemäldegalerie, Dresden, after 1513), and a large ear, whose ridged interior surface is defined by the presence of these two figures. Each motif is designed to come into focus at a different distance. At close range, the painting looks completely abstract; from about six feet away, it reveals the Madonna and Child; and from fifty feet, it is what the artist called "the ear of an angel." To the left of the main images is a trompe-l'oeil detail of a red cherry suspended on a string from a torn and folded piece of paper; its shadow is cast onto another piece of paper bearing the signature of the artist.
Gift of Drue Heinz, in memory of Henry J. Heinz II, 1987 (1987.465)
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The Metropolitan Museum of Art's permanent collection contains more than two million works of art from around the world. It opened its doors on February 20, 1872, housed in a building located at 681 Fifth Avenue in New York City. Under their guidance of John Taylor Johnston and George Palmer Putnam, the Met's holdings, initially consisting of a Roman stone sarcophagus and 174 mostly European paintings, quickly outgrew the available space. In 1873, occasioned by the Met's purchase of the Cesnola Collection of Cypriot antiquities, the museum decamped from Fifth Avenue and took up residence at the Douglas Mansion on West 14th Street. However, these new accommodations were temporary; after negotiations with the city of New York, the Met acquired land on the east side of Central Park, where it built its permanent home, a red-brick Gothic Revival stone "mausoleum" designed by American architects Calvert Vaux and Jacob Wrey Mold. As of 2006, the Met measures almost a quarter mile long and occupies more than two million square feet, more than 20 times the size of the original 1880 building.
In 2007, the Metropolitan Museum of Art was ranked #17 on the AIA 150 America's Favorite Architecture list.
The Metropolitan Museum of Art was designated a landmark by the New York City Landmarks Preservation Commission in 1967. The interior was designated in 1977.
National Historic Register #86003556
Ready-made by Marcel Duchamps. Exhibition at the Museum of ModernArt in Stockholm, Sweden, Spring 2013.
*from set of 34, "Cirque de Badajoz" After a performance at the circus and all their chores done, it is the stables where those that want to see and feel what real Flamenco is all about must come. Here in America it is called a "Jam session". It usually starts at about midnight and lasts late into the night. Anyone can come as long as they bring a carton of cigarettes and a few bottles of "Chamuco" or "Agua de diente" /mouthwash/ a very strong, cheap, rum. It starts with telling of crude jokes, crude conversation and as the drinking progresses, with wailing sounds which arouse the horses and to some degree all those present, with a contagious shouting, hand clapping and finally when loosened up, the guitars appear out of nowhere; someone places a wooden gate on the hay covered floor and the "jam session" has started. The most senior of the group starts to wail in a almost animalistic way; which the gipsies call "Cante Hondo" It is spontaneous, totally unrehearsed and the lyrics are made up from some of the events that have occurred during the day on the job. Unfortunately, they switch from Spanish into Cale, a language I don't speak. The senior, singer or "cantaor" encourages the cow hands, stable boys to join in the singing, and a real "Juerga" forms. With the youngest, to step on the door, and start to pound the wood with their boot heel and from than, one becomes intoxicated by the sheer beauty of the stage setting to the performance of the singers who equal to the finest professional opera singers on stage. For some reason, have not seen woman participate in these "jam sessions" but of course have seen them dance at birthdays and even a wedding.
this stable is best viewed on black
‘The Girls’ 1930 by Tamara de Lempicka, Warsaw 1898-Cuernavaca 1980 at Palacio de Gavira
The picture represents one of Lempicka’s famous ‘Sapphic duos,’ to girls with ringlets wrapped in a shawl and depicted against an iconic modern urban backdrop, the New York skyline that had made such a deep impression on Lempicka when she arrived in the city in 1929. This was exhibited in 1932 at a group exhibition at Galerie Fauvety in Paris along with works by Picasso, Marie Laurencin, Fujita and Kisling.
Oil on canvas, 1923
I like seeing Picasso's non-cubist work. I also like the work-in-progress feel of this one.
Centre Pompidou, Paris
'Arc of Angelsâ in Central Park has a dual relevance to Portishead. Firstly the figures representing the new community, both unique and individual, yet gaining strength and support in their united formation. The piece also relates to the five radio towers that stood for many years on the site.
Diehl Art Gallery is located at 27 Central Square, Bridgewater, MA 02324 Diehl Art Gallery Buy art online
In a walk around the Walker Arts Centre gardens we came across this work of art. Being a little ignorant when it comes to modern art it wouldn't have been the first thing I would have studies. That being said the sculptor Henry Moore came from Castleford, just around the corner from where I live so I have some degree of affinity.
Picture taken in an exhibition of the work of Gadioli in the deconsecrated church of San Maurizio in Venice, Italy.
One of hundreds of collaborative works by these two giants of modern art.
They were contemporaries liing in New York City, and would take turns contributing to the p[aintings. The results are compositions which shares qualities if both artists.
In Paramount, the numbers abnd letters are by Basquiat, as is the figure that looks like an African mask. The Paramount sign and the silhouettes are by Warhol.