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Y10D118
Since January 1st 2010, I have been taking and uploading one square picture each day to:
square365.blogspot.com
Metro centre, Gateshead on 28th March. Taken with Minolta Hi-matic G with Kodak BW400CN. C41 processed and scanned by local independant lab. As scanned
Ejercicio de ópticas (Tele, normal y angular) en el estudio (anotando las deformaciones de cada uno). Iluminación principal y secundaria de 45º a nivel. Nuestra modelo hizo un gran trabajo!
This was nice until the swastika was painted over it. If anyone knows who the graf artist is (NOT the swastika painter), PM me, willya? Thankee.
Paul Cezanne - French, 1839 - 1906
Still Life with Milk Jug and Fruit, c. 1900
East Building, Mezzanine — Gallery 217-B
We look down onto nine pieces of fruit, a pitcher, a goblet, and a dish arranged on a rustic wood table in front of a floral curtain in this nearly square, loosely painted still life. The table extends off the left edge of the composition and the back, right corner of the table just touches the right edge of the canvas. At the center of the composition, five pieces of marigold-orange fruit with yellow highlights and scarlet-red shading are piled in the dish. The side of the dish to our right is slightly tipped up so the fruit settles near the rim to our left. The dish is painted with loose strokes of sky blue, shell pink, pale yellow, and parchment white. Three more pieces of fruit, including a lemon, sit to our left of the dish and one more piece of fruit sits near the back corner of the table, behind the dish, to our right. Immediately behind the dish is a stemmed glass with a tall, rounded bowl. To our left, between the fruit on the table and in the platter, is a tall, angular, tapering pitcher. The pitcher is painted with emerald and moss-green leaves against a background painted with strokes of light peach, blush pink, slate blue, and one wide stroke of amber orange. The wooden table is peanut brown streaked with strokes of apricot orange and pale sage green. One drawer at the front has a round, wooden pull. There seem to be at least two panels of curtains hanging behind the table. Down the center of the background is a panel of coral peach and saffron orange with a floral pattern painted in wheat brown and denim blue. To our right, the panel is streaked with vertical strokes of teal, midnight, and navy blue. The area to our left, behind the table, could be the panel of a door, painted with pale turquoise. The fruit, dish, vessels, table, curtain, and door are all outlined with cobalt blue.
Paul Cezanne was born in Aix-en-Provence on January 19, 1839, the first child of a prosperous hatter, Louis-Auguste Cezanne, who later became a banker. Paul, as the only son, had his career path chosen for him by his father, who decided that the young man should become a lawyer and prepare to manage the nascent family fortune. By 1857, however, Cezanne had begun to take classes at the Free Drawing School attached to the Musée d'Aix (now the Musée Granet). Yielding to paternal pressure, he registered at the Aix law school the following year, but he had already settled on a life as an artist.
In 1861 Cezanne abandoned his legal studies and made his first visit to Paris, encouraged by his boyhood friend, the novelist Émile Zola. Paris was the center of the art world, an essential destination for any up-and-coming artist, and Cezanne made repeated trips to the capital over the next dozen years, absorbing much that proved foundational to his subsequent artistic accomplishments. He frequented the Salon, studied the old masters and copied Delacroix at the Louvre, and forged friendships with many important artists, including Edouard Manet, James McNeill Whistler, Edgar Degas, Auguste Renoir, and Henri Fantin-Latour. But it was Camille Pissarro who became a pivotal, lifelong influence on Cezanne after the two met in the early 1860s at the Académie Suisse in Paris.
By the mid-1860s Cezanne had established himself as a painter, though with minimal official success: he was denied entry into the École des Beaux-Arts and systematically excluded from the Salon exhibitions. This rejection resulted from his comparatively radical painting style, characterized by muscular swaths of paste-like paint applied with the palette knife, a technique that he had inherited from the realist master Gustave Courbet. His rough-hewn manner matched his adoption of a provincial persona, a calculated strategy-also patterned after Courbet-to gain notoriety in the cosmopolitan capital. This first phase of Cezanne's career, heavy with dour portraits and emotionally charged scenes of rape and murder, paralleled anxiety in his personal life: discomfited in the capital, Cezanne shuttled back and forth between Aix and Paris seeking a more definitive artistic voice. In Aix the Jas de Bouffan, a large working farm on the outskirts of the city that had been purchased by Louis-Auguste in 1859 to serve as the family estate, figured as a central locale for the artist's searching experimentation of these early years and beyond.
In 1869 Cezanne met Émilie Hortense Ficquet, the woman who would eventually become his wife (1886) and bear his only child, also named Paul, in 1872. It was at the instigation of Pissarro that Cezanne arrived in Auvers in 1872, along with Hortense and their infant son, and began what is often dubbed his "impressionist" phase. Under the influence of the Barbizon painters Camille Corot, Charles-François Daubigny, and Théodore Rousseau, Cezanne had depicted landscape in his previous work. But it was through his close working relationship with Pissarro that Cezanne developed both his enduring interest in plein-air (outdoor) painting and a manner similar to that of the impressionists. Cezanne now placed more emphasis on the close observation of nature and on the rendering of light and atmospheric effects, producing works with a lighter palette and freer brushwork that he exhibited in Paris at the impressionist exhibitions of 1874 and 1877. It was also during the 1870s, and up to 1885, that Cezanne began to paint in L'Estaque, a site that has rightly been seen as engendering Cezanne's maturation as an artist. It was there, during the mid-1880s, that he painted his great views of the Gulf of Marseille, though he had more prosaic reasons for making this seaside village his base when returning to Provence: L'Estaque had enabled him to avoid the draft (1870-1871), and continued to function as a refuge from paternal interference.
From the mid-1880s until Cezanne's first solo exhibition, organized in Paris in 1895 by his dealer Ambroise Vollard, the artist's personal life and artistic production underwent considerable change. In April 1886 Zola published The Masterpiece (L'Oeuvre), a novel whose unflattering portrayal of a failed artist, based on Cezanne himself, precipitated the end of their longstanding friendship. Later that same month Cezanne married Hortense Ficquet, and in October his father died. Around 1890 Cezanne began to suffer from diabetes. Meanwhile, he had by this time entered into his full artistic maturity, adopting a characteristic style in which paint was applied in regular, hatched strokes-his so-called "constructive stroke." For Cezanne this way of working grew out of his intent to produce paintings that captured solid form rather than the fugitive effects rendered by the impressionists. He depicted the gamut of subjects in all media: landscapes around Pontoise and especially Provence, notably his first images of the Montagne Sainte-Victoire, as well as still-lifes, portraits, and self-portraits. Among his most iconic works are his paintings of cardplayers, executed in the early 1890s, and of the Bibémus quarry and Château Noir, dated to the mid-1890s. Cezanne had also begun to garner critical attention during this period from the likes of Paul Alexis (1886-1887), Joris-Karl Huysmans (1888), Émile Bernard (1891), George Lecomte (1892), and others.
Among the significant events marking Cezanne's last decade was the death of his mother in 1897, which led to the sale of the Jas de Bouffan in 1899. While robbed of one site, Cezanne created another in 1902 when he had a studio built in the outlying hills of Les Lauves. It is from near his studio that Cezanne began his systematic portrayals of what is recognized today as his signature motif: Montagne Sainte-Victoire, the dominant landform due east of Aix. It is these paintings, arguably more than any other, that display what was perhaps Cezanne's signal aesthetic tenet: the structuring power of color. His last great achievement was his serial paintings of bathers, a theme he treated throughout his life, culminating in three oversize canvases executed at this time. The latter recast both longstanding notions regarding the nude and the relation of figure to landscape.
Cezanne died at 7:00 a.m. on October 23, 1906, at his home, 23 rue Boulegon in Aix.
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www.nga.gov/about/welcome-to-the-east-building.html
The East Building opened in 1978 in response to the changing needs of the National Gallery, mainly to house a growing collection of modern and contemporary art. The building itself is a modern masterpiece. The site's trapezoidal shape prompted architect I.M. Pei's dramatic approach: two interlocking spaces shaped like triangles provide room for a library, galleries, auditoriums, and administrative offices. Inside the ax-blade-like southwest corner, a colorful, 76-foot-long Alexander Calder mobile dominates the sunlight atrium. Visitors can view a dynamic 500-piece collection of photography, paintings, sculpture, works on paper, and media arts in thought-provoking chronological, thematic, and stylistic arrangements.
Highlights include galleries devoted to Mark Rothko's giant, glowing canvases; Barnett Newman's 14 stark black, gray, and white canvas paintings from The Stations of the Cross, 1958–1966; and several colorful and whimsical Alexander Calder mobiles and sculptures. You can't miss Katharina Fritsch's Hahn/Cock, 2013, a tall blue rooster that appears to stand guard over the street and federal buildings from the roof terrace, which also offers views of the Capitol. The upper-level gallery showcases modern art from 1910 to 1980, including masterpieces by Constantin Brancusi, Marcel Duchamp, Sam Gilliam, Henri Matisse, Joan Miró, Piet Mondrian, Jackson Pollock, and Andy Warhol. Ground-level galleries are devoted to American art from 1900 to 1950, including pieces by George Bellows, Edward Hopper, Georgia O'Keeffe, Charles Sheeler, and Alfred Stieglitz. The concourse level is reserved for rotating special exhibitions.
The East Building Shop is on the concourse level, and the Terrace Café looks out over the atrium from the upper level.
www.theguardian.com/culture/2016/oct/03/national-gallery-...
"The structure asks for its visitors to gradually make their way up from the bottom, moving from the Gallery’s earliest acquisitions like the paintings of French Post-Impressionist Pierre Bonnard to its contemporary work, such as Janine Antoni’s much fussed over “Lick and Lather,” a series of busts composed of chocolate and soap. The bottom floors offer a more traditional viewing experience: small taupe-colored rooms leading to more small taupe-colored rooms. As one moves upward, however, the spaces open up, offering more dramatic and artful exhibition rooms. The largest single aspect of the I.M. Pei-designed building’s renovation has been the addition of a roof terrace flanked by a reimagination two of the three original “tower” rooms of Pei’s design.
On one side is a space dedicated to sculptor Alexander Calder, with gently spinning mobiles of all shapes and sizes delicately cascading from the ceiling. The subtle movements of the fine wire pieces mimic the effect of a slight breeze through wind chimes—it’s both relaxing and slightly mesmerizing, especially when we’re used to art that stands stock still. Delight is a relatively rare emotion to emerge in a museum, making it all the more compelling.
But it’s the tower space on the other side—a divided hexagonal room—that caused several visitors to gasp as I surveyed it. On one side of the division (the room you enter from the roof terrace) hang Barnett Newman’s fourteen “Stations of the Cross,” the human-sized renderings of secular suffering and pain conceived in conversation with the Bible story. Entirely black and white, with just a tinge of red in the final painting, the series wraps around the viewer, fully encapsulating you in the small but meaningful differentiations between paintings. Hung as a series, the paintings gain a narrative they might otherwise have lost.
The light edging around either side of the room’s division invite the viewer to move from Newman’s chiaroscuric works, which require you to move from painting to painting searching for the scene in each, to a mirror image of that space covered in Mark Rothko’s giant, glowing canvases, which require the viewer to step back and attempt to take in the sight of so much hazy, vivid color all at once. The dichotomy is stark, and yet the paintings all work together somehow, rather than one set repelling the other.
With light filtering through the glass ceiling above, the tower room does feel like a crescendo of sorts, but not in the way many museums’ most famous or valuable pieces often do. The room isn’t dedicated to ensuring that visitors snake their way into the belly of the museum, to first be captured and then let out through the gift shop. Instead, it’s a reminder that in a space dedicated to honoring the modern and the contemporary that the evolution of art remains just as integral as any singular Marilyn Monroe by Andy Warhol or Donald Judd aluminum box. There’s still a story in abstract art."
www.washingtonian.com/2016/09/28/national-gallery-art-eas...
Part of my Photo-a-day(ish) project on my blog.
Yashica Minister D.
Is that lens distortion from my fanciest camera?
huh? only iphone images? the set description has the details.
please note: simple invites to post an image to a particular group are always welcome but no pictures, awards, or badges in comments. i call it dumping on the lawn. thanks very much for understanding. I sincerely appreciate your visits.