View allAll Photos Tagged expressionism
Original Info:
also known as Lovers II
1917
Oil on canvas
Osterreichische Galerie Belvedere, Austria.
Artistic expressionism - I wanted something different for my profile - not like it isn't different on a day to day basis anyway, but something to show what I can do for people - and here it is. Skin is Ashley Tan, from Redgrave, Lilac Eyes from SLB Labs luscious new range, the hair is Red Queen 'Envy' in Cooper/Cherry, and the shot was taken in Gadget Gal's Photo Studio - background is an RL scene I took myself, loaded into the globe of the booth - this shot actually looks lovely as shot, too, I'll upload it for comparison.
THE VIRGIN OF CONSOLATION
1892
James Sidney Edouard, Baron Ensor (13 April 1860 – 19 November 1949) was a Belgian painter and printmaker, an important influence on expressionism and surrealism who lived in Ostend for most of his life. He was associated with the artistic group Les XX.
Ensor's father, James Frederic Ensor, born in Brussels to English parents, was a cultivated man who studied engineering in England and Germany. Ensor's mother, Maria Catherina Haegheman, was Belgian. Ensor himself lacked interest in academic study and left school at the age of fifteen to begin his artistic training with two local painters. From 1877 to 1880, he attended the Académie Royale des Beaux-Arts in Brussels, where one of his fellow students was Fernand Khnopff. Ensor first exhibited his work in 1881. From 1880 until 1917, he had his studio in the attic of his parents' house. His travels were very few: three brief trips to France and two to the Netherlands in the 1880s, and a four-day trip to London in 1892.
During the late 19th century, much of Ensor's work was rejected as scandalous, particularly his painting Christ's Entry Into Brussels in 1889 (1888–89). The Belgian art critic Octave Maus famously summed up the response from contemporaneous art critics to Ensor's innovative (and often scathingly political) work: "Ensor is the leader of a clan. Ensor is the limelight. Ensor sums up and concentrates certain principles which are considered to be anarchistic. In short, Ensor is a dangerous person who has great changes. ... He is consequently marked for blows. It is at him that all the harquebuses are aimed. It is on his head that are dumped the most aromatic containers of the so-called serious critics." Some of Ensor's contemporaneous work reveals his defiant response to this criticism. For example, the 1887 etching "Le Pisseur" depicts the artist urinating on a graffitied wall declaring (in the voice of an art critic) "Ensor est un fou" or "Ensor is a Madman."
Ensor's paintings continued to be exhibited and he gradually won acceptance and acclaim. In 1895 his painting The Lamp Boy (1880) was acquired by the Royal Museums of Fine Arts of Belgium in Brussels, and he had his first solo exhibition in Brussels. By 1920 he was the subject of major exhibitions; in 1929 he was named a Baron by King Albert, and was the subject of the Belgian composer Flor Alpaerts's James Ensor Suite; and in 1933 he was awarded the band of the Légion d'honneur. Alfred H. Barr Jr., the founding director of the Museum of Modern Art in New York, after considering Ensor's 1887 painting Tribulations of Saint Anthony (now in MoMA's collection), declared Ensor the boldest painter working at that time.
Even in the first decade of the 20th century, however, Ensor's production of new works was diminishing, and he increasingly concentrated on music—although he had no musical training, he was a gifted improviser on the harmonium, and spent much time performing for visitors.Against the advice of friends, he remained in Ostend during World War II despite the risk of bombardment. In his old age, he was an honored figure among Belgians, and his daily walk made him a familiar sight in Ostend. He died there following a short illness, on 19 November 1949 at the age of 89.
Oil on canvas
by Milton Avery
Taken in the Exhibition
In 1944, Milton Avery’s career took a significant step forward.
He had his first one-man museum exhibition at the Phillips Memorial Art Gallery in Washington DC and joined the prestigious gallery of Paul Rosenberg & Co, which represented many European modernist painters, including Henri Matisse, Pablo Picasso and Georges Braque.
The year also marked a significant breakthrough in Avery’s work. His keen interest in colour, already evident from the 1930s, evolved further. He began thinning his pigments and layering them on the canvas, painting planes of colour in closely related tones or hues.
This, along with a simplification of form, replaced traditional perspective in his work with a more subtle intimation of depth and atmosphere, both of which he evoked with colour.
As first seen in the 1944 paintings and exemplified by ‘Seated Girl with Dog’, this tendency continued and intensified in his work throughout the 1940s and then into the 1950s, when the colours softened and his use of non-associative (or unnatural) colours became less apparent.
This breakthrough established Avery as a leading American colourist, significantly influencing the next generation of American painters who now understood the possibility of employing colour to create a sense of the sublime.
[Royal Academy]
Milton Avery: American Colourist
(July — October 2022)
Recognised as an important and influential twentieth-century American artist, Milton Avery’s entry into the art world was somewhat unconventional. Born in 1885 in Altmar, New York, into a working-class family that finally settled in Connecticut, near Hartford, Avery left school at sixteen to work in a factory. Four years later, in an attempt to improve his earning potential, he enrolled in an evening class in ‘commercial lettering’ at the Connecticut League of Art Students and soon after transferred to drawing, so commencing a fifteen-year part-time study of art and a lifetime dedicated to drawing and painting.
Avery’s work spanned and, to some extent, became the link between two significant movements in the United States in the twentieth-century, American Impressionism and Abstract Expressionism, with both having an impact on his oeuvre. Through his close association with some of the younger key exponents of Abstract Expressionism, Avery’s early work played an influential role in how the movement later developed and unfolded. Never affiliated to any particular group or tendency, Avery followed his own artistic inclination. With his steadfast adherence to representation and the innovative ways in which he balanced colour and form within his compositions, he often appeared to be running counter to the prevailing trends of the time.
In 1926 Avery was married and living in New York, where he was to three months every summer at different locations of natural beauty, where he documented the landscape, providing material and inspiration for the later studio paintings.
This retrospective survey presents a selection of Avery’s finest work from across his career and charts his constant development, revealing his unique ability to create exquisitely balanced poetic compositions of colour and form.
[Royal Academy]
Wassily Kandinsky, Moskau 1866 - Neuilly-sur-Seine, Frankreich 1944
Improviisation Klamm - Improvisation Gorge (1914)
Lenbachhaus, München
Original abstract artwork
36x36 in.
Oil, oil stick, oil pastel, acrylic, spray paint, graphite on gallery canvas
To purchase original please contact AlanTaylorJeffries@ugallery.com
Thanks for taking the time to look at my work.
via Painters' Table - Contemporary Art Magazine: Daily Painting Links on Artist Blogs, Painting Blogs and Art Websites ift.tt/2aqlt1b
in front of Museum Frieder Burda, Baden-Baden ( processing inspired by the Emil Nolde exibition in the museum
This painting is one out of a series of four painted at the same time over the same theme. The object of the painting was to focus on an abstract flow exploding out from a center point and curling back in over itself, such as seen in breaking waves and chrysanthemum flowers.
Original Info:
also known as Krumau Town Crescent III
1918
Oil on canvas
109.5 cm (43.11 in.) x 139.5 cm (54.92 in.)
Neue Galerie am Landesmuseum, Austria.
Original abstract artwork
40x30 in.
Oil & acrylic on traditional canvas
To purchase original please contact ajeffries101958@yahoo.com
Prints, etc. are available at www.redbubble.com/people/atj1958
Thanks for taking the time to look at my work.
Wassily Kandinsky, Moskau 1866 - Neuilly-sur-Seine, Frankreich 1944
Große Auferstehung, Hinterglasbild - Great Resurrection, reverse glass painting (1911)
Lenbachhaus, München
The Sailboat (1968)
Oil on canvas
h: 46 x w: 56 in
Courtesy of Spanierman Modern, New York
www.easthamptonstar.com/dnn/Archive/Home20081225/Arts/Gre...
Abstract art by David Paul Mesler. Pianist, Vocalist, Composer, Songwriter. Seattle, Washington USA. 2013.
MUSIC ON I-TUNES: itunes.apple.com/us/artist/david-paul-mesler/id251806549
MUSIC ON CDBABY: www.cdbaby.com/artist/davidpaulmesler
JAZZ BANDLEADER WEBSITE: www.davidpaulmesler.com
I HEAR AMERICA SINGING: www.ihearamericasing.com
ARTWORK ON FLICKR: www.flickr.com/photos/davidpaulmesler
VIDEOS ON YOUTUBE: www.youtube.com/doublepianomaniac
REVIEWS: www.davidpaulmeslerreviews.blogspot.com
FACEBOOK: www.facebook.com/davidpaulmesler
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FOR GOD'S GLORY.
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I made these imaginal portraits of the rock bands CHICOSCI, FASPITCH, DEATH BY STEREO, SIN, and SWITCH by commission from Pulp magazine.
Original concept was to tie the entire feature with a big nod to German Expressionist cinema.
PULP Magazine
AUGUST 2006 issue
Php 120
Photography by WAWI NAVARROZA
Concept: Wawi Navarroza & Wincy Ong
Styling: Liz Anne Bautista
Makeup: Bea Rivera of Basement Salon
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PULP magazine August 2006 issue features 15 exceptional Filipino rock bands who will compete for the WORLD BATTLE OF THE BANDS 2006.
Only one band will make it to the World Grand Finals to be held in Hongkong late this year.