View allAll Photos Tagged expressionism
the kids were off the hook praising God and carving pumpkins tuesday nite! nice to see young minds interprete fantastical visions on an unexpecting pumpkin! i over emphasized the color exposure to add to the nights expressionism!
Adrian Jenkins and Lucy Whetstone
ISBN 0906 586 295
Bolton Museum, Art Gallery and Aquarium, 1999
Softcover
33 pages
To complete the Art History project I did last year, we had to choose an art movement and base a photographic project on it. I chose Abstract Expressionism, as I loved the bright colours and the narrative of emotions you could get from the work.
During this project I also looked at using water and clingfilm in a scanner to created abstract textures. This image is several peices of clingfilm coloured differently and placed together randomly in photoshop.
Cove, Maine - circa 1907-1910
Maurice Prendergast (Canada, Newfoundland, Saint John's, active United States, 1858-1924)
Maurice Prendergast has been lauded as America’s earliest and finest postimpressionist. From the 1890s through the 1910s he moved away from the impressionistic recording of natural scenes to develop a more personal mode of expression. Though Prendergast painted classic impressionist motifs – the beach, park strollers, quiet harbors – throughout his career, he actually was not interested in subject matter per se. He preferred to experiment with formal elements, conceiving of them abstractly. Cove, Maine marks the beginning of Prendergast’s move to a more avant-garde aesthetic. During a 1907 visit to Paris he was staggered by the art of Paul Cezanne, which was presented at a major retrospective, as well as by the intimist paintings of Edouard Vuillard and the fauves. He noted a “new impulse” in his work arising from the experience. He loosened his brushwork further so that it took an energetic life of its own. The canvas became a tapestry of color and movement analogous to the melody and rhythm of music. He would often construct his compositions literally on the canvas, rather than conceiving of them in preparatory drawings, by first applying then changing the placement of his brushstrokes. With such color symphonies Prendergast advanced the cause of modern art in the United States during the years prior to the 1913 Armory Show, which introduced European modernism to this country.
collections.lacma.org/node/172112
Blue Grass, Green Skies: American Impressionism and Realism from the Los Angeles County Museum of Art
JANUARY 24, 2025 - MAY 18, 2025
"It must not be assumed that American Impressionism and French Impressionism are identical. The American painter accepted the spirit, not the letter of the new doctrine." - Christian Brinton, 1916
In 1874, a group of avant-garde French artists, including Edgar Degas, Claude Monet, Camille Pissarro, and Pierre-Auguste Renoir, organized the first exhibition of the “Anonymous Society of Painters, Sculptors, Printmakers, etc.” in Paris. Although working independently, rather than as a unified movement or school, they came to be known as the Impressionists—a term first used to disparage their works as unfinished “impressions.” Defined by their loose brushwork, vibrant color palettes, and attention to capturing the ephemeral effects of light and atmosphere, these artists rejected established academic traditions and developed innovative approaches to depicting modern life.
Impressionism’s influence was felt globally, but perhaps nowhere as profoundly or as long lasting as in the United States. American artists working abroad had opportunities to see and study Impressionist works, but it was not until 1886—when the movement had lost some of its radical edge—that the first large-scale exhibition of French Impressionism was held in the United States. The New York Tribune reported that although Impressionist pictures were often criticized for their “blue grass, violently green skies, and water with the coloring of a rainbow,” Americans would nevertheless benefit from studying the “vitality and beauty” in these works.
Over the next three decades, artists working across the United States adapted Impressionist aesthetics to depict modern American life. While their works embody the optimism and nationalism that then defined American culture, by the turn of the twentieth century, rapid urbanization and industrialization had transformed the nation, giving rise to new artistic tendencies. A group of younger artists, often described as Realists, rejected Impressionism’s colorful palette, instead portraying the grittier side of urban life. However, like their Impressionist contemporaries, they continued to paint the American scene, focusing on life in the city, the country, and the home. Drawn from the collection of the Los Angeles County Museum of Art, the works in this exhibition highlight the evolution of Impressionism’s blue grass and green skies into a distinctly American art.
________________________________
"Acknowledged as the first museum in the world dedicated solely to collecting American art, the NBMAA is renowned for its preeminent collection spanning three centuries of American history. The award-winning Chase Family Building, which opened in 2006 to critical and public acclaim, features 15 spacious galleries which showcase the permanent collection and upwards of 25 special exhibitions a year featuring American masters, emerging artists and private collections. Education and community outreach programs for all ages include docent-led school and adult tours, teacher services, studio classes and vacation programs, Art Happy Hour gallery talks, lectures, symposia, concerts, film, monthly First Friday jazz evenings, quarterly Museum After Dark parties for young professionals, and the annual Juneteenth celebration. Enjoy Café on the Park for a light lunch prepared by “Best Caterer in Connecticut” Jordan Caterers. Visit the Museum Shop for unique gifts. Drop by the “ArtLab” learning gallery with your little ones. Gems not to be missed include Thomas Hart Benton’s murals “The Arts of Life in America,” “The Cycle of Terror and Tragedy, September 11, 2001” by Graydon Parrish,” and Dale Chihuly’s “Blue and Beyond Blue” spectacular chandelier. Called “a destination for art lovers everywhere,” “first-class,” “a full-size, transparent temple of art, mixing New York ambience with Yankee ingenuity and all-American beauty,” the NBMAA is not to be missed."
www.tripadvisor.com/Attraction_Review-g33847-d106105-Revi...
www.nbmaa.org/permanent-collection
The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.
Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.
Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).
Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.
WANTON DEATH
1923
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.
Max Lievermann
Oil on canvas
Georg Brandes (1842-1927) was an influential Danish critic, literary historian and philosopher whose support of innovative European literature, including that of the autocratic, nihilist philosophy of the German Friedrich Nietzsche (1844-1900), earned him an international reputation. The introspective gaze and the bold, exploratory handling of brushwork signals Liebermann's move beyond naturalism, underscoring his position as a leading avant-garde artist in Berlin. In 1898 he had been elected the first president of the city's Secession.*
From the exhibition
After Impressionism: Inventing Modern Art
(March – August 2023)
Explore a period of great upheaval when artists broke with established tradition and laid the foundations for the art of the 20th and the 21st centuries.
The decades between 1880 and the outbreak of the First World War in 1914 were a complex, vibrant period of artistic questioning, searching, risk-taking and innovation.
The exhibition celebrates the achievements of three giants of the era: Paul Cézanne, Vincent van Gogh and Paul Gauguin and follows the influences they had on younger generations of French artists, on their peers and on wider circles of artists across Europe in Barcelona, Berlin, Brussels and Vienna.
With nearly a hundred works by artists ranging from Klimt and Munch, Matisse and Picasso to Mondrian and Kandinsky complemented by a selection of sculpture by artists including Rodin and Camille Claudel, the exhibition follows the creation of a new, modern art, free of convention, taking in Expressionism, Cubism and Abstraction.
[*National Gallery]
Taken in the National Gallery
THE GREAT JUDGE
1898
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.
The cathedral is located in the Cathedral Hill neighbourhood of San Francisco, California. The present cathedral replaced one (1891-1962) of the same name. The cathedral was designed by local architects John Michael Lee, Paul A. Ryan and Angus McSweeney, collaborating renown architects Pier Luigi Nervi and Pietro Belluschi — at the time, the Dean of the School of Architecture at MIT.
Its saddle roof is composed of eight segments of hyperbolic paraboloids, in such a fashion that the bottom horizontal cross section of the roof is a square and the top cross section is a cross.
In 2017, Architecture Digest named it one of the 10 most beautiful churches in the United States.