View allAll Photos Tagged ordinary_object
A bug's life is much like an office worker's life.
You keep on climbing up and up the corporate ladder until one day you are the CEO in the company!
Then you can retire with hefty bonuses even though the company is losing big money!
I love taking pictures of small things. Here are my other macro pictures.
I was having a walk in London's Landing near Steveston and looking for some inspirations of pictures.
I saw the grass in the water and I like the pattern made by ripples under the late afternoon light.
My Flickr friend Jane made beautiful water abstract and B&W pictures. I must admit she has brought me many inspirations for this and other abstract and reflections pictures.
© Diana Yakowitz all rights reserved.
(in water)
"I" Ordinary Object, I is for Ice (in a glass of water). This is the latest image in the flickrfriend challenge we call Odd Wednesday. Where we are working our way through the alphabet photographing an ordinary object for each letter.
We're Here is visiting "Imminent Arrival", a group dedicated to the seemingly ordinary objects around us that could also be interpreted as signs of Alien life and/or possible future invasion.
group.
I say they are getting to us through our pets and we all know who REALLY is in charge.
The thing I like the most. Find some ordinary object, like this plant and try to take a nice photo of it.
Chema Madoz – surreal, minimalist, black and white images that transform ordinary objects into thought-provoking visual metaphors; creates these images by meticulously arranging and photographing everyday objects in unconventional ways, playing with their shapes, textures, and relationships to evoke deeper meanings.
Another fun night of music, beverages and camera rotation at home. The idea came to me after grocery shopping and filling up the refrigerator... spur of the moment when I had this very ordinary object (an empty egg carton) and thought wow this shape and texture is perfect for lighting, getting juicy shadows and rotating madness! I just know it..... once the sun set and lights went out got about a dozen cool shots, here are my fav. ones. All done in a single long exposure using Red, Green, and Blue lighting. Square crops on all. Thanks for reading and viewing as always :)
William Michael Harnett (August 10, 1848 – October 29, 1892) - Merganser (1883) oil on canvas - SDMA San Diego Museum of Art
Pittore irlandese-americano noto per le sue nature morte trompe-l'œil di oggetti di uso comune.
Irish-American painter known for his trompe-l'œil still lifes of ordinary objects.
The bottom of a squash could remind you of a strange sunset or an explosion. There is potential in ordinary objects, even in ordinary people.
Claes Oldenburg is best known for his ingenious, oversized renditions of ordinary objects, like the giant "soft" three-way plug and overturned bag of french fries.
The spoon had appeared as a motif in a number of Oldenburg's drawings and plans over the years, inspired by a novelty item (a spoon resting on a glob of fake chocolate) he had acquired in 1962. Eventually the utensil emerged--in humorously gigantic scale--as the theme of the Minneapolis project.
El pintor y escultor Antonio López ha reivindicado este viernes "el sentido espiritual de todo el arte" en la inauguración de su exposición en el Monasterio de Santo Domingo de Silos (Burgos).
En este sentido, López, Premio Príncipe de Asturias de las Artes en 1985, ha destacado el carácter espiritual de su obra, que "en el Monasterio de Silos se ve aún más claro, más directamente".
Se ha referido especialmente a sus piezas escultóricas representando cabezas, entre ellas dos de color negro y de gran formato, "Carmen despierta" y "Carmen dormida", que se han instalado en el exterior del cenobio benedictino, flanqueando uno de sus accesos.
"Enlazan con la naturaleza, el día y la noche, no es fácil de explicar, porque el arte es un hecho espiritual", ha insistido Antonio López.
En el interior del monasterio se pueden ver 22 obras del artista en diversos formatos y materiales, entre ellas lienzos, papel sobre tabla, esculturas de bronce, escayola, madera y resina.
www.efe.com/efe/espana/cultura/antonio-lopez-reivindica-e...
The painter and sculptor Antonio López has claimed this Friday "the spiritual sense of all art" at the opening of his exhibition at the Monastery of Santo Domingo de Silos (Burgos).
In this sense, López, Prince of Asturias Award for the Arts in 1985, has highlighted the spiritual nature of his work, which "in the Monastery of Silos is even clearer, more directly."
He has made special reference to his sculptural pieces representing heads, including two large-format black ones, "Carmen awake" and "Carmen asleep", which have been installed outside the Benedictine monastery, flanking one of its entrances.
"They link with nature, day and night, it is not easy to explain, because art is a spiritual fact", insisted Antonio López.
Inside the monastery you can see 22 works by the artist in various formats and materials, including canvases, paper on board, bronze, plaster, wood and resin sculptures.
La exposición cuenta con 22 obras del artista, entre lienzos, papel sobre tabla, escayola, madera y resina. Entre ellas, destacan la serie ‘Rosas del Ávila’ en las que el pintor reflexiona sobre el paso del tiempo y la decadencia, así como la serie de esculturas ‘Cabezas’ en la misma sala expositora y las dos de gran tamaño en bronce que se ubican en el exterior de la abadia,‘Carmen dormida’ y ‘Carmen despierta’.
www.diariodeburgos.es/noticia/zacd1b719-a497-1827-37af637...
The exhibition features 22 works by the artist, including canvases, paper on board, plaster, wood and resin. Among them, the series 'Rosas del Ávila' stands out, in which the painter reflects on the passage of time and decadence, as well as the series of sculptures 'Cabezas' in the same exhibition room and the two large bronze located outside the abbey, 'Carmen asleep' and 'Carmen awake'.
Antonio López García (Tomelloso, Ciudad Real, 6 de enero de 1936) es un pintor y escultor español.
Antonio López García nació el 6 de enero de 1936 en Tomelloso, Ciudad Real. Fue el hijo mayor de un matrimonio de labradores acomodados cuya casa estaba situada en la calle Domecq. Su temprana vocación por el dibujo, así como la influencia de su tío, el pintor Antonio López Torres, conformaron su decisión de dedicarse a la pintura.
En 1949 se trasladó a Madrid para preparar su ingreso en la Academia de Bellas Artes de San Fernando, donde coincidió con diversos artistas, como Enrique Gran, Amalia Avia y Lucio Muñoz, con los que conformo lo que se ha venido a llamar «Escuela madrileña». Permaneció en la academia entre 1950 y 1955. En 1955, becado por el Ministerio de Educación, viajó a Italia, donde conoció de primera mano la pintura italiana del Renacimiento. Sufrió, así, una pequeña decepción al contemplar en vivo las obras maestras que solo conocía por reproducciones, y que hasta ese momento veneraba. A partir de ese momento, comenzó a revalorizar la pintura clásica española, que tan bien conocerá, gracias a las frecuentes visitas al Museo del Prado, especialmente Diego Velázquez.
Tras terminar sus estudios, realizó sus primeras exposiciones individuales en 1957 y 1961 en Madrid, mientras trabajaba tanto en esta ciudad como en la localidad que lo vio nacer. En 1961 se unió en matrimonio a la también pintora María Moreno, unión de la que nacieron dos hijas, María en 1962 y Carmen en 1965, que heredó su amor por la pintura. Desde este último año y hasta 1969 fue profesor encargado de la Cátedra de Preparatorio de Colorido en la Escuela de Bellas Artes de San Fernando.
El pintor busca entre la realidad que lo rodea aquellos aspectos cotidianos que él recoge con un tratamiento pleno de detalle, rozando lo fotográfico. Sus preferencias van desde las vistas de Madrid hasta los retratos de sus familiares, pasando por los objetos más cotidianos y cercanos. Utiliza el escáner y la impresión en 3D para para las esculturas de gran volumen.
A lo largo de la mayor parte de su carrera artística, Antonio López ha desarrollado una obra independiente, en medio de un panorama artístico estructurado sobre el informalismo y la abstracción. Tampoco parece tarea fácil vincular la obra de López con las tendencias realistas europeas más recientes, o con el hiperrealismo americano.
es.wikipedia.org/wiki/Antonio_López_García
Antonio López was born on 6 January 1936 in Tomelloso, Ciudad Real, a few months before the beginning of the Spanish Civil War. It first appeared that Antonio would continue in the family tradition as a farmer, but an early facility for drawing caught the attention of his uncle Antonio López Torres, a local painter of landscapes, who gave him his first lessons. In 1949 he moved to Madrid in order to study for entrance to the competitive Real Academia de Bellas Artes de San Fernando.
Between 1950 and 1955 he studied art at the Real Academia de Bellas Artes de San Fernando,[3] winning a number of prizes. While at the school he developed a friendship with María Moreno—also a painter—whom he would marry in 1961. He also formed friendships with Francisco López Hernández, Amalia Avia, and Isabel Quintanilla. Out of this nucleus a realist group, the New Spanish Realists, was formed in Madrid. López García became friends with Jack Chambers, a Canadian studying in Madrid. Although Chambers did not belong to the New Spanish Realists, parallels to their style can be found in his work created in Canada in the late 1960s.[4]
Madrid of the postwar period was isolated from the international panorama of art and culture. All the information that López García accessed on contemporary art was derived from library books at the school; he gradually became aware of Picasso and other great artists of the period.
In 1955, a scholarship allowed him to travel to Italy with Francisco López and study Italian painting from the Renaissance. During this period he began to reevaluate Spanish painting in the Prado, especially Velázquez, a constant reference.
The beauty of López's work begins with an appreciation of his craft. Paintings such as The Sideboard (1965–66), or the atmospheric views of Madrid from the 1970s, show an acute perception and understanding of the beauty of the objects he portrays.
Though López is devoted to the mundane—he depicts humble people, buildings, plants, and cluttered interiors—his portrayal of these subjects is compelling and beautiful. Starkly lit studies of his studio, bathroom, and the red brick wall in his backyard underscore an interest in prosaic subject matter. His deftness brings attention to these simple forms, encouraging the viewer to re-examine the presence of ordinary objects.
He began to paint panoramic views of Madrid about 1960. His work from this period attracted recognition, first within Spain—in 1961 he had his first solo show in Madrid—and later, in 1965 and 1968, at the Staempfli Gallery in New York. López faithfully adhered to familiar subjects: images of women, anonymous and humble objects of domestic surroundings, desolate spaces, images of his garden and landscape. The pictures are sometimes worked on for more than twenty years, some of them remaining unfinished.
As the artist explains, "the pictorial nucleus begins to grow and you work until the whole surface has an expressive intensity equivalent to what you have before you, converted into a pictorial reality."
He is a versatile realist, proficient in the traditional media of pencil drawing, oil painting on board, carved wood sculpture, and bas relief in plaster.
It was raining non-stop last few days.
Last night it was raining so heavily. It finally halts before noon today. After the rain, we are not in shortage of these rain drops all over the place.
I can't wait picking up my camera and get a few shots.
Taken in my home front yard. Please view large for better result.
I love taking pictures of water drops.
Macro shooting is my meditation. It is my mind Yoga.
Saturday afternoon we had non-stop raining and I did my mind Yoga again.
Why I like doing the meditation again and again?
I think the real question is why I have to ask myself the question why I am doing it? :o)
Assignment 2. Surreal. We've played on the abstract jungle gym, now it's time to take a dip in the surreal swimming pool: From Wikipedia"Surrealism as a visual movement had found a method: to expose psychological truth by stripping ordinary objects of their normal significance, in order to create a compelling image that was beyond ordinary formal organization, in order to evoke empathy from the viewer." If you incorporate the elements of collage, all the elements do not need to be shot this week, though the main should. Tag with cwd232.
Yes, I am a big fan of grabbing a photo of anything that catches my eye! Anytime I see an interesting glimpse of an ordinary object, an unusual or fascinating aspect of lighting or some other subject that stirs my photographic interests I will just have to get a shot of it. It may be that others fail to feel the same response as I do. But this does refine my powers of observation and increases my awareness. It's good for me.
Great image by Paul Plak showcasing the lighting ability of an Adaptalux Studio. Turn an ordinary object into something extraordinary. Find out more at www.adaptalux.com
The desert air is just perfect tonight - cool with a slight breeze. Ah, clear skies with so many twinkling stars - - and now for a restful sleep. YAWN. BURP, hiccup - oops - must have been that strange plant I ate for dinner. YAWN. ZZZZZZZZZZZZZZZZzzzzzzzzzzzzzzzzzzz. SNORE. . . . . . . . . . . Did you ever have one of those dreams where ordinary objects take on giant-sized dimensions? I don't know what is going on here. Reminds me of my great, great, great, great, great uncle Cornelius Camel who served in the Indian Cavalry. Perhaps he is channeling to send me a message in this dream. "Seek wisdom, Clara. Above all, seek wisdom and conduct yourself with integrity." What a strange message from a bugle! But it is an Indian bugle - that would explain it.
A picture is a slice of the 4 dimensional world (3 dimensions in space + time) and have it saved into a 2 dimensional copy.
The reflection of seabus in Granville Island disappeared in a fraction of second and was gone forever.
I took a picture of it and it was freezed in a digital file.
What is the meaning of this? Reflection on the reflection seabus in Granville Island.
I love taking abstract pictures.
Marcel Duchamp, "Bicycle Wheel" 1913. A Readymade Art Object as seen in the Philadelphia Art Museum.
It is very stormy outside on this Good Friday.
I am staying inside and watching DVD at home.
Also playing with the glassware and get some still life in my kitchen.
Happy Easter!
El pintor y escultor Antonio López ha reivindicado este viernes "el sentido espiritual de todo el arte" en la inauguración de su exposición en el Monasterio de Santo Domingo de Silos (Burgos).
En este sentido, López, Premio Príncipe de Asturias de las Artes en 1985, ha destacado el carácter espiritual de su obra, que "en el Monasterio de Silos se ve aún más claro, más directamente".
Se ha referido especialmente a sus piezas escultóricas representando cabezas, entre ellas dos de color negro y de gran formato, "Carmen despierta" y "Carmen dormida", que se han instalado en el exterior del cenobio benedictino, flanqueando uno de sus accesos.
"Enlazan con la naturaleza, el día y la noche, no es fácil de explicar, porque el arte es un hecho espiritual", ha insistido Antonio López.
En el interior del monasterio se pueden ver 22 obras del artista en diversos formatos y materiales, entre ellas lienzos, papel sobre tabla, esculturas de bronce, escayola, madera y resina.
www.efe.com/efe/espana/cultura/antonio-lopez-reivindica-e...
The painter and sculptor Antonio López has claimed this Friday "the spiritual sense of all art" at the opening of his exhibition at the Monastery of Santo Domingo de Silos (Burgos).
In this sense, López, Prince of Asturias Award for the Arts in 1985, has highlighted the spiritual nature of his work, which "in the Monastery of Silos is even clearer, more directly."
He has made special reference to his sculptural pieces representing heads, including two large-format black ones, "Carmen awake" and "Carmen asleep", which have been installed outside the Benedictine monastery, flanking one of its entrances.
"They link with nature, day and night, it is not easy to explain, because art is a spiritual fact", insisted Antonio López.
Inside the monastery you can see 22 works by the artist in various formats and materials, including canvases, paper on board, bronze, plaster, wood and resin sculptures.
La exposición cuenta con 22 obras del artista, entre lienzos, papel sobre tabla, escayola, madera y resina. Entre ellas, destacan la serie ‘Rosas del Ávila’ en las que el pintor reflexiona sobre el paso del tiempo y la decadencia, así como la serie de esculturas ‘Cabezas’ en la misma sala expositora y las dos de gran tamaño en bronce que se ubican en el exterior de la abadia,‘Carmen dormida’ y ‘Carmen despierta’.
www.diariodeburgos.es/noticia/zacd1b719-a497-1827-37af637...
The exhibition features 22 works by the artist, including canvases, paper on board, plaster, wood and resin. Among them, the series 'Rosas del Ávila' stands out, in which the painter reflects on the passage of time and decadence, as well as the series of sculptures 'Cabezas' in the same exhibition room and the two large bronze located outside the abbey, 'Carmen asleep' and 'Carmen awake'.
Antonio López García (Tomelloso, Ciudad Real, 6 de enero de 1936) es un pintor y escultor español.
Antonio López García nació el 6 de enero de 1936 en Tomelloso, Ciudad Real. Fue el hijo mayor de un matrimonio de labradores acomodados cuya casa estaba situada en la calle Domecq. Su temprana vocación por el dibujo, así como la influencia de su tío, el pintor Antonio López Torres, conformaron su decisión de dedicarse a la pintura.
En 1949 se trasladó a Madrid para preparar su ingreso en la Academia de Bellas Artes de San Fernando, donde coincidió con diversos artistas, como Enrique Gran, Amalia Avia y Lucio Muñoz, con los que conformo lo que se ha venido a llamar «Escuela madrileña». Permaneció en la academia entre 1950 y 1955. En 1955, becado por el Ministerio de Educación, viajó a Italia, donde conoció de primera mano la pintura italiana del Renacimiento. Sufrió, así, una pequeña decepción al contemplar en vivo las obras maestras que solo conocía por reproducciones, y que hasta ese momento veneraba. A partir de ese momento, comenzó a revalorizar la pintura clásica española, que tan bien conocerá, gracias a las frecuentes visitas al Museo del Prado, especialmente Diego Velázquez.
Tras terminar sus estudios, realizó sus primeras exposiciones individuales en 1957 y 1961 en Madrid, mientras trabajaba tanto en esta ciudad como en la localidad que lo vio nacer. En 1961 se unió en matrimonio a la también pintora María Moreno, unión de la que nacieron dos hijas, María en 1962 y Carmen en 1965, que heredó su amor por la pintura. Desde este último año y hasta 1969 fue profesor encargado de la Cátedra de Preparatorio de Colorido en la Escuela de Bellas Artes de San Fernando.
El pintor busca entre la realidad que lo rodea aquellos aspectos cotidianos que él recoge con un tratamiento pleno de detalle, rozando lo fotográfico. Sus preferencias van desde las vistas de Madrid hasta los retratos de sus familiares, pasando por los objetos más cotidianos y cercanos. Utiliza el escáner y la impresión en 3D para para las esculturas de gran volumen.
A lo largo de la mayor parte de su carrera artística, Antonio López ha desarrollado una obra independiente, en medio de un panorama artístico estructurado sobre el informalismo y la abstracción. Tampoco parece tarea fácil vincular la obra de López con las tendencias realistas europeas más recientes, o con el hiperrealismo americano.
es.wikipedia.org/wiki/Antonio_López_García
Antonio López was born on 6 January 1936 in Tomelloso, Ciudad Real, a few months before the beginning of the Spanish Civil War. It first appeared that Antonio would continue in the family tradition as a farmer, but an early facility for drawing caught the attention of his uncle Antonio López Torres, a local painter of landscapes, who gave him his first lessons. In 1949 he moved to Madrid in order to study for entrance to the competitive Real Academia de Bellas Artes de San Fernando.
Between 1950 and 1955 he studied art at the Real Academia de Bellas Artes de San Fernando,[3] winning a number of prizes. While at the school he developed a friendship with María Moreno—also a painter—whom he would marry in 1961. He also formed friendships with Francisco López Hernández, Amalia Avia, and Isabel Quintanilla. Out of this nucleus a realist group, the New Spanish Realists, was formed in Madrid. López García became friends with Jack Chambers, a Canadian studying in Madrid. Although Chambers did not belong to the New Spanish Realists, parallels to their style can be found in his work created in Canada in the late 1960s.[4]
Madrid of the postwar period was isolated from the international panorama of art and culture. All the information that López García accessed on contemporary art was derived from library books at the school; he gradually became aware of Picasso and other great artists of the period.
In 1955, a scholarship allowed him to travel to Italy with Francisco López and study Italian painting from the Renaissance. During this period he began to reevaluate Spanish painting in the Prado, especially Velázquez, a constant reference.
The beauty of López's work begins with an appreciation of his craft. Paintings such as The Sideboard (1965–66), or the atmospheric views of Madrid from the 1970s, show an acute perception and understanding of the beauty of the objects he portrays.
Though López is devoted to the mundane—he depicts humble people, buildings, plants, and cluttered interiors—his portrayal of these subjects is compelling and beautiful. Starkly lit studies of his studio, bathroom, and the red brick wall in his backyard underscore an interest in prosaic subject matter. His deftness brings attention to these simple forms, encouraging the viewer to re-examine the presence of ordinary objects.
He began to paint panoramic views of Madrid about 1960. His work from this period attracted recognition, first within Spain—in 1961 he had his first solo show in Madrid—and later, in 1965 and 1968, at the Staempfli Gallery in New York. López faithfully adhered to familiar subjects: images of women, anonymous and humble objects of domestic surroundings, desolate spaces, images of his garden and landscape. The pictures are sometimes worked on for more than twenty years, some of them remaining unfinished.
As the artist explains, "the pictorial nucleus begins to grow and you work until the whole surface has an expressive intensity equivalent to what you have before you, converted into a pictorial reality."
He is a versatile realist, proficient in the traditional media of pencil drawing, oil painting on board, carved wood sculpture, and bas relief in plaster.
Fata Morgana is a mirage that appears periodically in the Strait of Messina between Italy and Sicily, named in Italian after the legendary enchantress Morgan le Fay of Arthurian romance.
In the case of this mirage at sea, the denser layers of air are next to the cool surface of the water, and the reflection takes place from the more rarefied atmosphere above. Thus the object appears distorted, elongated, inverted, and suspended in the air, producing a so-called looming effect.
The Fata Morgana, which is a looming double mirage, produces exaggerated images of ordinary objects.
The broken statue of the Fata Morgana was made by the students of the Reggio Calabria Academy of Arts and it was destroyed by vandals. The statue was made of transparent synthetic resins in order to reflect the wonderful lights of the Messina Strait the one can see from the Reggio Calabria seafront.
The only thing gratifying about last night's snow, is that we didn't get as much as they predicted and it's warm enough I didn't need gloves to shovel it!
© Diana Yakowitz all rights reserved.
"H" Ordinary Object, H is for Hanger. This is the latest image (last in Ordinary Object set was out of order) in the flickrfriend challenge we call Odd Wednesday. Where we, StudioKaufman, Sony200boy, and I, will work our selves through the alphabet photographing an object for each letter that we normally would not think of photographing if it weren't for the challenge.
Got this idea from Mehmet, a flickr fiend here, He has many creative shots taken from ordinary objects and I always get inspired by his wonderful works. You may want to visit his photostream at www.flickr.com/photos/69055597@N08/.
Hopefully he wouldn't yell at me for copying his idea here :-)
Happy Valentine's Day!
You are my sweetie!
I love macro a lot. Please feel free to comment on my other macro shots.
My smile could NOT get any bigger right now. My first "PUBLISHED" photograph hits news stands today - Photo Life magazine :: August/September 2010 issue. "Ones To Watch - EMERGING PHOTOGRAPHERS - The Best of The 2010 Competition". My M&M's photo (above) was chosen as one of the winners. I'm so excited. I just HAD to share my good news. (I had completely forgot I even entered the contest. I got my magazine in the mail today, started skimming thru the pages and THERE WAS MY PHOTO. Haha!)
This is the blurb in the actual magazine...
"Going beyond social boundaries, standard techniques and established rules, the images of THE 2010 EMERGING PHOTOGRAPHERS COMPETITION showcase the freshest ideas and trends in today's photography. From over 1500 submissions received, 37 images were selected that exhibit not only incredible photographic skill and talent but also ingenuity and creativity. These up-and-coming Canadian photographers expose the simple wonders of daily life, capture images found in their imaginations, mix ordinary objects with the extraordinary and pique our interest with intriguing subject, compositions, and colours. Demonstrating a fearless and no-taboo approach to photography, the 2010 Emerging Photographers remind us of the importance of a true, uncompromised photographic vision."
Thanks so much for your support (and comments) as I continue on this crazy amazing learning experience, rather addiction, called photography. ;)
[ No need to comment ]
Rene Francois Ghislain Magritte (1898-1967) was a Belgian surrealist artist. He became well known for creating a number of witty and thought-provoking images. Often depicting ordinary objects in an unusual context, his work is known for challenging observers' preconditioned perceptions of reality. His imagery has influenced pop, minimalist and conceptual art.
Among his most recognizable images 'The Son of Man', painted in 1964, is one of just four oil paintings that the artist identified as a self-portrait. The apple, illustrated here, is confounding in its placement, hovering and evocatively revealing a corner of an eye while concealing the rest of the face. A persistent tension is maintained by our desire to see what is hidden, even as we may imagine that we know who or what is there.
This painting, seen and photographed at San Francisco's Museum of Modern Art, is one of Magritte's bowler hat series.
The bowler hat theme appears more than 50 times in his work between 1926 and 1966, making it one of the motifs for which the Belgian Surrealist is best known.
© Diana Yakowitz all rights reserved.
"A" Ordinary Object. A is for Almonds. This is the second image in the flickrfriend challenge we call Odd Wednesday. Where we will work our selves through the alphabet photographing an object for each letter that we normally would not think of photographing if it weren't for the challenge. Please view Studio Kaufman's image too!
Another macro shot of the water drops in the dirnking water bottle.
The world of water drops is like another universe to me.
El pintor y escultor Antonio López ha reivindicado este viernes "el sentido espiritual de todo el arte" en la inauguración de su exposición en el Monasterio de Santo Domingo de Silos (Burgos).
En este sentido, López, Premio Príncipe de Asturias de las Artes en 1985, ha destacado el carácter espiritual de su obra, que "en el Monasterio de Silos se ve aún más claro, más directamente".
Se ha referido especialmente a sus piezas escultóricas representando cabezas, entre ellas dos de color negro y de gran formato, "Carmen despierta" y "Carmen dormida", que se han instalado en el exterior del cenobio benedictino, flanqueando uno de sus accesos.
"Enlazan con la naturaleza, el día y la noche, no es fácil de explicar, porque el arte es un hecho espiritual", ha insistido Antonio López.
En el interior del monasterio se pueden ver 22 obras del artista en diversos formatos y materiales, entre ellas lienzos, papel sobre tabla, esculturas de bronce, escayola, madera y resina.
www.efe.com/efe/espana/cultura/antonio-lopez-reivindica-e...
The painter and sculptor Antonio López has claimed this Friday "the spiritual sense of all art" at the opening of his exhibition at the Monastery of Santo Domingo de Silos (Burgos).
In this sense, López, Prince of Asturias Award for the Arts in 1985, has highlighted the spiritual nature of his work, which "in the Monastery of Silos is even clearer, more directly."
He has made special reference to his sculptural pieces representing heads, including two large-format black ones, "Carmen awake" and "Carmen asleep", which have been installed outside the Benedictine monastery, flanking one of its entrances.
"They link with nature, day and night, it is not easy to explain, because art is a spiritual fact", insisted Antonio López.
Inside the monastery you can see 22 works by the artist in various formats and materials, including canvases, paper on board, bronze, plaster, wood and resin sculptures.
La exposición cuenta con 22 obras del artista, entre lienzos, papel sobre tabla, escayola, madera y resina. Entre ellas, destacan la serie ‘Rosas del Ávila’ en las que el pintor reflexiona sobre el paso del tiempo y la decadencia, así como la serie de esculturas ‘Cabezas’ en la misma sala expositora y las dos de gran tamaño en bronce que se ubican en el exterior de la abadia,‘Carmen dormida’ y ‘Carmen despierta’.
www.diariodeburgos.es/noticia/zacd1b719-a497-1827-37af637...
The exhibition features 22 works by the artist, including canvases, paper on board, plaster, wood and resin. Among them, the series 'Rosas del Ávila' stands out, in which the painter reflects on the passage of time and decadence, as well as the series of sculptures 'Cabezas' in the same exhibition room and the two large bronze located outside the abbey, 'Carmen asleep' and 'Carmen awake'.
Antonio López García (Tomelloso, Ciudad Real, 6 de enero de 1936) es un pintor y escultor español.
Antonio López García nació el 6 de enero de 1936 en Tomelloso, Ciudad Real. Fue el hijo mayor de un matrimonio de labradores acomodados cuya casa estaba situada en la calle Domecq. Su temprana vocación por el dibujo, así como la influencia de su tío, el pintor Antonio López Torres, conformaron su decisión de dedicarse a la pintura.
En 1949 se trasladó a Madrid para preparar su ingreso en la Academia de Bellas Artes de San Fernando, donde coincidió con diversos artistas, como Enrique Gran, Amalia Avia y Lucio Muñoz, con los que conformo lo que se ha venido a llamar «Escuela madrileña». Permaneció en la academia entre 1950 y 1955. En 1955, becado por el Ministerio de Educación, viajó a Italia, donde conoció de primera mano la pintura italiana del Renacimiento. Sufrió, así, una pequeña decepción al contemplar en vivo las obras maestras que solo conocía por reproducciones, y que hasta ese momento veneraba. A partir de ese momento, comenzó a revalorizar la pintura clásica española, que tan bien conocerá, gracias a las frecuentes visitas al Museo del Prado, especialmente Diego Velázquez.
Tras terminar sus estudios, realizó sus primeras exposiciones individuales en 1957 y 1961 en Madrid, mientras trabajaba tanto en esta ciudad como en la localidad que lo vio nacer. En 1961 se unió en matrimonio a la también pintora María Moreno, unión de la que nacieron dos hijas, María en 1962 y Carmen en 1965, que heredó su amor por la pintura. Desde este último año y hasta 1969 fue profesor encargado de la Cátedra de Preparatorio de Colorido en la Escuela de Bellas Artes de San Fernando.
El pintor busca entre la realidad que lo rodea aquellos aspectos cotidianos que él recoge con un tratamiento pleno de detalle, rozando lo fotográfico. Sus preferencias van desde las vistas de Madrid hasta los retratos de sus familiares, pasando por los objetos más cotidianos y cercanos. Utiliza el escáner y la impresión en 3D para para las esculturas de gran volumen.
A lo largo de la mayor parte de su carrera artística, Antonio López ha desarrollado una obra independiente, en medio de un panorama artístico estructurado sobre el informalismo y la abstracción. Tampoco parece tarea fácil vincular la obra de López con las tendencias realistas europeas más recientes, o con el hiperrealismo americano.
es.wikipedia.org/wiki/Antonio_López_García
Antonio López was born on 6 January 1936 in Tomelloso, Ciudad Real, a few months before the beginning of the Spanish Civil War. It first appeared that Antonio would continue in the family tradition as a farmer, but an early facility for drawing caught the attention of his uncle Antonio López Torres, a local painter of landscapes, who gave him his first lessons. In 1949 he moved to Madrid in order to study for entrance to the competitive Real Academia de Bellas Artes de San Fernando.
Between 1950 and 1955 he studied art at the Real Academia de Bellas Artes de San Fernando,[3] winning a number of prizes. While at the school he developed a friendship with María Moreno—also a painter—whom he would marry in 1961. He also formed friendships with Francisco López Hernández, Amalia Avia, and Isabel Quintanilla. Out of this nucleus a realist group, the New Spanish Realists, was formed in Madrid. López García became friends with Jack Chambers, a Canadian studying in Madrid. Although Chambers did not belong to the New Spanish Realists, parallels to their style can be found in his work created in Canada in the late 1960s.[4]
Madrid of the postwar period was isolated from the international panorama of art and culture. All the information that López García accessed on contemporary art was derived from library books at the school; he gradually became aware of Picasso and other great artists of the period.
In 1955, a scholarship allowed him to travel to Italy with Francisco López and study Italian painting from the Renaissance. During this period he began to reevaluate Spanish painting in the Prado, especially Velázquez, a constant reference.
The beauty of López's work begins with an appreciation of his craft. Paintings such as The Sideboard (1965–66), or the atmospheric views of Madrid from the 1970s, show an acute perception and understanding of the beauty of the objects he portrays.
Though López is devoted to the mundane—he depicts humble people, buildings, plants, and cluttered interiors—his portrayal of these subjects is compelling and beautiful. Starkly lit studies of his studio, bathroom, and the red brick wall in his backyard underscore an interest in prosaic subject matter. His deftness brings attention to these simple forms, encouraging the viewer to re-examine the presence of ordinary objects.
He began to paint panoramic views of Madrid about 1960. His work from this period attracted recognition, first within Spain—in 1961 he had his first solo show in Madrid—and later, in 1965 and 1968, at the Staempfli Gallery in New York. López faithfully adhered to familiar subjects: images of women, anonymous and humble objects of domestic surroundings, desolate spaces, images of his garden and landscape. The pictures are sometimes worked on for more than twenty years, some of them remaining unfinished.
As the artist explains, "the pictorial nucleus begins to grow and you work until the whole surface has an expressive intensity equivalent to what you have before you, converted into a pictorial reality."
He is a versatile realist, proficient in the traditional media of pencil drawing, oil painting on board, carved wood sculpture, and bas relief in plaster.
Rene Francois Ghislain Magritte (1898-1967) was a Belgian surrealist artist. He became well known for creating a number of witty and thought-provoking images. Often depicting ordinary objects in an unusual context, his work is known for challenging observers' preconditioned perceptions of reality. His imagery has influenced pop, minimalist and conceptual art.
This tragicomic portrait shows a clownish man with blue lips and a red nose. He smokes several pipes while others sprout from his forehead, eye and beard. Magritte called the seemingly juvenile picture 'The Cripple', a grim reminder of WWII that, in 1948, had only recently ended. Pipes and clocks....surrealist symbols that the artist had taken up early in his career...are rendered here with loose broad brushstrokes. Appearing to have been hastily painted, the canvas parodies Magritte's careful, philosophical work of the previous two decades.
The Magritte original painting was seen and photographed at San Francisco's Museum of Modern Art.
© Diana Yakowitz all rights reserved.
Ordinary Pearls (decided to add this one to my ordinary object set for letter P too)
Masses of pearls available at the Tucson Gem and Mineral Show, the largest show of its kind in the world. Every hotel and motel, convention center, empty lot in town is part of this show of gems, fossils, and minerals from all over the world.
Some of my images are making it into Explore again (just barely) on the second day usually. bp #428
Not curtains. But what? No hints but if you guess correctly I will post a comment confirming that you are correct. Ok, one hint: it's an ordinary object not something rare that would be impossible to guess.
Thanks to those of you who hazarded a guess. It's a picture of part of a clear glass fruit bowl that has some interesting contours. When I placed some red paper behind the bowl and used a narrow depth of field some of the contours of the bowl started to look like smooth pleats of fabric. It was then a lot of trial and error with focus, paper, and light to develop the concept of a split curtain, which I thought had an interesting Scriptural connotation.
Much better viewed on black...
A larger than life sculpture in the Walker Art Center Sculpture Garden in Minneapolis, Minnesota.
Katharina Fritsch 2013/2017 Germany, b. 1956
fiberglass, polyester resin, stainless steel, paint, artist-designed painted steel pedestal
Towering nearly 25 feet over the Minneapolis Sculpture Garden, Katharina Fritsch’s blue rooster is at once lifelike and completely unreal. Animals and everyday objects have long been subjects for the artist, who makes them otherworldly and extraordinary through bold shifts in scale, color, and material. The rooster can be a symbol of pride, power, and courage or posturing and macho prowess. Fritsch has admitted that she enjoys “games with language,” and the sculpture’s tongue-in-cheek title knowingly plays on its double meaning. Hahn/Cock presents an unexpected take on the idea of a traditional public monument. This landmark shows how ordinary objects can become iconic and deeply symbolic.
Collection Walker Art Center
Purchased with funds provided by the Pohlad Family, the Frederick R. Weisman Collection of Art,
the Wilf Family Foundation, the Duncan and Nivin MacMillan Foundation, and the T. B. Walker Acquisition Fund, 2017 [WAC website]
Plants are much more important than the human spiece to our Earth planet.
Let human spiece extinguishes and the entire planet life system will flourish greatly.
Ferns taken at Richmond Nature Park.
René François Ghislain Magritte, 21 November 1898 – 15 August 1967) was a Belgian surrealist artist, who became well known for creating a number of witty and thought-provoking images. Often depicting ordinary objects in an unusual context, his work is known for challenging observers' preconditioned perceptions of reality. His imagery has influenced pop art, minimalist art, and conceptual art.
Magritte's earliest paintings, which date from about 1915, were Impressionistic in style. During 1916–1918, he studied at the Académie Royale des Beaux-Arts in Brussels, under Constant Montald, but found the instruction uninspiring. He also took classes at the Académie Royale from the painter and poster designer Gisbert Combaz. The paintings he produced during 1918–1924 were influenced by Futurism and by the figurative Cubism of Metzinger.
From December 1920 until September 1921, Magritte served in the Belgian infantry in the Flemish town of Beverlo near Leopoldsburg. In 1922, Magritte married Georgette Berger, whom he had met as a child in 1913. Also during 1922, the poet Marcel Lecomte showed Magritte a reproduction of Giorgio de Chirico's The Song of Love (painted in 1914). The work brought Magritte to tears; he described this as "one of the most moving moments of my life: my eyes saw thought for the first time." The paintings of the Belgian symbolist painter William Degouve de Nuncques have also been noted as an influence on Magritte, specifically the former's painting The Blind House (1892) and Magritte's variations or series on The Empire of Lights.
In 1922–1923, Magritte worked as a draughtsman in a wallpaper factory, and was a poster and advertisement designer until 1926, when a contract with Galerie Le Centaure in Brussels made it possible for him to paint full-time. In 1926, Magritte produced his first surreal painting, The Lost Jockey (Le jockey perdu), and held his first solo exhibition in Brussels in 1927. Critics heaped abuse on the exhibition.
Depressed by the failure, he moved to Paris where he became friends with André Breton and became involved in the Surrealist group. An illusionistic, dream-like quality is characteristic of Magritte's version of Surrealism. He became a leading member of the movement, and remained in Paris for three years. In 1929 he exhibited at Goemans Gallery in Paris with Salvador Dalí, Jean Arp, de Chirico, Max Ernst, Joan Miró, Picabia, Picasso and Yves Tanguy.
On 15 December 1929 he participated in the last publication of La Revolution Surrealiste No. 12, where he published his essay "Les mots et les images", where words play with images in sync with his work The Treachery of Images.
Galerie Le Centaure closed at the end of 1929, ending Magritte's contract income. Having made little impact in Paris, Magritte returned to Brussels in 1930 and resumed working in advertising.[10] He and his brother, Paul, formed an agency which earned him a living wage. In 1932, Magritte joined the Communist Party, which he would periodically leave and rejoin for several years. In 1936 he had his first solo exhibition in the United States at the Julien Levy Gallery in New York, followed by an exposition at the London Gallery in 1938.
During the early stages of his career, the British surrealist patron Edward James allowed Magritte to stay rent-free in his London home, where Magritte studied architecture and painted. James is featured in two of Magritte's works painted in 1937, Le Principe du Plaisir (The Pleasure Principle) and La Reproduction Interdite, a painting also known as Not to Be Reproduced.
During the German occupation of Belgium in World War II he remained in Brussels, which led to a break with Breton. He briefly adopted a colorful, painterly style in 1943–44, an interlude known as his "Renoir period", as a reaction to his feelings of alienation and abandonment that came with living in German-occupied Belgium.
In 1946, renouncing the violence and pessimism of his earlier work, he joined several other Belgian artists in signing the manifesto Surrealism in Full Sunlight. During 1947–48, Magritte's "Vache period," he painted in a provocative and crude Fauve style. During this time, Magritte supported himself through the production of fake Picassos, Braques, and de Chiricos—a fraudulent repertoire he was later to expand into the printing of forged banknotes during the lean postwar period. This venture was undertaken alongside his brother Paul and fellow Surrealist and "surrogate son" Marcel Mariën, to whom had fallen the task of selling the forgeries. At the end of 1948, Magritte returned to the style and themes of his pre-war surrealistic art.
In France, Magritte's work has been showcased in a number of retrospective exhibitions, most recently at the Centre Georges Pompidou (2016–2017). In the United States his work has been featured in three retrospective exhibitions: at the Museum of Modern Art in 1965, at the Metropolitan Museum of Art in 1992, and again at the Metropolitan Museum of Art in 2013. An exhibition entitled "The Fifth Season" at the San Francisco Museum of Modern Art in 2018 focused on the work of his later years.
Politically, Magritte stood to the left, and retained close ties to the Communist Party, even in the post-war years. However, he was critical of the functionalist cultural policy of the Communist left, stating that "Class consciousness is as necessary as bread; but that does not mean that workers must be condemned to bread and water and that wanting chicken and champagne would be harmful. (...) For the Communist painter, the justification of artistic activity is to create pictures that can represent mental luxury." While remaining committed to the political left, he thus advocated a certain autonomy of art. Spiritually, Magritte was an agnostic.
Popular interest in Magritte's work rose considerably in the 1960s, and his imagery has influenced pop, minimalist, and conceptual art. In 2005 he was 9th in the Walloon version of De Grootste Belg (The Greatest Belgian); in the Flemish version he was 18th.