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A look at the portrait and outside of the Coke Study Room, #217, located near the east end of the 2nd Floor of the Law Library.
This is a picture of the bullring (Plaza de Toros) in Sevilla. IUS helped us get tickets to a bullfight and arranged a day for us to go as a group. Although not the biggest bullring in Spain, La Plaza de Toros de Sevilla is one of the most known.
I just fell in love (quite literally) with the neat sheen on the roof of this building on The Green in Charlotte. The glancing sunlight played against the tonal contrast of the rest of the building, then further enhanced by the dramatic sky and its reflection in The Westin, made for an intriguing study.
I certainly feel that shape and tone really make this photo come together.
EU studies in Brussels, Belgium on 2011-02-11 by Wiktor Dabkowski
Photo: (c)
Photo: Wiktor Dabkowski / (c) European Voice
Three Studies for Portrait of Lucian Freud, 1965
Francis Bacon
Oil paint on canvas
This work shows the artistic dialogue between British painters Francis Bacon and Lucian Freud. While their visual styles differed, both were interested in the human figure and sat for each other on multiple occasions. Bacon painted Freud 14 times from 1964–1971, working from photographs rather than real life. Intimate knowledge of the sitter was also essential. ‘What I want to do is to distort the thing far beyond the appearance, but in the distortion to bring it back to a recording of the appearance’, Bacon said. His portraits powerfully convey the complexities of the human psyche.*
Tensions
While photographers grapple with the mechanics of the camera, painters continue to work with the surface of the canvas and the texture of paint. They often want to explore the material possibilities of the medium as well as the painted image itself. The artists in this room harness the expressive power of painterly materials and techniques. They create layered compositions which privilege abstract sensations over depictions of reality.
In Francis Bacon’s work every brushstroke is emotionally charged. He approaches the act of painting as an assault upon the human form, creating images of a complex and tormented inner self. Similarly, Paula Rego’s painterly technique forcefully expresses the violence of her subject matter.
Breaking down the human figure, Cecily Brown asks questions about how paint can convey the essence of bodies or figures. Can the texture of paint itself transmit the rawness and vibrancy of human flesh? Can painted images, as Bacon, Marwan and George Condo suggest, embody the multiple, fractured facets of the mind? Turning the canvas upside down and upsetting the visual order, Georg Baselitz asks that we look closer, not at the figures but at the painted surface instead. Material, expressive painting such as this resists the precision of the mechanical eye and a world increasingly filled with photographic imagery.*
From the exhibition
Capturing The Moment
(June 2023 – April 2024)
The arrival of photography changed the course of painting forever. In this unique exhibition, we explore the dynamic relationship between the two mediums through some of the most iconic artworks of recent times.
From the expressive paintings of Pablo Picasso and Paula Rego, to striking photographs by Hiroshi Sugimoto and Jeff Wall, you will see how these two distinct mediums have shaped each other over time.
You will also discover how artists have blurred the boundaries between painting and photography, creating new and exciting forms of art, such as Pauline Boty's pop paintings, Andy Warhol’s silkscreen prints, the photorealist works of Gerhard Richter, or Andreas Gursky's large-scale panoramic photographs.
In an open-ended conversation between some of the greatest painters and photographers of the modern era, we explore how the brush and the lens have been used to capture moments in time.
Through a selection of modern and contemporary art, Capturing the Moment explores the relationship between the brush and the lens, and how artists have turned to painting and photography to capture moments in time. Rather than attempt a definitive account of the dialogue between the two media, an open-ended discussion is encouraged through varying depictions of people and place that invite us on a journey through recent art history.
[*Tate Modern]
Taken at the Tate Modern
Taken during the Worldwide Photowalk in Annapolis Royal, Nova Scotia
Project 7x52 week 41
theme: International Photowalk in Annapolis Royal
Oil paint on canvas
by Paul Cezanne
From the exhibition
Cezanne
(October 2022 – March 2023)
Paul Cezanne (1839–1906) is one of the most highly regarded and enigmatic artists of the late 19th century. By approaching painting as a process and investigation, where uncertainty plays an integral role, he gave this medium a new lease of life. Cezanne linked the formal process of art-making he called ‘realisation’ to his personal experiences, or ‘sensations’. His work has always strongly resonated with other artists, and this legacy continues into the present day.
The exhibition opens with one of Cezanne’s early self-portraits. In his 30's, he depicted himself as a mature, self-assured and sophisticated modern man. He then spent the following 30 years wrestling with what it meant to be a modern painter. At the same time, he remained deeply sceptical about the world he lived in, from political unrest in France to a continually accelerating way of life. This study of the self is displayed alongside a still life of apples, Cezanne’s most celebrated subject, through which he investigates our relationship with the object world.
The first half of the exhibition looks at Cezanne in the context of his time, exploring his life, relationships and the creative circle that surrounded him. The second half presents groups of works that focus on particular themes, including his radical still lifes and studies of bathers.
[*Tate Modern]
Taken in Tate Modern