PARTICULARMEDIA
PAINTING
Carel Weight
Anthony Green
Cy Twombly
Arth Daniels
Fernando Vicente
JMW Turner- Paintings of an extraordinary storm
Giuseppe Arcimboldo
Maggi Hambling- Waves
William Bowyer Landscapes
Anselm Kiefer
Kurt Jackson
Anselm Keifer
HENRI MATISSE
PABLO PICASSO
VINCENT VAN GOGH
PIERRE BONNARD
PAUL KLEE
PAUL CEZANNE
Franz Marc
William Kentridge
GEORGIA OKEEFFE
EDWARD HOPPER
LUCIEN FREUD
FRANCIS BACON
DAVID HOCKNEY
PETER BLAKE
PATRICK CAULFIELD
BRIDGET RILEY
MAGGIE HAMBLING
PAULA REGO
ROBERT LUCANDER
LIAM SPENCER
Elizabeth Peyton
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Chuck Close
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Chuck Close - PHOTOREALISM
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Gene Prokop.
Ron Hicks
THOMAS SCHUTTE
Erone
Phibs
Numskull
Jackson Pollock
Shozo Shimamoto
Gunter Brus
SCULPTURE
Subodh GuptaStainless steelcontainers
Gordon Baldwin
YaYa Chou
Peter CallesenPaper
YaYa Chousweets
Jeremy MayerTypewriters
Marcel duchamp Eva Hesse
David Kemp
Tony Cragg
BARBARA HEPWORTHHENRY MOORE
Lisa Milroy- Collections of ordinary objects
Claes Oldenburg- Everyday objects as giant sculptures
CONSTANTIN BRANCUSI ALBERTO GIACOMETTI
ANTHONY GORMLEY
ANDY GOLDSWORTHY
NICOLA HICKS
CLAES OLDENBERG
Drawing
Giacometti
URBAN ART
Mark WallingerState britain 2007
Swoon
ADAM NEATE
DAIM
GUY McKINLEY
MA CLAIMSNUG
MILES DONOVAN OKUDA
ZEPHYR
FUTURA 2000 SEEN
ILLUSTRATORS
Bicicleta SemFreio
JAMIE HEWLETT
SIMON BISLEY
Ian Macarthur
GLEN FABRY
H R GIGER
MAURICE SENDAK
RALPH STEADMAN
ALFONS MUCHA
AUBREY BEARDSLEY
YOSHITAKA AMANO
ALEX ROSS
MARTIN SHARP STANLEY MOUSE
SHAUN TAN
DAVE McKEAN
Karol Bak
Sarah King Artist
Gemma Anderson
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Dan Ah Kim
TEXTILES
Alli Coate
Marloes Duyker
Naomi Renouf
Carol Naynor
FASHION DESIGN
ALEXANDER McQUEEN
VIVIENNE WESTWOOD
VERSACE
YVES SAINT LAURENT
STELLA McCARTNEY
ISSEY MIYAKE
MARC JACOBS
DIOR
RITU BERI
JEAN-PAUL GAULTIER
ARCHITECTURE
FRANK LLOYD WRIGHT
LE CORBUSIER
RICHARD ROGERS
NORMANFOSTER
RICHARDMEIER
DANIEL LIBESKIND
FRANK GEHRY
ZAHA HADID
MIES VAN DER ROHE
GERRIT RIETVELD
WALTER GROPIUS
MODERN
Boyle Family
Wols
Marc Francis
RON MUECK ordinary people
Ron Mueck is a hyper realist sculptor using techniques developed during his career as a model and prop maker for films. He plays with scale. DUANE HANSON
Richard Billingham - family
Rineke Dijkstra- Photographs of ordinary people
Valie Export
Since the late sixties, VALIE EXPORT has concentrated on the body in her work, with the intention of challenging in a society characterized by a false egalitarianism of gender contradictions, pressures, and violence toward women. In her practice, performance is a means of investigating physical and psychological limits or is used as a device to destabilize sexist ideologies.
Lynn Hershman Leeson
Leeson's work has as its themes: identity in a time of consumerism, privacy in an era of surveillance, interfacing of humans and machines, and the relationship between real and virtual worlds. Her work grew out of an installation art and performance tradition. She explored interactivity with her video work
Barbara Kruger
yves klein
Vanessa Beescroft
Helena Almeida
Tracey EminMay Dodge, my nan
Tracey Emin
Gillian Wearing
Wearing has described her working method as editing life'. By using photography and video to record the confessions of ordinary people, her work explores the disparities between public and private life, between individual and collective experience.
Wearing began to use adult actors lip-synching the recorded confessions of children, and subjects, solicited from advertisements placed in newspapers, making confessions while wearing masks. The introduction of actors signalled an increasingly dramatic element in her work and a shift away from the use of documentary techniques.
Gillian WearingI decided that I wanted people to feel protected when they talked about certain things in their life that they wouldnt want the public that knows them to know. I can understand that sort of holding on to thingsits kind of part of British society to hold things in. I always think of Britain as being a place where youre meant to keep your secretsyou should never tell your neighbors or tell anyone. Things are changing now, because the cultures changed and the Internet has brought people out. We have Facebook and Twitter where people tell you small details of their life.[1]
Gregory Euclide
Sophie Calle
Her work frequently depicts human vulnerability, and examines identity and intimacy. She is recognised for her detective-like ability to follow strangers and investigate their private lives. Her photographic work often includes panels of text of her own writing.
Elke Krystufek
In her paintings, videos and performances, she appears to be offering the most private revelations about herself and her life, whether in form of her own photo album, her expressive self-portraits, or her intimate poses and explicit actions. But no matter how private or real these public displays may seem, they turn out to be more or less stereotypical gestures, based on socially conventional roles and preconceived patterns or behaviour
Gerhard Richter curtains and shadows
Ed Ruscha- Ribbon drawings
Slinkachu- Little worlds
Dispatchwork Series
Urban Repair Squad
Ben Heine
TheFunTheory.Com
Gregory Thielker
Tactia Dean
Ambroise Tezenas
Victor Rodriguez
Yinka Shonibare
Bert Stern
DAMIEN HIRST
MARCUS HARVEY
MARC QUINN
VIK MUNIZ
CHRIS OFILI TRACEY EMIN
D-Face
MICHAEL CRAIG MARTIN
JULIAN OPIE
Danny Haas
Jane Doe
James Fisher
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Beatriz Milhazes
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Marion Bolognesi
Terbywonder
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Fiona Rae
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Diana Al-Hadid
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Sara Rahbar
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Elizabeth Neel
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Kirstin Baker
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Alexandra Birken
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Silke Schatz
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Corinne Wasmuhlt
Julian Opie
RANKIN - Destroy Project
PHOTOGRAPHY
Teun Hocks
Gregory Crewdson
Caryn Drexl
Caryn Drexl
Francesca Woodman
Francesca Woodman
Tom Hunter
Dan Witz
Lauren Simonutti
Lauren Simonutti
Michael Donovan
Michael Donovan
Dan Mountford
Alexey
Indris Khan
CINDY SHERMAN
ANNIE LIEBOVITZRICHARD AVEDON
ANSELL ADAMS
HENRI CARTIER BRESSONKARSH
MAN RAY
ROBERT CAPA
BILL BRANDT
DON McCULLIN
RICHARD BILLINGHAMMARTIN PARR
ANDREAS GURSKY
DAVE HILL
MARIO TESTINO DAVID BAILEY
Tim Walker
Tim Walker
BARBARA KRUGER
DAVID HOCKNEY
MENTALGASSI
SETH BRUNDEL
Stephanie Lucas
Acrylic on Canvas
Joe Coleman'Mommy Daddy'
Detailed small drawing by Edmund Monsiel, from Outsider Art Sourcebook and Raw Vision #10
Edmund Monsiel
ART FROM OTHER
CULTURES
SAMUEL FOSSO
WILLIE BESTER
FRANCOIS THANGOCHERI SAMBA
BODYS ISEK KINGELEZ
HOKUSAI UTAMARO
HIROSHIGE
COLLAGE
Jacques Villegl
The photographs are composed of thousands of scanned images of objects from Hong Haos own life. These commonplace things are arranged by the artist using a computer. There is no traditional photo taken by a camera. Using a selection of brightly coloured objects from a variety of magazines/images sourced on the net please create a well thought out consumer pattern collage.
Hong Hao
Jacques Villegle
Peggy Wolf
David Hockney
John Stezaker
Erin Case
Matt Wisniewski
Linder Sterling
Partick Bremer
Wangechi Mutu
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INSTILLATION
Dan Flavin
Pop art
Andy Warhol- Ordinary Objects
Mixed Media
Jonathan Darby
Portraiture and Figures
Egon Schniele
Craft
Helaina Sharpley
Shelly Goldsmith
Su Blackwell
Michael Brennand Wood
Celia Smith
Lucy Brown
Debbie Smyth
Lynn Setterington
Cas Holmes
204Phil Yamada
205Jonathan Safran
Cathy Miles
THEMES IN ART
The Urban Environment The urban environments has provided
a rich source of material for artists such as Charles Sheeler, Paul Strand and the Boyle family. Their work focused on aspects of light , structure, shape and texture. Develop your own response, making reference to appropriate work by others.
Charles Sheeler 1883-1965
October 16th 1890 March 31st 1976
Paul StrandAmerican photographer and filmmaker
Boyle Family
Caricature Philip Guston, Romare Bearden & Stuart Pearson
Wright Have created images that are strongly influenced by caricature. Their images often have a political and/or a social dimension. Consider examples and develop work based on a theme of your choice in which caricature plays an important role in your representation of the human figure
Philip GustonJune 27th 1913 June 7th 1980
Romare Bearden1911-1988
Gallus gallus with Still Life and Presidents The BP portrait award winner 2001
STUART PEARSON WRIGHT
Contrasting Surface Qualities
The contrasting qualities of different surfaces can be seen in a range of work. You might like to look at the 17th century Dutch still-life paintings, the sculptures of Barbara Hepworth & the paintings of Fiona Rae & Peter Doig. Look at examples & produce work in which contrasting surface qualities are a significant Feature.
Vanitas
Barbara Hepworth
Fiona Rae
Peter Doig
Identity Frida Kahlo explored the nature of
identity, in her work, by changing her appearance and surroundings. Artists such as Francis Bacon and Lucian Freud have explored the nature of identity through portrait studies that go beyond superficial appearances. Consider appropriate work and develop your own response.
Frida Kahlo
Francis Bacon
Lucian Freud
Islamic Art & Architecture
The Art and Architecture of the Islamic world can provide a rich source of study
for artists. Decoration, symmetry and harmony are essential features. Look at the appropriate examples and develop a personal response to this theme based
on your research.
Islamic Art
Decoration
Islamic patterns/symmetry
Islamic Architecture
Performance Degas and Toulouse- Lautrec responded
in different ways to the contrasting qualities of light, tone and Colour observed in performances. A number of contemporary artists have used performance to express their ideas, often using videos to record their work. Develop a personal response to this theme, making reference to the work of others
Degas19 July 1834 27 September 1917
Toulouse-Lautrec24 November 1864 9 September 1901
Sam Taylor wood
Colour in a high Artists such as Erich Heckel, Sonia Delaunay
and Frank Stella have exploited the expressive potential of using colour in a high key. Research appropriate examples and produce two or three dimensional work in which colour in a high key plays a significant role
Erich HeckelGerman Expressionist Painter,
1883-1970
Sonia Delaunay
Frank Stella
The Human Condition Artists such as Goya, Munch and Zakine
have produced work that reveals aspects of the human condition in often challenging ways. Their different responses go beyond the superficial when dealing with political and social issues. Look at the examples and explore this idea in your own way.
GoyaSpanish Rococo Era/Romantic Painter and Printmaker,
1746-1828
Munch12 December 1863 23 January 1944
Ossip ZadkinRussian-born French Painter and Sculptor
A-LEVEL EXAM
ARTIST INSPIRATION
Unit 2 : AS Externally Set Assignment 2013
Covertand
ObscuredARTIST INSPIRATION
the history of place lied hidden beneath or within its
current appearance
many artists strive to catch a glimpse of that past which they
can sense in the present
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Andrew Wyethhttp://andrewwyeth.com/
Geraniums1960, drybrush on paper.
Potted flowers grown by Christina Olson sit here on the window sill of her house in Cushing, Maine. Through the window beyond the geraniums, one can see the model best known as the pink-dressed figure in Christina's World (1947 tempera, Museum of Modern Art, New York). Ms. Olson, her brother Alvaro, and their farm were subjects of Wyeth's paintings and drawings for decades ending with the siblings' deaths in the late 1960s. The house is now open to visitors through the Farnsworth Art Museum.
Graham Chorlton
midcoast of Maine returning to the artist's birthplace in Chadds Ford, Pennsylvania each fall. This scene shows a splash of unexpected color in the chilly, dark days before spring. The painting was inspired by an actual incident when a bright piece of litter, a newspaper advertisement, blew across a snowy hillside.
Sunday Times1987, watercolor on paper.
A marked difference can be seen in the artist's palette in the Maine and Pennsylvania works, just as one can see the weather differ when comparing the summer and winter months. The artist and his family spent the warm months in the
Hotel Minerva'Hotel Minerva' (2007), the work that lends the exhibition its name, is of a hotel in Switzerland in which Chorlton has never stayed. His only encounter with it is through an old postcard he once found a postcard that reveals little information about the hotel, only that it is in Lugano, or once was. While not a particularly distinctive building, it has a grandeur and charm of its own, and may once have been the most modern and stylish place to stay in the area. The nostalgia of a vintage postcard, celebrating the local hot spots of yesteryear, is carried forward in Chorltons painting as a memory that was never experienced. For many British people at the time the hotel was built and the postcard printed, continental Europe was a far-away dream, a holiday destination only for the rich and glamorous a European imaginary before the days of budget airlines. Hotel Minerva captures this sense of longing through the filter of Swiss modernist architecture.
Graham Chorlton, Hotel Minerva, 2007, Oil and acrylic on canvas, 63.5 x 76.2 cm
Rachel Whiteread
Ghost 1990 Plaster on steel frame 269 x 355.5 x 317.5 cm
Rachel WhitereadNumber 193 Grove Road used to be an unexceptional Victorian house in the East End of London. Extensively remodelled, improved beyond habitability, it has become both monument and memorial. It has become Rachel Whiteread's House: a strange and fantastical object which also amounts to one of the most extraordinary and imaginative public sculptures created by an English artist this century. 193 Grove Road is no longer a home but the ghost of one perpetuated in art. It has no doors, no windows, no walls and no roof. It was made, simply by filling a house with liquidconcrete and then stripping the mould - that is, the house itself, roof tiles, bricks and mortar, doors and windows and all - away from it. The result could be described as the opposite of a house, since what it consists of is a cast of the spaces once contained by one. Andrew Graham-Dixon
Daniela GullottaHer work depicts large empty interiors, often of an industrial nature. Her intention is to draw the viewer's attention to the dramatic nature of space. Sometimes individual objects are emphasized and human presence is always suggested though never depicted.
Pantheon, 2010mixed media on wood140 x 200 cm
Interior (w.113), 2002mixed media on wood138 x 198 cm
Caspar David Friedrich
Monastery Graveyard In The Snow
Wreck in the Moonlight c. 1835
Temple in Agrient
Artist often use layers to hide or reveal information in their
work
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Christo and Jeanne-ClaudeWrapped Reichstag, Berlin, 1971-95
RembrandtThe small panel, "Old Man with a Beard", dating from about 1630, was brought to art historians in Amsterdam by a private collector who believed it bore striking similarities to the Dutch master's work. Unable to confirm the painter's identify despite several tantalising clues, the experts became convinced there was a second image lying underneath the surface which could solve the problem once and for all. They took the painting to two X-ray imaging laboratories, the European Synchrotron Radiation Facility in Grenoble, France, and the Brookhaven National Laboratory in New York in the hope of uncovering the hidden layers of paint.
Old Man with a Beard, dating from about 1630
The X-ray next to another self-portrait of Rembrandt
Caravaggio
Most artists executed rough preliminary drawings on the canvas before painting in order to be certain of composition and proportions. Amazingly, x-rays have revealed that Caravaggio did no such thing. Instead of preparatory drawings, the artist would trace rough indications in the first layers of paint with the handle of his brush, and then go right ahead with the rest of his painting.
Van Gogh
A new X-ray technique has revealed a previously unknown portrait of a woman by Vincent van Gogh, which was painted over by the artist. The peasant woman's face was hidden behind the work Patch of Grass, completed by Van Gogh in Paris in 1887. Van Gogh is known to have often reused canvasses to save money.
With a sophisticated X-ray analysis scientists have identified why parts of the Vincent Van Gogh painting 'Flowers in a blue vase' have changed colour over time - a supposedly protective varnish applied after the master's death has made some bright yellow flowers turn to an orange-grey colour.
Larry Rivers
"After 1961, popular and commercial images and insignia became a major element in Rivers' painting. He showed consistent if not immediately conscious preferences of subject in terms of his own particular attitudes and technical gifts. He was drawn to the Dutch Masters cigar box label because it in turn reproduced Rembrandt's Syndics, and gave him the opportunity to modulate a theme in both crude and more finished definition across popular media and back to its original source in fine art. The medium of traditional art is the theme of his popular subjects; the contemporary world, the object of his 'fine art' handling and painterly virtuosity."
Robert RauschenbergBed, 1955. Oil and pencil on pillow, quilt, and sheet on wood supports, 191.1 x 80 x 20.3 cm
Canyon, 1959. Oil, pencil, paper, metal, photograph, fabric, wood, canvas, buttons, mirror, taxidermied eagle, cardboard, pillow, paint tube and other materials, 207.6 x 177.8 x 61 cm
Rival, 1963. Lithograph, composition 60.3 x 44.1cm
Jasper Johns
White Numbers, 1957. Encaustic on canvas, 86.5 x 71.3 cm
0 through 9, 1961 (cast 1966). Aluminum, 66 x 50.2 x 2.2 cm
David Hepher
These works speak in a heterogeneous visual language, the Mondrianesque grids of the buildings are interrupted by segments of landscape torn
from other urban areas; streaks of paint mark their architectural anatomies; spray paint mimicking tags of graffiti litter the canvas.
Adriana Varejao
Azulejaria "de tapete" em carne viva, 1999oil on canvas and polyurethane on aluminum and wood support, 150 x 190 x 25 cm
A Malvada (The Wicked), 2009graphite on paper, 64 x 72 cm
The secret of private lives and experiences are often gidden
behind closed doors or expressions that give nothing
away
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Manet
Manet's Bar at the Folies-Berger
VelasquezLas Meninas, c. 1656, oil on canvas, 318 x 276 cm, Museo Nacional del Prado, Madrid
video
This, the most famous of Velzquezs works, offers a complex composition built with admirable skill in the use of perspective, the depiction of light, and the representation of atmosphere. The Infanta Margarita, wears white and appears in the center of the composition, surrounded by her ladies in waiting, the meninas, along with two court buffoons and a mastiff. The King and Queen are reflected in the mirror at the back of the room, leading to series of extraordinarily complex spatial relations.
Caroline WalkerConservation, 2010, Oil on canvas, 200 x 290 cmOccupying a place between document and fiction, my painting practice explores the relationship of women to domestic space, and reflects on a history of representing women in art. The locating of a specific house, most recently a contemporary grand design, is the starting point for creating a set in which the fictitious scenarios I develop can unfold.
A combination of the existing contents of the house and additional props are used to subvert an idea of domestic order, while a lone female figure inhabits multiple characters from the cleaner, to the mistress, to the lady of the house.
Francis Bacon
Four Studies for a Self-Portrait, 1967, oil on canvas, 91.5 x 33 cm
Three Studies from the Human Body, 1967, oil on canvas, 197.5 x 147.6 cm
Justin Mortimer
Annexe, 2012, 240 x 180 cm
Creche, 2012, 220 x 180 cm
Paula Rego The Maids, 1987, Acrylic on canvas-backed paper, 213 x 244 cmThe story at the heart of the painting came to Paula Rego ready-made in the form of Jean Genets play The Maids (1947), itself based on the real-life case of the Papin sisters, Christine and Lea, who worked as maids for a rich Parisian family. One day, frightened for no apparent reason other than that of a power cut which inconvenienced and possibly frightened the sisters, they brutally murdered the mother and daughter of the family while the man of the house was out at work. In working with the story, Paula Rego
seems to have focused on the unnatural closeness of the sisters, both to each other and the mother and daughter they murder. Ambiguity and menacing psychosis reverberate within the picture, much of it carried in the objects with which the room is claustrophobically furnished.
The extraordinary often lied hidden within the ordinary
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Pieter de HooghDe Hooch is noted for his interior scenes and use of light. His favorite subjects were middle-class families in ordinary interiors and sunny courtyards, performing their humble daily duties in a calm atmosphere disrupted only by the radiant entry of natural light penetrating a door or window.
A Mother and Child with its Head in Her Lap, c. 1658-1660
The Courtyard in Delft, 1658Oil on canvas, 73.5 x 60 cm
Vermeer
Hotspots in the image!A Girl Reading a Letter by an Open Window, c. 1657oil on canvas, 83 x 64.5 cm
Young Woman with a Water Pitcher c. 1664-1665, oil on canvas, 45.7 x 40.6 cm
Hotspots in the image!
Chardin
Chardin is renowned for the quiet charm of his carefully constructed genre scenes and still lifes. His skill at recording the look and feel of objects was astutely commented upon in the 19th century.
The Silver Tureen , c. 1728, Oil on canvas, 76.2 x 108 cm
Sickert
Walter Sickert was one of the most influential British painters of his day. He thought that most paintings were too sentimental and that art needed to embrace the dark side of real life.
Ennui (boredom in French), c.1914 Oil on canvas, 152.4 x 112.4 cm
Girl at a Window, Little Rachel, 1907, Oil paint on canvas, 508 x 406 mm
Morandi
Winifred Nicholson
Blue Hyacinths in a Winter LandscapeOil on board, 1950s, 61 x 76cm
Cheeky ChicksOil on canvas1950 62 x 75cm
Nina MurdochPrawle Point, 2010, egg tempera on gesso panel, 48 x 78 in
Antony Gormley Another Place, 1997
Unit 4 : A2 Externally Set Assignment 2013
Inside,Outside,
In BetweenARTIST INSPIRATION
Louise BourgeoisMaman, 1999, Steel and marble, 9271 x 8915 x 10236 mm, Tate
Tate: Louise Bourgeois: Maman Work of the Week, 1 June 2010
"Maman", the giant egg-carrying spider, is a nurturing and protective symbol of fertility and motherhood, shelter and the home. With its monumental and terrifying scale, however, "Maman" also betrays this maternal trust to incite a mixture of fear and curiosity.
You Tube video Maman
Placing work of art inside, outside or in between specific
environments can have an important impact on our
perception of them.
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Damien Hirst BBC News, placement of the statue in pictures.
The Virgin Mother, 2005, Painted bronze, 10232 x 4620 x 2065 mm
Barbara Hepworth
The Family of Man, Bronze, 1970, complete groups at Yorkshire
Sculpture Park
Interview Hepworth
ancestors and an Ultimate form. In between they cover the various ages of man. They are abstract, but clearly represent people, becoming more sophisticated as they mature.
I kept on thinking of large works in a landscape: this has always been a dream in my mind.
The Family consists of 9 separate pieces individuals starting with a young girl and finishing with
Howard Hodgkin
Dark Evening, 2011, 52.7 x 66cm
The North Sea, 2000, 33.6 x 38.6cm, Oil on wood
Deviating from accepted formats creates interesting and dynamic
optical effects
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Anthony FrostAnthony Frost's paintings are bright, full of colour and expression. They include repeated motifs (lines, triangles and dots) and a mix of materials (acrylic, hessian, sail cloth, string and other materials that come to hand). This hints at a complexity in the work, which at first sight appears quite straightforward. Although there is an element of planning in each work, there is also a random element which manifests itself in the creative process: Adding a piece of material or a tie that can change the painting's direction in unplanned ways. Zimmer Stewart GalleryThe Beats, 25 x 25 cm, Mixed media on
canvas
Electric Honey, 76 x 61 cm, Mixed media on canvas
Sublime Frequencies II ,76 x 50 cm, Mixed media on canvas
Patrick Hughes
Three minute film
Open Space, 2012, 69 x 155 x 21 cm
Authorities, 2008,11 x 242 x 42 cm
Artist who use gallery space as an integral part of the work of art with installations that utilise the buildings they are houses in...
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Anish Kapoor
Svayambh, 2007, Wax and oil-based paintDimensions variable
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Craftworkers also exploit the potential of the
interesting shaped surfaces on the many different forms
they create
Craftworkers
Capturing the effects of light when passing from inside to
outside
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Edward Hopper
Summer Evening 1947; Oil on canvas, 30 x 42 inches
Nighthawks, 1942Oil on canvas84.1 x 152.4 cm
Morning Sun, 1952, Oil on canvas, 28 1/8 x 40 1/8 inches
Maybe I am not very human - what I wanted to do was to paint sunlight on the side of a house.
Ken Howard
Cannareggio, Venice, 2005
Summer Evening, Sennen
From the Royal Exchange, Rain Effect
Zoos and wildlife parks provide spectacular opportunities for artists to encounter terrifying
wild creatures in what would be perilously close proximity wild
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Henri Rousseau, Surprised, 1891, Oil on canvas, 129.8 x 161.9 cm
Cologne Cathedral, Germany
Anyone who can experienced breaking down on a busy motorway,
and stepped out of a safe and comfortable vehicle, noisy and
dangerous roadside verge, will be aware of how powerful an experience
such a transition can be.
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Edward Seago
The Anvil Cloud , Oil on canvas, 101.6 x 127 cm The Rainbow , after 1945, Oil on board, 22.2 x 27.1 cm
Evening Haze, Thurne Dyke, Norfolk , Oil on canvas board, 21.6 x 26.7 cm
A Norfolk Village, Aldeby , Oil on canvas, 75.9 x 101.5 cm
John Virtue John Virtue's monochromatic landscape is from a series of views of London taken from different points along the River Thames. St Paul's Cathedral can be seen from the river, looking towards Blackfriars Bridge, its monumental dome modelled in viscous black paint. Initially, it seems as if little else is distinguishable, but gradually other details start to emerge, such as the steeple of a church on the horizon. This painting and 'Landscape No.664', another work by John Virtue in the Government Art Collection, are the result of a unique working process which Virtue has developed during his career. He applies paint to the canvas using a wide gamut of tools, including brushes, rollers, basting syringes, spray guns and calligraphy brushes, and sometimes even his fingers and toes.
Landscape No.662 , 2003 White acrylic, black ink, shellac & emulsion on canvas, 183 x 183 cm
JMW TurnerTurner is perhaps the best-loved English Romantic artist. He became known as 'the painter of light', because of his increasing interest in brilliant colours as the main constituent in his landscapes and seascapes.
Dutch Boats in a Gale1801, Oil on canvas, 162.5 x 221 cm
The Fighting Temeraire, 1839, Oil on canvas90.7 x 121.6 cm
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Portals into different worlds or environments are often explored by
artists and writers. Doorways, windows and mirrors have been
used as devices to allow the viewer glimpses into secret places. Self-portraits often allow the viewer to effectively step into the painters studio or even gain access to the
artist psyche.
Jan Van EyckThis work is a portrait of Giovanni di Nicolao Arnolfini and his wife, but is not intended as a record of their wedding. His wife is not pregnant, as is often thought, but holding up her full-skirted dress in the contemporary fashion. The ornate Latin signature translates as 'Jan van Eyck was here 1434'. The mirror reflects two figures in the doorway. One may be the painter himself. Arnolfini raises his right hand as he faces them, perhaps as a greeting.
The Arnolfini Portrait, 1434, Oil on oak, 82.2 x 60 cm
VelasquezLas Meninas, c. 1656, oil on canvas, 318 x 276 cm, Museo Nacional del Prado, Madrid
video
This, the most famous of Velzquezs works, offers a complex composition built with admirable skill in the use of perspective, the depiction of light, and the representation of atmosphere. The Infanta Margarita, wears white and appears in the center of the composition, surrounded by her ladies in waiting, the meninas, along with two court buffoons and a mastiff. The King and Queen are reflected in the mirror at the back of the room, leading to series of extraordinarily complex spatial relations.
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When a building loses its roof or windows, nature is quick to invade and reclaim the space. Artists have
often used this imagery to make powerful statements about the
fragility of human existence and the futility of attempting immortality.
Richard WilsonJohn CromeJohn Sell CotmanThomas GirtinRichard Parkes BoningtonJohn Constable
English Romanticism
JMW Turner
Before he had entered the Royal Academy schools at the age of 14, Turner had worked as an architectural draughtsman. This training is evident in his fascination with the famous ruins of Tintern Abbey. Tourists of the time were as much impressed by the way that nature had reclaimed the monument as by the scale and grandeur of the buildings. Turner's blue-green washes over the abbey's far wall blend stone and leaf together.
Ruins of West Front, Tintern Abbey c.1794-5, Watercolour and graphite on paper, 32,5 x 23,5 cm
John PiperChrist Church, Newgate Street, 1941
Incendiary bombs gutted Christ Church during the Blitz. Impression of east end of church, built by Wren, as it looked from nave the morning after it had been gutted by incendiary bombs from a Nazi air attack. Christ Church steeple, also seriously damaged, was re-erected in 1960 but the church was never fully restored. This is one of a group of paintings John Piper produced in December 1940 and January 1941 featuring London's bomb-damaged churches.
Anselm Kiefer
Shulamite ,1983. Oil, emulsion, woodcut, shellac, acrylic, and straw on canvas. 541 x 368.3 cm
Audio Athanor
Athanor, 1991, oil, sand, ash, gold leaf and lead foil on canvas, 225 x 380 cm
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The ability to visualise the finished piece as if it was trapped inside the raw material has been appreciated
by many sculptors.
Michelangelo
Piet, St Peters, Rome, 14991500
David, 1501-1504 Gallery of the Academy of Fine Arts
In every block of marble I see a statue as plain as though it stood before me, shaped and perfect in attitude and action. I have only to hew away the rough walls that imprison the lovely apparition to reveal it to the other eyes as mine see it
Auguste Rodin
The Kiss, Le Baiser, 1901-4, Pentelican marble, object: 1822 x 1219 x 1530 mm, 3180 kg
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The idea of releasing a person or animal from an inorganic block and bringing it to life has inspired artist
for many centuries
Ron Mueck
"Peek inside and you can see teeth, gums and even a little faux saliva," writes Plagens of "Mask II." "Stand beside it for a moment, and you'll swear you can hear him snore." Mask II, 2000
Ron Mueck is a London-based photo-realist artist. Born in Melbourne, Australia, to parents who were toy makers, he labored on childrens television shows for 15 years before working in special effects for films . Muek then started his own company making models to be photographed for advertisements. Eventually he concluded that photography pretty much destroys the physical presence of the original object, and so he turned to fine art and sculpture.
A seven-foot adolescent girl in a bathing suit, "Ghost" was "the perfect metaphor for her poignant discomfort with her own body
Ghost, 1998 Fibreglass, silicon, polyurethane foam, acrylic fibre and fabric
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Many naturally occurring objects have startling contrasts between their inner and outer surfaces. Fruits such as watermelon, lychee, coconut, kiwi fruit and shells like abalone, conch and mussel demonstrate this. Some organic structures including jellyfish and prawns are so transparent that their internal organs can be seen
through their outer skins. Still life painters have been fascinated by these objects.
Pierre DupuisNature morte avec des oiseaux morts
Juan Snchez Cotn
Juan Sanchz Cotn developed the basic components of "bodegones," or still lifes: dark background, mostly fruits and vegetables, shadows and shades to create a realistic appearance, and the use of various types of lighting. His still lifes are executed flawlessly and look almost like photographs.
Still Life with Game, Vegetables, Fruit, 1602
Quince, Cabbage, Melon, and Cucumber, 1602
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Many of these painters simply revelled in the sumptuousness and beauty of such
objects, seeking no other purpose that to produce as lifelike an image as possible.
Laura Shechter
Once the outlines of the images are transferred to the canvas, I start painting. I control my light source--that's why it's dark in here. I want a very specific light--I'm really trying to capture a Moment of Light. My goal is to convey the precise visual sensation of the surfaces of the objects at one instant of light.
White Porcelain Heart, 2002, Oil on Canvas Still Life with White Heron, 1998, Oil on Canvas
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