#modern art

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 The Casper Daily Tribune, Wyoming, January 8, 1923

The Casper Daily Tribune, Wyoming, January 8, 1923


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MWW Artwork of the Day (4/5/16)Jasper Johns (American, b. 1930)Spring (1986)Encaustic on canvas, 190

MWW Artwork of the Day (4/5/16)
Jasper Johns (American, b. 1930)
Spring (1986)
Encaustic on canvas, 190.5 x 127 cm.
Private Collection

In 1985–86, the ever-eclectic Johns made four 75 x 50 inch encaustic paintings – Spring, Summer, Fall, and Winter – which might be read as an allegory of his life and interests, as well as referencing a longstanding artistic and literary tradition of works about the four seasons and four ages of man.

The series dates from a period when the artist was moving between residences and in one of the many turning-points in his career. So, in a sense the paintings can be seen as a collaged form of “taking stock” when one is moving, and a taking stock that occurs at a certain point in life. Each painting has a similar structure.  A silhouette – presumably of the artist himself – dominates the canvas, perhaps a evocation, perhaps not, of a 1953 Picasso painting (The Shadow) in which Picasso’s shadow falls across the floor of his studio. Each features art works by the artist or in his possession, as well as other cherished possessions.  And the “season” of each is economically evoked in a few strokes, as in the streaks of rain here.

Critical interpretation of the works vary widely.  John Russell in his NY Times review thought that “in ‘Spring’ there are many references to the way in which a given image can secrete a secondary meaning that turns its first one inside out. There is a version of the 19th-century visual conundrum in which a drawing of a pretty young woman can also be read as a portrait of an androgynous old crone. Fullbodied goblets, read in reverse, turn out to hold human profiles captive. A schematic drawing of a decoy duck relates to a well-known passage in Wittgenstein… If 'The Seasons’ does have a central meaning. it may well be that catastrophes can be borne, however awkwardly and painfully, and that a shattered self can be put together again. The potential of regenerative feeling, like the potential of painting itself, is ever-present, if we know how to get through to it.”

Jill Johnston, in her monograph “Jasper Johns: Privileged Information,” focusses on the theme of autobiography in Johns’ work when assessing the “Four Seasons.”  Key to her analysis is her identification of the motif from the Isenheim Altarpiece: “It is even more difficult to see here since Johns deliberately obscures its presence by covering it with the cross-hatching that evokes the earlier painting Between Clock and Bed as well as the Corpse and Mirror paintings and others in that patterned, cross-hatched mode. The Isenheim altarpiece, an extremely large work with several "openings” (every time you “open” an altarpiece, you reveal another set of images – most open once; this one opened three times –  was created for a monastic order which treated the victims of St. Anthony’s fire. In the Renaissance, patients were supposed to look at the repulsive figure in the painting, see in him the identification which he makes with St. Anthony, and through St. Anthony, an identification with the sufferings of Christ.  Ultimately, this suffering would lead to salvation if the patient had faith.  In Johns’ painting, the redemption which would come through religious belief is replaced by a redemption which comes through art.  Johns does something unusual with this because he places himself in the position of victim and the position of savior. At the same time, his literal presence in the painting takes the form of a shadow, an insubstantial form with no body. The Four Seasons would therefore seem to unite two themes of Johns’ work: the theme of denial of self (in earlier works, denial of objecthood and denial of meaning, as when he uses paints the letters “red” in blue paint) and the identity of self (object, word, meaning). Whereas the early paintings express these themes in linguistic or semiotic terms, the later paintings express them in a more personal and autobiographical mode, making the fundamental issue throughout Johns’ work the question of where does identity come from.“

Johns is one of the featured artists in the the MWW exhibit/gallery:
* American Moderns V: Pop Goes the Art World


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MWW Artwork of the Day (4/3/16)M.C. Escher (Dutch, 1898-1972)Puddle (February 1952)Woodcut in black,

MWW Artwork of the Day (4/3/16)
M.C. Escher (Dutch, 1898-1972)
Puddle (February 1952)
Woodcut in black, olive and brown, printed from three blocks, 23.9 x 32 cm.

Since 1936, Escher’s work had become primarily focused on paradoxes, tessellation and other abstract visual concepts. This print, however, is a realistic depiction of a simple image that portrays two perspectives at once. It depicts an unpaved road with a large pool of water in the middle of it at twilight. Turning the print upside-down and focusing strictly on the reflection in the water, it becomes a depiction of a forest with a full moon overhead. The road is soft and muddy and in it there are two distinctly different sets of tire tracks, two sets of footprints going in opposite directions and two bicycle tracks. Escher has thus captured three elements: the water, sky and earth.

Check out these two MWW Escher galleries which between them contain almost all of his work:
* M.C. Escher – The Early Years (1917-37)
* The Topsy-Turvy World of M.C. Escher (1938-1972)


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I made these in 2008.

Titles: Ambassadors

I made 6 of them. Half were sent to a dealer,  Frederic Got, in Paris, France.

I’m more information on my work: www.kristoferlamey.com

lawrenceleemagnuson:PicassoPortrait de femme endormie. III (1946)colored crayon on paper 48.9 x 65.4

lawrenceleemagnuson:

Picasso
Portrait de femme endormie. III (1946)
colored crayon on paper 48.9 x 65.4 cm


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topcat77:Mark Rothko  Pink on pink, 1953

topcat77:

Mark Rothko

 Pink on pink, 1953


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Fausto-Pirandello - Ritratto di ragazzo (Ritratto del figlio Pierluigi) (1942/43)

Fausto-Pirandello - Ritratto di ragazzo (Ritratto del figlio Pierluigi) (1942/43)


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Fausto Pirandello - Palestra (1934/35)

Fausto Pirandello - Palestra (1934/35)


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thunderstruck9:Winifred Turner (British, 1903-1983), Youth. Plaster, 103 cm. c. 1934

thunderstruck9:

Winifred Turner (British, 1903-1983), Youth. Plaster, 103 cm.

c. 1934


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Pavel Tchelitchew  (1898-1957) - Seated Nude Leaning Back 

Pavel Tchelitchew  (1898-1957) - Seated Nude Leaning Back 


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flaroh: Introducing the fourth piece in my ancient pottery series: Etruscan Bucchero! This pottery wflaroh: Introducing the fourth piece in my ancient pottery series: Etruscan Bucchero! This pottery wflaroh: Introducing the fourth piece in my ancient pottery series: Etruscan Bucchero! This pottery w

flaroh:

Introducing the fourth piece in my ancient pottery series: Etruscan Bucchero! This pottery was the staple ceramic of Etruria, a powerful civilization that ruled central Italy before the Romans :) 

Merch (Stickers, Notebooks, Bags, etc)  |Prints available too!


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