Artists own notes, July 2010.
Melchior d'Hondecoeter: Birds, Butterflies and a Frog among Plants and Fungi (1668).
This was the other painting that was observed in the National Gallery when I saw the painting by van Os. Further review to follow.
Wednesday 29 September 2010
Whistlers studio painting
James Whistler, The Artists Studio (1865)
This has a romantic air to it, a social interaction takes place as opposed to solitude despite the artists body language demonstrating otherwise.
Francis Bacon Studio
Treated as an archeological dig and reconstruction, The Dublin City Gallery, Hugh Lane meticulously transfered Bacons studio including all objects and dust from his London studio. It has been treated as a study with notes about everything observed in the excavation.
Jackson Pollock: studio
Taken from the book Inside the Painters Studio by Joe Fig and Joseph Fioriglio.
What is the studio? A monastery to contemplation, action, time. historically they were the training grounds (school) for artists and their apprentices. It could be a home and/or an office to take alternative titles, atelier, workshop.
contemporary historic studio settup
Eleanor Antin, "The Artist’s Studio" from "The Last Days of Pompeii" (2001),
Chromogenic print, 46 5/8 x 58 5/8 inches
This photograph by Eleanor Antin, plays with constructed scenario's, settup historic fictions.
National Gallery Picture Library
Adriaen van Ostade, An Alchemist (1661)
The National Gallery has a very good service for using images (at a cost). Am about to order some images so that I can have the luxury of time to sit, study and consider what I am seeing. It will be interesting to think about the differences between looking at the original then an A3 replica or what would happen if you worked from the A3 version then went to see the painting.
Atelier Cezanne
This beautiful image of Cezanne's studio has a theatrical presence. The light is enchanting while the 360 panarama shot on the blog show's some ornate furnishings and a large display cabinet - will research further. What is the period of the ornate piece?
Tuesday 7 September 2010
Jan van Os | Fruit and Flowers in a Terracotta Vase | NG6520 | The National Gallery, London
Artists own notes, July 2010.
Jan van Os, Flowers in a Terracotta Vase, 1777-8
This is a painting that I found in a quite corner of the National Gallery, I actually did a study of two paintings in this room (the other was Birds, Butterflies and a Frog among Plants and Fungi) I did not take note of the other paintings in the room in but will return to investigate this.
I have decided that the next collection of works will all stem from the idea's and visual cue's embedded within this van Os masterpiece. Further notes etc to follow.
Roger Brown
Painter, objects / artefacts integrated as part of paintinf, SL, pattern. Found this info on a blog called Art21.
John J O'Connor
John J O'Connor : Horror Crash, 2010. Acrylic, coloured pencil and graphite on paper 75.5 x 58"
Drawer, reflective / responsive to market share index. Visualising statistics, visual patterns from chaos.
Martin Scheoller
Martin Scheoller: Christine Roth, 2004
Portraits in general but I am particularly drawn to the uncompromising simplicity of the female body builders collection.
Nick Devereux
St Somebody Narrative, 2008, Charcoal on Paper, 53.15 x 165.35"
Anothor artist represented by Bugada & Cargnel, Nick uses traditional charcoal techniques like that of Velasquez but is not looking for a reality: it is the information that is percieved by the human eye that is communicated.
Have some other paintings that are coming to mind when looking at this painting - will add in later.
Monday 6 September 2010
Iconclass : Another art system
A dutch (and claimed leading system) system for the classification of artworks - Iconclass.
Works strangely in both English and Dutch at the same time.
Works strangely in both English and Dutch at the same time.
|
| Add to selection |  | |||
| Art-work number | 16208 |  | ||
| Illustration number | 0000038191 | |||
| Current attribution | Alexander Coosemans  | |||
| Dating | (1641 – 1689) | |||
| Title | Stilleven van vruchten | |||
| Subject keywords | stilleven , druif, perzik, meloen, peer, citroen, braam, pruim, vlinder | |||
| Object | schilderij | |||
| Support/technique | doek | |||
| | olieverf | |||
| Shape/dimensions | staande rechthoek, 101,6 x 94 cm | |||
| Auction | Christie's, New York City, 1985-01-15, lotnr. 75, img. kleur | |||
| Auction | Christie's, New York City, 1987-03-26, lotnr. 147, img. kleur | |||
| Auction | Sotheby's, New York [NY], 1994-05-19, lotnr. 75, img. kleur | |||
| V9400415 | |||
| Auction | Sotheby's, New York [NY], 1999-05-28, lotnr. 32, img. kleur | |||
| 0000033093 | |||
| Documentation RKD | BD/0392 - ONS/Vruchten- en groentenstillevens (afb.nr.: 0000038191) | |||
| | Gebruik de volgende URL om deze pagina vanuit uw website te linken: http://www.rkd.nl/rkddb/dispatcher.aspx?action=search&database=ChoiceImages&search=priref=16208 | |||
Common Sense
Image is a process drawing for the work titles: Newsstand of the FutureThe exhibition: Common Sense: An Exhibit about the American Dream has an interesting support website.
It discusses the work and demonstrates some of the working that went into the pieces. All the works are a response to the exhibition title.
Common Sense is a collaborative effort between Karl Sluis and Craig Stover
Categories for the description of artworks
Not entirely sure how this differs from the system below, get the feeling it is possibly a different aspect - must research further: compare and contrast.
Compiled by www.getty.edu.
1.3. Object/Work Type Date
Compiled by www.getty.edu.
1.3. Object/Work Type Date
DEFINITION
A description of the date or range of dates when the object/work type is or was applicable.
EXAMPLES
from 500 BCE
1993
before 1652
1842-1896
17th century
DISCUSSION and GUIDELINES
Optional: Record the date when the object/work type was or is valid. Include references to uncertainty or ambiguity as necessary.
Form and syntax
Follow the applicable rules for display dates in CREATION - CREATION DATE.
If a work has had mutliple object/work types over time, this date is useful in establishing when the work served a particular function or purpose.
Dates may be estimated or approximate; for example, it may only be known that a work was a certain size in the 18th century, but not precisely on which day or year the measurement was taken. For further discussion of dates in general, see CREATION - DATE.
TERMINOLOGY/FORMAT
Free-text: This is not a controlled field. Maintain consistent capitalization, punctuation, and syntax where possible. Index the dates in the controlled EARLIEST DATE and LATEST DATE subcategories.
System for cataloging a SL Painting
This is the said picture (Stunning) used for the example below: Jan van Huysum, Vase of Flowers, 1722.Well this is just fascinating - example of how to catalogue a Still Life painting in a gallery or museum. Look forward to working with this website further.
Example 10: Still Life painting
Work Record
Class [controlled]: • paintings • European art
*Work Type [link to authority]: • painting
*Title: Vase of Flowers Title Type: repository
*Creator Display: Jan van Huysum (Dutch, 1682-1749)
*Role [link]: painter [link]: Huysem, Jan van
*Creation Date: 1722 [controlled]: • Earliest: 1722 • Latest: 1722
*Subject [links]: • still life • flowers • urn • ledge • crown of thorns plant • tulips • roses • bird's nest • insects • beauty • transience • life • death • senses • Vanitas • Passion of Christ
Style [link to authority]: Rococo
Culture [link]: Dutch
*Current Location [link to authority]: J. Paul Getty Museum (Los Angeles, California, USA) • ID: 82.PB.70
*Measurements: 79 x 61 cm (31 1/4 x 24 inches)
[controlled]: • Value: 79 Unit: cm Type: height | • Value: 61 Unit: cm Type: width
*Materials and Techniques: oil on panel
Material [links]: • oil paint • panel (wood) Technique [links]: • painting
Description: The subject is a still life of flowers spilling onto a ledge, some decaying and being eaten by insects. It represents the senses of sight and smell; the decay and broken stems symbolize the transient nature of life, youth, and beauty; the ledge pushed up to the picture plane resembles the ledge seen in posthumous portraits, thus symbolizing death. The crown of thorns flower at the top symbolizes the Passion of Christ.
Description Sources [link to authority]: J. Paul Getty Museum. Handbook of the Collections. Los Angeles: J. Paul Getty Museum, 1991. Page: 115
• J. Paul Getty Museum online. www.getty.edu Page: accessed 15 October 2006
Required and recommended elements are marked with an asterisk.
Looking at Things
This flickr collection of images came up called "Barack Obama Looking at Awesome Things". Made me laugh, the one with the Narnia wardrobe is particularly good - photoshop has a lot to answer for.
But more seriously....
I'm starting to look into the idea of looking, viewing and the contemporary issue's surrounding it. I'm not having much luck, most info is relating to 'how to look at art', which despite being good it is not what I am after.
Nobody talks about looking? I have a few books that I am reading but am after some more immediate gratification and hopefully links to artists who really consider this.
How do you communicate looking?
An 'unfashionable' future?
Marjetica Potrc, The Curve.Frieze article: Future Conditional by Jonathan Griffin discusses images of the future and how in the past we would seek out books that depicted images of the future, today - these books do not exist. Film has moved into this territory.
Marjetica Potrc is mentioned alongside N55 and Fritz Haeg who have a focus on the future in conjunction with what we know through science, the works are often a commentary on current global crisis.
The Haunting
Cyprien Gaillard, Belief in the Age of DisbeliefLes deux chemins au ruisseau / étape VIII, 2005
Etching (14.57 x 16.93 inches framed), 7.09 x 7.87 inches
Belief in the Age of Disbelief (Paysage aux trois tours), 2005, 6.69 x 9.06 inches.
This article in Frieze titled The Haunting is written by Jennifer Higgie.
It discusses Death within art and what the legacy of this is. Artworks / texts to be reviewed and provide clue's towards a new practice, some of my notes:
History - Ignore at your peril, yet do not bask within it's authority as it is very slippery.
Reviewing / looking at artworks of the past help the development of ones own practice and release a conversation that is being held.
Cyprien Gaillard is named to review in connection. The image above relates to the text below as found on the website: www.bugadacargnel.com
Cyprien Gaillard
Belief in the Age of Disbelief (Paysage aux trois tours)
In 'Belief in the Age of Disbelief', GAILLARD has introduced tower blocks into 17th Century Dutch landscape etchings. These post-war structures, once a symbol of utopian promise that have now come to represent racial conflict, urban decay, criminality and violence, have been seamlessly assimilated into a rural idyll. Some tower blocks have been positioned in the composition like a defiant medieval fortress, others as apocalyptic ruins. Like the paintings of Hubert ROBERT, admired by DIDEROT, who depicted ancient ruins and even the imaginary future ruins of the Louvre (1796), GAILLARD comments on the relationship between romanticism and decay, and architectures' inherent communicative power.
Friday 3 September 2010
Maria Nepomuceno
An exhibition held earlier this year of the Brazilian artist Maria Nepomuceno was presented at the Victoria Miro gallery.
Sculptural, bodily, DNA, woven, stitched.
Revealing Evidence
The exhibition: Revealing Evidence by Shelly Goldsmith & Sarah Pickering may offer some insight into the idea's of making the unseen visable. Must read this article and report back.
Relates to: Communication of an enquiry.
Tuesday 16 February 2010
Some of my drawings that I have been doing:
This one is fairly final, i'm going to go and scan in some of the pre-cursors to this. See if it makes sense on screen.
This image is purely about looking at the object but the cloth (textile) plays a significant role in both supporting the pear and letting it fall.
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