Below are links to selections of these illustrations from the holdings that are located in University Archives. The finding aids for both The Hatchet , the Washington University yearbook, and The Dirge, a student publication, are available through University Archives. Additional material, including Parker's original artwork, concept sketches, and tear sheets, are held at the Modern Graphic History Library.
The finding aid for this collection is available online. The great painter Giuseppe Arcimboldo created numerous pieces in his time at the courts of his patrons Maxmilian I and Rudolf II, but left a legacy primarily in a single, inventive category of painting: composite portraits. Like the kunstkammers and wunderkammers of the time, Arcimboldo's paintings managed to combine the natural, the artificial and the fantastical in singular compositions that did not have a contemporary comparison.
Comprised of four separate paintings, each image represents either a man or woman composed of the various crops available during that season. Four Elements , like Four Seasons , draws its inspiration from a similar theme. Rather than finding its pieces in the earth, however, Arcimboldo draws from the animal world to create its series of figures. While at first glance the only relation between these two series is in their conception as composite portraits, there is more to their interaction and presentation as one. In , the two series, accompanied by a poem composed by G.
Through this gift, the two series interact not only with the viewer, but also with each other. Portraits that previously existed as singular entities in their own set can now be presented as pairs that cross series, genders, elements, seasons and placement. We invite you to view a wide range of illustrated editions of Shakespeare from through Illustrators were challenged by the texts of this great dramatist, whose works were already visually represented on stage. See how they responded to this challenge, and whether or not they were successful, in this fascinating selection of books With an essay by Douglas Dowd, Professor of Art and American Culture Studies, and an Introduction and Checklist by Anne Posega.
After graduating from the Kunstschule in Weimar, Beckmann began his career working in a style of history painting that was rigorously academic in comparison to many of his Fauvist and Cubist contemporaries. However, following the end of the First World War, Beckmann left much of his academic training behind to pursue new paintings imbued with a graphic flatness and a warped sense of space. However, the creation of unstable-looking images through the visual strategies of shallow pictorial space and an awkward stacked perspective, constitute only one of the ways Beckmann builds his fragile and unstable universe.
In addition to these clever formal devices, Beckmann utilizes a number of methods deeply buried within the conception of his images to create his signature sense of tumult. Portrait of Valentine Tessier Cat.
Furthermore, Artists with Vegetables Cat. In particular, this work demonstrates his desire to actualize a form of utopia similar to those of his contemporaries and predecessors like Matisse and the first generation of Expressionists, while simultaneously looking skeptically at the possibility of achieving this goal. Oxford Art Online. In , the city of St. Three Musical Styles explains the various kinds of sheet music available in the U.
How can sheet music explain popular culture? Education and Entertainment intermingled at the Exposition. Learn how the fair's sheet music demonstrated the appeal of non-white music as a source of entertainment, even though European traditions were still prized as the source of intellectual ingenuity.
Exposition sheet music was full of references to European culture, particularly pieces published in St. Read about these European Ambitions here. I saw a representation of it. And the longer I looked at the image, viewing it days apart at different times, the greater the number of successive layers of thought attached themselves to it, a long reflection ceaselessly developed.
My imagination remained intact since, until then, I had known nothing of the place. It belongs to the artist alone. I started with a mystery into which, with complete freedom, I was able to project myself. The photograph became monochrome to my gaze, for the seascape gradually faded, leaving only the idea. This artistic vision is a parable, the source of a thousand stories.
By going beyond the real, we achieve an abstract image. I see only the taut wire between two dark masses, a separation between two immense spaces, the horizon. Like an incision in the canvas by Lucio Fontana, the skyline incrusts its trace within the photograph, thereby becoming the central point of the work.
It is even more haunting than I thought. It is all I perceive, forgetting the wind, the waves, the noise, the energy of the sea. It is no longer a matter of sensations; it is about projecting myself into the frame. It seems reassuring because it provides immensity with visual outline; it serves as a point of reference enabling us to confront space. The horizon is a limit, but it is the horizon that opens the infinite to us.
From this supposedly empty seascape, we hear the silent language of men. Mary Didoardo's visceral, gestural abstractions are brought to life through swirling lines, textures, and colors. The depth of her panels evoke heightened emotions and leads to a psychological atmosphere. After years of working in both sculpture and figurative painting, Didoardo's current body of work is a meeting of the two states of mind, the intuitive manipulation of abstract space grounded in line.
We visited her studio in Long Island City as she prepares for her forthcoming show, " Paintings, " to discuss the elements she's pulled together from disparate areas of study, treating painting as sculpture, and learning to trust your work when it tells you it's finished. This week we're speaking with Tamar Zinn.
The geometry is revealed by the building up and scraping away of layers, working methodically in horizontal and vertical movements across the plane, until a moment of clarity is reached. The result is a field activated by depth and dynamism, the relationship of geometric elements and ambiguous space.
We headed downtown to Zinn's studio to discuss tracing the evolution of an artist's visual vocabulary, balancing intuiton and intention, and discovering your paintings in poetry. Here are five of our favorite women artists:. This week we're speaking with Stephanie London. Stephanie's London's paintings provide a quiet moment of beauty, a respite from from the bustle of our lives. Her thrifted objects in her still lives, like actors on a stage, command the attention with a mysterious sense of drama.
Ultimately, her work reflects her Buddhist practice, exploring the same stillness and quieting of the mind that one finds in a state of prayer or meditation. London talked with us from California about the underlying narrative of her still life arrangements, finding fulfilment as an artist within an academic atmosphere, and the conflct of choosing between abstract and representational work.
This past weekend was the Art on Paper fair in New York and it was an exciting collection of contemporary galleries showing their artists' unique takes on works on paper. When we weren't discussing Freeman's graphic "Covers" series, Irvin's hypnotic "Ink Series," and Palmer's collaged botanical studies, we were roaming the fair ourselves. Here are just some of the artists we loved:. This week we're speaking with Martina Nehrling. Martina Nehrling's eye-catching work is colorful, energetic, and invigorating. Her distinctive style of staccato brushstrokes allows her use of highly saturated color to shine, playing off the relationships of the color wheel to create a vibrating tension throughout the work.
Nehrling works in a rhythmic minimalism, breaking down painting to its essence yet reveling in its sensational possibilities, guiding the viewer's eyes through a journey around the plane. Nehrling spoke with us from Chicago to discuss finding her voice as an artist, honing visual rhythm, and the controversial role of optimism in art. This week we're speaking with Diane Ayott. Upon first glance, Diane Ayott's vibrant, hypnotic works are an intriguing exploration of color and pattern. When viewed up close, they become even more transfixing as details of the marks are revealed.
Ayott plays with technique and texture, and often incorporates mixed media materials that are typically not evident from afar. What may have initially seemed mathematical in process is now understood to be motivated by intuition. Every week, we'll be your guide as you navigate the world of buying art in our series, The Collector. After the initial excitement of buying a work of art has passed, it's time to start thinking about your next steps. Handing your check over is just the beginning!
There are important things to take into consideration when it comes to properly caring for the work as well as getting your legal and financial ducks in a row. Thankfully, there are a bunch of experts to help you through theses processes and it's just a matter of knowing who to turn to. This week we're speaking with Joanne Freeman. Joanne Freeman strives to reduce her visual language down to its essence, offering up a quiet but confident impact. Her color statements against stark white backgrounds are at the intersection of geometry and gesture, their whimsical appearances supported by precise, controlled mark making.
Excited by the convergence of fine art and pop culture, Freeman's works reference modern design, the Adriatic coast, and rock and roll. Just in time for her solo show, " New Paintings and Drawings ," opening this week, we headed to Freeman's studio in SoHo where we sat down with tea, scones, and her dog, Coco, to discuss her latest work. If you're a collector, the world of art fairs should be on your radar, but they may seem incredibly daunting. They have been an increasingly popular destination for collectors and art enthusiasts over the past few years, and are considered to be one of the most important outlets for dealing and socializing alike.
But with the overwhelming number of options to attend and the potentially enormous scale of the fairs themselves, how do you even begin? The art fair season will be in full swing shortly, so we've put together a primer for the first-time attendee. This week we're speaking with Suzanne Laura Kammin. Suzanne Laura Kammin is inspired by a wide range of influences ranging from Eastern philosophy to 's design. The resulting works are intensely vivid studies of color, self, and space that navigate the dynamic between hard and soft edges pushing up against one another within the frame. The juxtaposition of pure color, any evidence of mark making obscured, and visceral layers creates a visual give and take that nods to the concept of yin and yang, where opposite forces are interdependent.
In anticipation of Kammin's upcoming solo show, " I Am That, " she talked with us from her studio in Newark, NJ about the spirituality of her work, the evolution of her color sense, and unleashing the freedom in her paintings. This week we're speaking with Julian Jackson. Julian Jackson's work has recently taken a departure from soft-focused studies of light to more formal linear works influenced by architecture. Connecting his series is a reverence for nature and art history, a precarious sense of balance, and an exploration of color.
We met up in his studio in Brooklyn to dive into the evolution of his work, the early artistic influences that still shape his aesthetics, and finding inspiration in the origins of the world. This week we're speaking with Jeffrey Cortland Jones. Jeffrey Cortland Jones' deceptively minimalist paintings reveal themselves in quiet, contemplative moments. There is a deft use of color in the face of their initially perceived monchromatic surfaces, a depth resulting from a rhythmic building up only to be broken back down again, and nods to overlooked landscapes, industrialism, and meloncholy.
At times somber, gritty, or hopeful, these intimate works provoke a sense of calm as the viewer delves into what can be found within their layers. Jones writes us from his studio in Cincinnati about his relationship with color, his urban influences, and his evolution towards minimalism. We've talked a lot about what to do once you've decided to become an art collector, but what if you've suddenly become a collector not quite by choice?
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Maybe one day you get a call: Aunt Linda has died and left you with her beloved painting, or a whole house full of art. What next? This week we're speaking with Sarah Irvin. Sarah Irvin's diverse body of work simultaneously explores the tangible - water lillies, the rhythm of a rocking chair, a baby's bottle - and the abstract - memory, heritage, motherhood.
Her pieces are conceptual, with the process and motivation enhancing the painterly concerns of color, space, and gesture rather than supplementing them. Currently completing her MFA with George Mason University in Virginia, we spoke about the limitations of language, creating her distinct processes, and the effect her pregnancy had on her artistic point of view. The art auction is one of the most alluring parts of collecting art for many people. Simultaneously the most visible market with its splashy headlines and glamorous guestlists and the most mysterious with its secretive bidders and sellers and its behind-the-scenes whispering , the world of auctions can seem inscrutable.
There's language to be decoded and research to be done and gossip to be sifted through. If you've been following the news in the art world lately, you'll know that there are some very juicy things happening in the auction houses of New York. But once you're in the know, bidding at an auction can be a fun, exciting, and satisfying way to collect art. Or you may think it's frustrating, vapid, and a rip-off. But that's for you to decide! This week we're speaking with Sydney Licht. Sydney Licht's work is often about subversion - the subversion of the traditional still life, the subversion of everyday objects into subjects worth studying, the subversion of what's considered disposable.
Her still life paintings and her sculptures transform the mundane and the trappings of materialism into abstractions, something to be considered anew. As her art is inspired by her surroundings, she lives surrounded by her art in a loft in the TriBeCa neighborhood of New York City. Her living space is bookended by her studio taking advantage of the natural light from the east, and a space showcasing her completed works to the west.
We sit down in her kitchen to discuss how self-imposed limitations expanded Licht's range, the relationships she explores between the man-made and the organic, and how her work is entangled with consumerism. A departure for the gallery, the exhibition features several sculptures and installations that are sure to intrigue. All of the works are tied to the exploration of the artist's relationship with chaos, whether physical or psychological, and also play with the representation of light, negative space, and architectural construction.
Many pieces grapple with issues relating to domesticity and consumerism, and the objects that invade our spaces because of them. There can be a misconception that prints are not as prized as paintings or works on paper, but collecting prints certainly has its own joy. Of course, there are many different kinds of prints, and it's important to be able to distinguish those that are of genuinely good value rather than just a mechanical reproduction of an original work. More and more often, respected artists are making prints because they see them as an integral part of their work.
Also, a print very often has a substantially lower price than its counterparts on canvas. If you're interested in prints, here's a guide on how to get started. The group show is curated by one of our gallery artists, Marilla Palmer , and we asked her to discuss her process of creating the show and her insights into what you can expect. Last week , we talked about art as an investment and spoiler alert concluded that it wasn't best to think of collecting art as an investment alone. First and foremost, you should buy what you love.
But, it is important to consider the work's value. So, how do you know what a piece of art's worth? Figuring that out is one of the trickiest parts of buying art, even for total veterans of the art world. This week, we'll take a look at some basic concepts and rules for how art is priced and how to ensure you're getting a good deal. If you're getting into the art collecting game with dollar signs in your eyes, you should probably take a seat and read this first.
We hate to break it to you, but art is a crummy investment. Call us sentimental, but our number one rule when it comes to buying art is to buy what you love.
Buy what speaks to your soul and what you can't imagine living without being lucky enough to look at it every day. If you're lured in by news of those million dollar sales, it's very likely you'll be disappointed. For one, the vast majority of artwork never goes up in value.
It's also not liquid. Typically, a dealer who sold you a piece of art will not buy it back later. They have new work to sell by the artist that they can get on consignment, and so they don't want to deal with older works that they have to pay for. Also, determining the value of art is one of the trickiest parts of the art world and market. Just like any other market, the art market fluctuates over time, and predicting the rise and fall of any one piece's value is near impossible and, for the most part, essentially based on luck.
Art is a subjective medium, and a lot of what goes into buying it is purely based on emotions. It's futile to attempt to quantify those transactions rooted in something so intangible. How do you turn taste and public opinion into a formula?
This week we're speaking with Laura Fayer. Laura Fayer's studio is nestled in her classic apartment in Jackson Heights, Queens. It's clear from the moment you step inside that one of the driving forces of her work is color. Bright paints, palettes, and mixed pigments cover the work tables, an index of colors stands at the ready to be sorted through, and ideas for inspiration are tacked on the wall.
Printmaking tools sit next to Japanese rice paper, and stacks of sketches lay in wait. We sit down to discuss how all of these elements come together in her deceptively complex work. We're lucky to be in one of the city's biggest gallery districts, Chelsea, and love being able to stroll around our neighborhood to see all of the wonderful shows our neighbors are exhibiting. But it wasn't until relatively recently that Chelsea became so synonymous with the art world.
New York's galleries have had a long and winding path, matching the ebb and flow of the growth of the city itself. If you're ready to start searching for your first piece of art, it'll help to have some insight into how the contemporary art market is organized. There are a few different things to consider to narrow down your hunt.
This week we're speaking with Josette Urso. Josette Urso's bright, airy studio is in the heart of Bushwick, Brooklyn, in a loft building with a sweeping view over the borough, the Manhattan skyline shining on the horizon. Her workspace blends seamlessly with her living space, works in progress hanging on the wall, palettes waiting next to brushes, drawings being sorted on a table. We sit down at her kitchen table, a plate of gluten-free chocolate chip cookies set out before us, and start to talk.
This week, Pantone threw the worlds of fashion and design for a loop when they announced two colors of the year for instead of one. Their picks?
- Culinary Essentials, Student Edition.
- Liliane Tomasko’s abstract dream paintings offer no neat solutions.
- La casa incantata (Italian Edition).
- Freedom Through Contemplation?
- How to Draw Landscape with Pencil & Chalk | | How to Learn Drawing | Drawing in Pencil (The Secrets of Drawing Book 1);
- Wileys Big Year- Part 1.
- How Painting Can Help Save the World, Actually;
Rose Quartz, and Serenity. Pantone explains:. As consumers seek mindfulness and well-being as an antidote to modern day stresses, welcoming colors that psychologically fulfill our yearning for reassurance and security are becoming more prominent. Joined together, Rose Quartz and Serenity demonstrate an inherent balance between a warmer embracing rose tone and the cooler tranquil blue, reflecting connection and wellness as well as a soothing sense of order and peace. For those who can't help but feel like you're being invited to a gender reveal party rather than catching up on design trends, don't worry, it was intentional:.
In many parts of the world we are experiencing a gender blur as it relates to fashion, which has in turn impacted color trends throughout all other areas of design. This more unilateral approach to color is coinciding with societal movements toward gender equality and fluidity, the consumer's increased comfort with using color as a form of expression, a generation that has less concern about being typecast or judged and an open exchange of digital information that has opened our eyes to different approaches to color usage.
If you'll be redecorating in , you may be interested in having Pantone's colors of the year reflected in your interior design. An easy way to do this -- and one without the connotation of a nursery -- is through art. A well-placed piece can provide a nice nod to the trends without the risk of becoming dated too quickly. We dug through our collection to bring you works from our gallery artists that can subtly infuse your home with the colors that will be defining Our new show is currently on view until December 23rd, !
Humble Iterations is a group show of small-scale works featuring our gallery artists and a few guests. While they use a variety of sizes in their work, these smaller pieces pare down the artists' visual vocabulary to their most important marks and motifs. It can be argued that this scale is more difficult to work with, as they forgo the impact of a larger piece, pulling the viewer in close to create a more intimate experience, one that invites study, contemplation, even scrutiny.
When you're just starting out buying art, you may find it helpful to work with a consultant. Some collectors always work with consultants, or you may find that she's helped you become so knowledgeable about art that one day you'll be ready to pass her on to your less experienced friends. Still deciding whether or not you need a consultant? Consider this:. As you approach the Rijksmuseum in Amsterdam, you're greeted by a giant banner showing a red X over a camera. While the prohibition of photography is not unusual in certain exhibits, in this day and age of the artselfie this museum-wide discouragement although not banning of photography has caused a bit of an uproar.
It's part of the museum's hierteekenen "start drawing" campaign, which kicked off with the weekend-long event The Big Draw back in October, a festival full of drawing lessons and activities throughout the space. Since then, museumgoers have been strongly encouraged to keep their cameras and phones in their pockets during their trip, and instead try drawing the works they're most attracted to. This is especially the case on Saturdays, when visitors can pick up a free sketchbook and pencil to bring with them around the galleries. The intent is to combat what the Rijksmuseum claims to be a tendency for a modern museum visit to be "passive and superficial," with visitors being too distracted to "truly experience beauty, magic, and wonder.
We forget how to look really closely. Drawing helps because you see more when you draw. The museum is quick to remind everyone that the end result is not what matters here, but more so building that relationship with the work that speaks to you. Instead of rushing through the exhibits taking as many pictures as possible, the challenge forces everyone to slow down and thoroughly appreciate the art they've come to see. A smart purchase takes some prep work. When it comes to buying art, there are a lot of things to consider to help guide you through the galleries. Here are some questions to ask yourself to point you in the right direction.
Markel Fine Arts. Skip to main content. Facebook Twitter Pinterest Tumblr. Shows by 5womenartists We Loved. Looking For a Place to Start? Try a Work on Paper. So You Like: Vermeer. This time, we're taking a look at Vermeer. Talking About: The Obama Portraits. So You Like: Midcentury Modern. To start, we're going to take a look at Frank Stella. In Conversation With Lisa Breslow. In Conversation With Nancy Cohen. In Conversation With Dana Oldfather. Detail of "Raspberries 1".
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Gold, E. J. | Gateways Books and Tapes
In Conversation With Samantha Haring. Detail of "Fermata". In Conversation With Kim Uchiyama. Detail of "Path".