okay I will confess to a little scribbling here and there and for many years I thought my painting/drawing was the only way I could express my creativity, then I found other ways such as my sewing, my sculpting/doll making, and my writing, all these areas of my life are most often inspired by the art of others, much as I love various types of music it doesn’t inspire me to write or create in the same way as pictures do, I am a very visual person and you will find that of all the blogs out there the ones I follow the most of is photography.
here then is a new section called quite simply art I may put it into sections at a later date but for now I would just like to share with you my fave artists.
and so to consider any one artist above others is difficult for me, art in itself is a difficult subject they do say art is art for arts sake, I do not agree, you see dear reader I do not conform to the idea that anything and everything is art, not to me it isn’t, for me it has to satisfy some basic feelings of aesthetic value, of depth, of reason, of inspiration, what do I feel when looking at the piece of work? am I drawn into it? am I repulsed by it? am I impressed by it? am I attracted to it? and of course why am I feeling these emotions, is art to surprise the viewer? is art to shock the viewer? should art be made to conform?
I feel that art is one of the few areas in life in which there should be no conformity and yet at the same time I will refuse to see such work as ‘the unmade bed by Tracey Emin as art,
it is just a messy bed it serves no purpose to me or anyone other than showing us what an example of a messy bed is, yet there it exists in exhibition for all to see labelled as a work of art.
neither do I think half a dead cow pickled and strung up is art, it’s not, it is never be any stretch of my imagination ever going to be art it is just half a dead cow, it serves no purpose as art nor as anything other than an example of half a dead cow!
so here we have two good examples of what is not now nor ever will be art, and by the same token I will never consider Ms Emin nor Mr Hirst artists, nope, no, and I say again no, all it will ever mean is that this world contains some poor fools who are about to be parted with their money under the guise of having wasted some space with some meaningless offensive imagery and that is all it will ever be in my book.
Okay you say so now instead let us have some good examples of those lucky enough to be given the title of artist and that ladies and gentlemen is where things get real, and an awful lot busier because I loves me an awful lot of artist for all sorts of reasons, from Kinkade to Dali I love them and most things in between, and I could not for the life of me pick them in order of preference they are all more or less equally loved by little old me and I constantly find new and inspiring artists which is great so in no particular order I shall start with my love for Dali
now my dear dali I do feel as if I know the man yet no I have never had that dubious pleasure, you see one of the areas that artists are not supposed to go is ‘selling out’ people always see artists as someone who is dedicated to their work to their art to their principles and that dear reader is why we have the term starving artists because to make money at being an artist you frequently have to die or at the very least lose some generally a part of your body or better still your mind, I have no idea why this ludicrous state of affairs exists but it does so when i find a n artist alive and making money without having to part with some piece of their anatomy then I support and admire them there is no world more fickle than the art world
Date: 1933-35 Material Used: Oil on panel Size: 12 1/2 x 15 1/2 inches
see dali was different he rather brilliantly i thought did not care what anyone thought and he was lucky to be around during an era where people were becoming more accepting or art and artists he was given opportunities a lot of artist would die for and he would happily ‘sell out’ to anyone who cared to part with money and so we are lucky that there are examples of his art all over the place and the joy of still finding other gems he casually threw away.
now Dali is considered king by many of my absolute fave of all art movements and that is surrealism
Date: 1940 Material Used: Oil on canvas Size: 10 x 20 inches
some background stuff on him:-
Salvador Dalí was born on May 11, 1904, in Figueres, Spain. From an early age, Dalí was encouraged to practice his art and would eventually go on to study at an academy in Madrid. In the 1920s, he went to Paris and began interacting with artists such as Picasso, Magritte and Miró, which led to Dalí’s first Surrealist phase. He is perhaps best known for his 1931 painting The Persistence of Memory, showing melting clocks in a landscape setting. The rise of fascist leader Francisco Franco in Spain led to the artist’s expulsion from the Surrealist movement, but that didn’t stop him from painting. Dalí died in Figueres in 1989.
Date: 1938 Material Used: Oil on canvas Size: 25 5/8 x 32 inches
Dalí had an older brother, born nine months before him, also named Salvador, who died of gastroenteritis. Later in his life, Dalí often related the story that when he was 5 years old, his parents took him to the grave of his older brother and told him he was his brother’s reincarnation. In the metaphysical prose he frequently used, Dalí recalled, “[we] resembled each other like two drops of water, but we had different reflections.” He “was probably a first version of myself, but conceived too much in the absolute.”
dali was very much shaped by this adoration of his dead brother and it would be one of the main influences along with his meeting his love gaia
Date: 1943 Material Used: Oil on canvas Size: 18 x 20 1/2 inches
dali was a temperamental man and emotional, he had many disagreements with many different people, he liked to stand out from the crowd and often chose to wear outlandish outfits and his trademark mustache, he would fall in and out of favour and was often exiled from the surrealists group.
so time to update to another artist i love and that has to be
now this is a guy I seriously love and yes I know I say that about just nearly artist I love but this man again was someone I was lucky enough to be introduced to when young -there was definite perks to growing up in the seventies – and as such he was a huge influence on my life not just how he portrayed life through his paintings but he also shaped and influenced how I saw life; there was endless possibilities I just had to let me imagination take me there
so some background stuff
Rene Magritte was one of the most well known and famous surrealist painters of all time, yet it was not until his 50s, when he was finally able to reach some form of fame and recognition for his work. He was extremely influential in the transformation of surrealism art, to the pop art movement, with the work he created, and the distinct style which he took with the creations that he made during the course of his career. Much of the work created by Rene Magritte, takes everyday, normal objects, and he would simply rearrange the figures, and locations, forcing the viewer to take a deeper look at what was in front of them, and at what the image truly represented.
Rene Magritte was born in 1898, to a wealthy manufacturer father. In 1912, his mother committed suicide, and at this time Rene decided to study at the Academie des Beaux-Art, which was located in Brussels. Many of the early works he did, were reminiscent of the style in which Pablo Picasso painted, where he followed a Cubo-Futurist style of art. One such example of this work, was a piece he created in 1919, Three nudes, In 1922 he married Georgette, and took a number of small jobs, including painting cabbage roses for a wallpaper company, in order to be able to pay the bills.
During the early period of his career, shortly following his marriage, Rene Magritte would spend the free time that he had, creating art forms and worked on a number of pieces; it was during this time period that he realized surrealism was the art form which he most enjoyed. The Threatened Assassin was one of his earliest pieces in 1926, which showcased the surrealist style which he had been working on; The Lost Jockey was another piece that he introduced in 1925, which also showcased this art form. Over the course of his career, he produced a number of variants on this piece, and changed the format to recreate what the viewer was experiencing.
In 1927, Rene Magritte had his first one man show, which took place at the Galerie la Centaurie, which was in Brussels. During this period of his life, he was producing nearly one piece of art work each day, which made for an extensive showing, and a variety of unique styles for visitors of the exhibit to see. And, in 1927, he also made the move to Paris later on in the year, in order to join the surrealists. From 1927, through 1930, much of the work which Rene Magritte created, was described as cavernous, with many of his paintings showcasing bizarre scenes, with a hint of eroticism.
After a fallout with fellow artist Andre Breton, Rene Magritte moved back to Brussels, where he stayed for the remainder of his life. During the majority of his career, his work followed a surrealist style, and he very rarely, if ever, strayed away from this form. Much of the work he created depicted similar scenes, and recurring themes. Some of his favorites were floating rocks, or creating a painting within a painting, and he also used many inanimate objects, within a human figure, creating the distinct styles which other artists did not.
During the course of his career, Rene Magritte would also use famous paintings, which were created by other artists, to put his own surrealist twist on it. One of the works he did, was recreate The Balcony (a piece after the masterpice of the same name, by Manet ), and in this piece he replaced the figures that were in the image, with coffins. This, was one way for Magritte to showcase his style, and to create a unique design, forcing viewers of his pieces, to look outside of the norm, and focus on the distinctive features which were not originally present.
Along the similar lines, and with a focus on the surrealist style which he stayed true to, during his career, Rene Magritte began to work on sculptures at a later part of his career as well. He had a playful and provocative sense of humor, which worked in to many of the pieces which he created, and which became some of his most well known pieces throughout the course of his career. One such example of this is the series of pipe paintings which he created. The fascination he had with a paradoxical world, is clearly seen when you view the entire series as a whole piece, rather than viewing the images on their own.
Although in recent years many of the works created by Rene Magritte have been on exhibit, during the course of his career he also had certain features exhibited in Brussels, as well as around the world. In 1936, one exhibit was held in New York City, and following this, two retrospective exhibits were also held. One was in 1965, at the Museum of Modern Art, and a second was held in 1992, at the Metropolitan Museum of Art.
If the dream is a translation of waking life, waking life is also a translation of the dream. ”
– Rene Magritte
Not only were a number of artists intrigued by, and influenced by the work Rene Magritte created, but popular culture, and the art world in general, were extremely influenced by his creative, and unique ability to take something so ordinary, yet make viewers of his pieces see something completely different. His ability to present figures in a suggestive, yet questioning manner, made his work extremely desirable, especially during the 1960s. In fact, much of his work has been plagiarized and used in books, print ads, and other manners, due to the distinct style, and the inability of artists to create in a similar manner.
Although he died in 1967, of pancreatic cancer, much of the work of Rene Magritte is still on display today, in his hometown, and around the world. Not only did he introduce a new style, he was a leader in the surrealist style. And, he brought an entirely new way of looking at art, with the paintings, as well as some of the sculptures which he created, during the course of his career.
the man is a hero and a true artist and I cannot imagine my life without any of his art in it for me the world lost another amazing soul when we lost magritte and I for one will keep showing his art and hopefully introducing new people to his art not as any kind of favour nor even as some way of keeping his work in people awareness but because without knowing of his work life is that bit more dull, his art brings life to life, his art brings a miracle of awareness of new and different possibilities and a new way of seeing.
M C Escher
Escher has fascinated me from my very young i think he may have been one of the very first artists I was lucky enough to be exposed to and I knew instantly I loved his work. Through my childhood I remained faithful to him and even a little obsessive I was more than impressed with the skill he had but to produce such works using nothing more than a pencil half the time well that was inspirational for me and I avidly collected books and prints anything I could of his and even to this day my front room has a wall for just my Escher prints. When I grew older I remember a book that for the first time told me some background information on him and my mind was blown as strange as it may sound i have a deep love and respect for maths and physics and guess what Escher it turns out was a math genius according to the book I read he used math in a lot of his pictures and so here I knew why his work was not only aesthetically pleasing but it was also satisfying some deep love within me without my even knowing it.
The Dutch artist Maurits C. Escher (1898-1972) was a draftsman, book illustrator, tapestry designer, and muralist, but his primary work was as a printmaker. Born in Leeuwarden, Holland, the son of a civil engineer, Escher spent most of his childhood in Arnhem. Aspiring to be an architect, Escher enrolled in the School for Architecture and Decorative Arts in Haarlem. While studying there from 1919 to 1922, his emphasis shifted from architecture to drawing and printmaking upon the encouragement of his teacher Samuel Jessurun de Mesquita. In 1924 Escher married Jetta Umiker, and the couple settled in Rome to raise a family. They resided in Italy until 1935, when growing political turmoil forced them to move first to Switzerland, then to Belgium. In 1941, with World War II under way and German troops occupying Brussels, Escher returned to Holland and settled in Baarn, where he lived and worked until shortly before his death.
The main subjects of Escher’s early art are Rome and the Italian countryside. While living in Italy from 1922 to 1935, he spent the spring and summer months traveling throughout the country to make drawings. Later, in his studio in Rome, Escher developed these into prints. Whether depicting the winding roads of the Italian countryside, the dense architecture of small hillside towns, or details of massive buildings in Rome, Escher often created enigmatic spatial effects by combining various—often conflicting—vantage points, for instance, looking up and down at the same time. He frequently made such effects more dramatic through his treatment of light, using vivid contrasts of black and white.
After Escher left Italy in 1935, his interest shifted from landscape to something he described as “mental imagery,” often based on theoretical premises. This was prompted in part by a second visit in 1936 to the fourteenth-century palace of the Alhambra in Granada, Spain. The lavish tile work adorning the Moorish architecture suggested new directions in the use of color and the flattened patterning of interlocking forms. Replacing the abstract patterns of Moorish tiles with recognizable figures, in the late 1930s Escher developed “the regular division of the plane.” The artist also used this concept in creating his Metamorphosis prints. Starting in the 1920s, the idea of “metamorphosis”—one shape or object turning into something completely different—became one of Escher’s favorite themes. After 1935, Escher also increasingly explored complex architectural mazes involving perspectival games and the representation of impossible spaces.