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Post by Deleted on Nov 26, 2020 20:29:30 GMT
Cheers!
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~ / % ? *
god
disambiguating goat herder
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Post by ~ / % ? * on Nov 29, 2020 18:28:20 GMT
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Post by Mr. FOLLARD on Dec 15, 2021 19:39:52 GMT
Let's get this back on track before GAV destroys it with his tomfoolery Look at this WONDERFUL Hopper painting - Tables For Ladies (1930). Please click on it to see it in a larger format
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Post by DarknessFish on Dec 15, 2021 19:50:55 GMT
Patrick Caulfield - After Lunch
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Post by DarknessFish on Dec 15, 2021 19:53:01 GMT
Walter Sickert - Self Portrait
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Post by Half Machine Lipschitz on Dec 15, 2021 20:05:12 GMT
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Post by Deleted on Dec 16, 2021 10:00:48 GMT
Can we say the artist and title when we post. Thanks.
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Post by Reactionary Rage on Dec 16, 2021 10:11:55 GMT
I saw this in Rome. There's something about the richness of Caravaggio's colours that I like. The inky blackness really adds drama and intensity. It's cinematic almost. And Goliath's face, which I know is Caravaggio himself, has the air of the grotesque realness about it that you don't seem to find in religious art that naturally leans towards beauty and perfection. I like the slightly drooping eye. David's face is not one of triumph or glory, in fact it's quite pensive, reflective, like he has a sense of sympathy towards the man he has just killed. I was looking at him and thinking what would you be contemplating at that moment in your life? Is this the moment where he grows up? Becomes a man? The weight of that realisation is a heavy thing. I guess it's the point where he ceases to be simply David and becomes DAVID which is something else entirely and maybe he's contemplating the enormity of that too.
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Post by Reasonable good Nick on Dec 16, 2021 10:51:37 GMT
I have no real emotional connection to any painting. None. I used to mostly take or leave paintings and visual art, barring a couple of artists I really liked (Hopper was the main one), but over the last ten years or so I've become much more interested in it, and I think I've developed a close emotional reaction to some artists' work. A lot of that's down to Cath, she studied art at college and has been regularly going to galleries for decades. We've had a joint Tate membership for a fair while now and before Covid hit we used to get down to London at least two or three times a year to see various exhibitions at the Tate, National Gallery, the Courtauld and whatnot. We were away last weekend in North Wales, and we stopped in at the Tate Liverpool on the way home to see the show of Lucian Freud's portraiture, which was pretty good. He's not a great favourite of mine (I tend to prefer his contemporary and friend Francis Bacon) but I still enjoyed it. Anyway, great thread.
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Post by Reasonable good Nick on Dec 16, 2021 11:22:56 GMT
I very much like a lot of British artists of the early-to-mid twentieth century, mainly the Vorticists and some of their contemporaries, many of them war artists - Paul Nash, Wyndham Lewis, Christopher Nevinson, Helen Saunders, Mark Gertler, Ben Nicholson, Stanley Spencer et al, and also Edward Burra that G mentioned earlier. I saw this recently at the Laing Art Gallery in Newcastle, and I stood gazing at it for quite a while. Even just a reproduction is striking, but it's quite something to see the real thing. Christopher Nevinson - 'Twentieth Century'
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Post by cousinlou on Dec 16, 2021 12:01:27 GMT
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Post by Deleted on Dec 16, 2021 12:27:20 GMT
I very much like a lot of British artists of the early-to-mid twentieth century, mainly the Vorticists and some of their contemporaries, many of them war artists - Paul Nash, Wyndham Lewis, Christopher Nevinson, Helen Saunders, Mark Gertler, Ben Nicholson, Stanley Spencer et al, and also Edward Burra that G mentioned earlier. I saw this recently at the Laing Art Gallery in Newcastle, and I stood gazing at it for quite a while. Even just a reproduction is striking, but it's quite something to see the real thing. Christopher Nevinson - 'Twentieth Century'One of the things I like about Art is there is always someone new to discover once you go beyond the big names. Just the first twenty years of the 20th century are a deep treasure trove in themselves.
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tory
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Post by tory on Dec 16, 2021 12:57:37 GMT
Portrait of Jan de Leeuw, Van Eyck, 1436. This has an intimacy that I've never really encountered with any other painting. I've seen the original in the flesh, many years ago, and was taken aback by just how the eyes made a powerful connection with me. The countenance seems modern and very much alive, as if he's waiting for you to answer a question that he's posed you. In terms of being able to make some sort of link to the early modern world, this portrait does this in a way I've never experienced with anything else.
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Post by Reasonable good Nick on Dec 16, 2021 13:00:01 GMT
They really are. There was a great exhibition of Wyndham Lewis's work (and some of the other Vorticists) at the Imperial War Museum North about five years ago, which was great for us as it's five minutes' drive from our house. Mark E Smith actually did a spoken word gig to open it, he was apparently a great admirer of Lewis. Anyway, we went and it was really good. I wasn't that familiar with his work beforehand, but afterwards I started reading more about Vorticism and Futurism, and they turned out to be fascinating movements. Coincidentally, this just popped up on my Facebook timeline too - 'Modern Times: British Prints, 1913–1939' at MOMAI just wish I could get to New York to see the exhibition.
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Post by Mr. FOLLARD on Dec 16, 2021 15:20:12 GMT
Otto Dix, Self Portrait, 1942
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