02/04/2024
Carl Heinrich Bloch ( 1834-1890) - danish painter
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World Art Magazine
02/04/2024
Let’s turn our backs to 2019. Together with this lady, painted in 1904 by the great Vilhelm Hammershøi. Sad, introvert, tender, and still crying out loud. I feel my heart sinking every time i look at it. And now even more so, because you’re watching it with me. (I come back to Hammershøi’s women’s backs and open doors very soon. Yes: NewYear is an open door.)
NewYear. Right, - joy joy joy. Well, you know what? I’ve had it up to here with joy. There’s too much of it, these days. But really. Can’t stand it any longer. I took it in, the sticky syrup, meant to butter me up – and now it’s dripping out of the corners of my mouth, red, green and blue, onto my shoes. Joy! Got to get rid of these shoes too, btw. They’re so ‘10s’. We’re entering the 20s goddamned. I want roaring 20s shoes. With no syrup on them. I want joyless shoes.
So this is one for all of you out there NOT feeling cheery. Who are feeling sad, actually. The ones who know: hey, life is beautiful, and amazing, flabbergasting, spectacular even, - but, is it easy? No it’s not. Gimme a break. Of course it isn’t. And it won’t be in 2020 either.
This is one for the many out there, who, heads up, in about 10, 4, 2 hours will stand watching the sky, and take in all those colours, and whisper: “hurray, fireworks. Just what i needed. Hurray. Hurray. Hurray”, and then blow the party horn. Once. Because in the middle of the second try tears well up and fill your throat and the horn’s mouthpiece got stuck. Yeah, great start.
Btw here’s my 2020 wish for all you artists out there. In these roaring, fast times: dare to be silent and slow. Dig it up from depths unseen: it’s all in you. Take your time. Then blow us away. No, not on your horn, silly.
We know you will. Hey, there’s no hurry, the 20s have only just begun roaring.
Here’s to you gang. Let’s turn our backs.
A HEART-RENDING DELIGHTFULLY SAD 2020 TO YOU ALL!!! And a little bit of joy too, of course. Once every while.
02/04/2024
Duńczyk Vilhelm Hammershøi, na przełomie wieków, malował głównie swoją żonę Idę w stonowanych wnętrzach. Według mnie tak wygląda spokój…którego Państwu i sobie życzę.
02/04/2024
"Let me tell you this: if you meet a loner, no matter what they tell you, it's not because they enjoy solitude. It's because they have tried to blend into the world before, and people continue to disappoint them." -Jodi Picoult
© Artworks by Vilhelm Hammershoi
02/04/2024
'We are so patchwork, and so shapless and diverse in composition that each bit, each moment, plays its own game. And there is much difference between us and ourselves as there is between us and others.' ― Michel de Montaigne
"Dust Motes Dancing in Sunbeams (Støvkornenes dans i solstrålerne )", 1900 Scandinavian Art - Mia Feigelson Gallery Interior Painting - Mia Feigelson Gallery
By Vilhelm Hammershøi (Danish, 1864-1916)
oil on canvas; 70 x 59 cm (27.6 x 23.2 in.)
© Ordrupgaard Museum, Charlottenlund http://bit.ly/2Ll1BQD
https://www.facebook.com/ordrupgaardmuseum
Overview:
"When Vilhelm Hammershøi exhibited the painting, Hammershøi called it Solskin (sunshine) or Solstråler (sunbeams). It was only later it was given the more poetic title of Støvkornenes dans i solstrålerne.
This picture looks like a study of the light in all its forms: In the vibrant play of reflections over the walls and in the fall of the light shadows across the floor, the light almost seems to dissolve the fixed boundaries of the room. At the same time it takes on its own fixed form, penetrating with such strength and presence that it manifests its own reality. Almost tangibly, it falls in from the window and lies like a geometrical form across the floor.
At once visible and non-material, it takes on a mystical quality captured in the concrete scene. Hammershøi in fact called the picture purely and simply Sunshine or Sunbeams when he exhibited it. It was only later given its more lyrically narrative title Dust Motes Dancing in the Sunbeams.
Like many of his contemporaries, Hammershøi used photography as a basis for his works. This is also the case here. Indeed, the painting conveys the impression of a black and white photograph with all the intermediate greys while the dusty rays of sunlight give the room a highly poetic look.
As in the paintings of the Romantic period, the window can be seen as a symbol of longing and dreaming, connecting the room's interior with the world outside, juxtaposing near and far." - See more http://bit.ly/2Ll1BQD
About the painting, by Richard Dorment, C.B.E., F.S.A., British art historian and exhibition organiser (b. 1946) - reports from Tate Britain for The Telegraph (2008)
"The luminous paintings of Vilhelm Hammershoi radiate a deeply seductive sense of calm and contentment.
In 'Dust Motes Dancing in Sunbeams', it looks as though the Danish painter Vilhelm Hammershoi has gone to a great deal of trouble to paint nothing at all. But, in that nothing, look what a world of visual sensation he explores.
Painted in 1900, the picture shows an empty room in the artist's own residence, a flat in a 17th-century building in the centre of Copenhagen. There are no people, no furniture, no light fixtures, and no rug - just grey, panelled walls and the slanting rays of winter sun streaming through window panes to cast a pattern of light and shadow on the bare wooden floor.
Caught in bands of sunlight, millions of particles of dust have suddenly become visible - but not for long. The moment a cloud passes or the position of the sun changes, the long, straight streaks of light and dark will disappear.
The picture is only partly a description of a common natural phenomenon. The longer we look, the more we see it as a formal arrangement of squares and rectangles formed by the window and its panes, by the door and its inset panels, and by the panelling on the wainscot and walls.
As if to draw our attention to the underlying abstraction of the composition, the artist doesn't paint the k**b on the door. It would have been an unnecessary detail upsetting the compositional structure that gives the picture its feeling of stability and calm." - See more at http://bit.ly/2LBvCsc
About the Artist http://bit.ly/Vilhelm_Hammershøi
02/04/2024
'Three things in human life are important: the first is to be kind; the second is to be kind; the third is to be kind.' ― Henry James
"The Three Sails (Las tres velas)", 1903
By Joaquín Sorolla y Bastida, Spanish painter who excelled in the painting of portraits, landscapes and monumental works of social and historical themes. His most typical works are characterized by a dexterous representation of the people and landscape under the bright sunlight of Spain and sunlit water (1863-1923)
oil on canvas; 96.5 x 137.8 cm (38 x 52.3 in.)
Private Collection
Overview:
"Joaquin Sorolla y Bastida painted' Las Tres Velas (Three Sails)'on the beach of El Cabañal during the summer of 1903. One of the most luminously eloquent of his many images of the fisherwomen of his native Valencia, Las Tres Velas marks Sorolla's artistic passage to a new level of creativity.
Sorolla was already one of the world's most honored painters when he launched his 1903 campaign of open-air painting among the fishing communities on Spain's Mediterranean coast, but in the course of that summer Sorolla pushed his art to a new monumentality and laid claim to a broad new palette of color effects. Lost from public view for a century, Las Tres Velas consolidates a decade of Sorolla's painting experience into an unforgettable image of the womenfolk of his beloved homeland.
The asymmetry of Sorolla's eye-catching composition immediately announces the distinctive ambition of 'Las Tres Velas': three barefoot women of different ages, pulling together as they walk against the wind, are juxtaposed with a sweeping, open line of billowing sails on low-slung fishing skiffs that lumber into shore. Well beyond the picture's edge, the women's progress will intersect with the returning boats, but it is only the empty baskets, swinging awkwardly over the oldest woman's forearms, that connects their purpose to the distant fishing fleet.
The very emptiness of the open shore spreading across the lower right corner of the painting emphasizes the unswerving advance of the fisherwomen who know their way without a glance to the boats. Wind snaps their patterned scarves and twists their aprons against their legs; the damp breeze glosses the rude wicker with prismatic color; and the early morning sunlight glances off a feature or a texture with little regard for form or beauty, yet each of the women has her own age, her own identity.
One of Sorolla's most ambitious early successes with the theme of the sea 'La vuelta de la pesca' or 'Bringing in the Catch' (Museo Nacional de Bellas Artes, Argentina see the painting http://bit.ly/2P390Gl ) offers a telling comparison to Las Tres Velas. Virtually every Valencian motif to which Sorolla would later return -- billowing sails, brawny oxen, colorfully dressed women, dancing children, and long, streaking shadows -- is introduced in this expansive seascape of about 1897-98.
Sorolla's skill at orchestrating color and in marrying complex figural groups is shown to good advantage in La vuelta de la pesca, but the painting gives little indication of the particular gifts that would soon set Sorolla well apart from the vast troupe of marine painters working throughout Europe.
By 1901, once again in Valencia, Sorolla took up a subject from the right hand side of the earlier painting, creating 'Las Sardineras', a group of women gathered around a tub of fish and the fishwife offering them for sale.
Moving his figures well up in the foreground, emphasizing their huddled, pressing eagerness with a jumble of similar baskets, and weaving soft lavendar tints and and acidic green-browns into the prevailing blue and orange color scheme that pulls the women, the sea and the beach into harmony, Sorolla firmly staked a claim to a more sophisticated artistry that would bring so much grace and power to his many subsequent scenes of Valencian fishing life.
Finally, in 1903 with Las Tres Velas and perhaps a dozen further seascapes, Sorolla began to make the air and wind, the water and light of Valencia, leading actors as prominent in his paintings as his fisherwomen or bathers; Sorolla's achievement as a profoundly modern master of a realism tempered by abstraction was complete.
Sorolla exhibited 'Las Tres Velas' in the Berlin international exhibition of 1904, the last time it would be seen publicly for a century (a black and white photograph in the Sorolla family archives kept the painting's existence on record). Either during the exhibition or shortly thereafter, Las Tres Velas was acquired by Max Steinthal, then one of Berlin's leading bankers.
During the mid-1890s, Steinthal and his wife F***y had built a magnificent home in Charlottenburg, a fashionable, parklike section of Berlin and throughout the first decade of the twentieth-century they built up a collection of both modern and old master paintings displayed throughout the house.
'Las Tres Velas' can be seen hanging above Steinthal's desk in an undated family photo. Steinthal's talents as a financier were as precocious as Sorolla's as a painter: he had been a director of the Deutsche Bank since his early twenties and made an enduring mark on his native city by structuring the complex financing to build Berlin's underground and elevated railways. Steinthal continued to serve the Deutsche Bank as a director well into his eighties, until N**i proscriptions forced him, as a Jew, to resign in 1939.
Soon thereafter, the Steinthals were obliged to sell their home at 119 Uhlanstrasse. Although their sizable family of children and grandchildren escaped the worst of the N**i persecution, Max and F***y Steinthal chose to live out the last years of their lives in a hotel in Berlin, dying in 1940 and 1941 respectively, just before they were slated for deportation to a concentration camp.
Little of their former life remained to them in those dire years, but F***y was able to prevent the seizure of their art collection by transferring the works to one of her sons-in-law, a non-Jew, who managed to move the paintings, drawings and prints out of Berlin to Dresden.
When that son-in-law, however, chose to flee East Germany following the closure of that sector after the war, he had to leave the crated Steinthal paintings behind. Seized by the GDR as property of a state enemy, the paintings were stored in the basement of the Dresden Gemäldegalerie and forgotten for fifty years.
Only with the catastrophic flooding of the Elbe River during the summer of 2002 which threatened much of the artwork and apparatus stored throughout the lower reaches of the Gemäldegalerie complex did the crates come back to light. Through the provenance studies taking place at the museum, the paintings were ultimately returned to the far-flung descendants of Max and F***y Steinthal." - See more at http://bit.ly/2Cp4DOX
02/04/2024
FERNAND KHNOPFF
02/04/2024
'The tree which moves some to tears of joy is in the eyes of others only a green thing that stands in the way. Some see nature all ridicule and deformity... and some scarce see nature at all. But to the eyes of the man of imagination, nature is imagination itself. As a man is, so he sees.
So you certainly mistake, when you say that the visions of fancy are not to be found in this world. To me this world is all one continued vision of fancy or imagination, and I feel flattered when I am told so... I see every thing I paint in this world, but everybody does not see alike.'
― William Blake to the Reverend Dr J Trusler, 23 August 1799
"Shadows", February-March 1922
By Daniel Garber, American Impressionist landscape painter and member of the art colony at New Hope, Pennsylvania (1880-1958)
oil on canvas; 76.2 x 71.1cm (30 x 28 in.)
Private Collection
Overview:
"Although the artist did not indicate a location for this work in his records, his son, John Franklin Garber, noted that it depicted his father's cottage (Bitter Sweet) in Lumberville, Pennsylvania, not far from Cuttalossa.
The artist first captured in a photograph the image of the tree shadow on the side of the building, composed very similarly to the completed painting. In the canvas, however, he eliminated most of the small trees behind the shed and greatly developed the opposite shore of the river. A figure was added at the wood pile, and other small additions and deletions were made as well."
02/04/2024
'To see a World in a Grain of Sand
And a Heaven in a Wild Flower
Hold Infinity in the palm of your hand
And Eternity in an hour.' ― William Blake 'Auguries of Innocence' (1803)
"On the Sands", 1900
By William Henry Margetson, English painter and illustrator, mainly known for his aesthetic portraits of women (1861-1940)
oil on canvas; 86.5 x 112 cm (34 by 44 in.)
Private Collection
Curatorial Information:
"In a vast and deserted beach a beautiful young woman stands on the shore and watches the rising sun over the sea. She is dressed in a gown typical of the Arts-and-Crafts movement fastenend at the front with a large decorative brooch.
This romantic image of quiet reflection is a particularly elegant painting by Margetson, a large and harmonius picture that captures the spirit of optimism at the turn of the twentieth century.
Painted in 1900 it is an example of the subjects chosen that year by various artists that depict the subject of rejuvenation as the nineteenth century passed into history and a new century dawned.
Margetson was one of the late nineteenth century artists who experienced a traditional Victorian art training at the South Kensington and Royal Academy schools and combined a sound knowledge of anatomical drawing with a rich and poetic style of painting based upon continental art.
Thus his paintings have a fresh and modern colouring and subject-matter which is similar to French and Belgian artists and the contemporary painters of Scandinavia.
His paintings epitomise the style of painting and design that The Studio magazine particularly favoured at this time." ― Find out more http://bit.ly/2Libw7L | Source: Sotheby's, London
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