#aberdeen art gallery

[artemlegere]

Dante and Beatrice

Artist: William Dyce (Scottish, 1806-1864)

Date: 19th century

Medium: Oil paint on canvas

Collection: Aberdeen Art Gallery, Aberdeen, Scotland

Description

This unfinished painting depicts Dante and Beatrice rising through the heavens. Dante Alighieri fell in love with Beatrice Portinari (1266-1290) in his native Florence. She died at the age of 24, but in his 'Divine Comedy', Dante imagines his reunion with Beatrice in the afterlife and she becomes his guide through the different levels of Paradise. He invests his love for her with religious significance and through it he is led to a state of grace. In this picture Beatrice is represented beside Dante pointing the way to the next higher sphere. The composition is focused on the movement of the two figures in a diagonal direction, which produces dynamism in the scene. They are crowned with laurels, the attribute of great artists and poets.

The religious and pure love that Dante describes in his poems was an important source of inspiration for the Pre-Raphaelite painters but Dyce's interest in this subject probably stems from his earlier friendship with the Nazarene's in Rome. Dyce made at least one other painting depicting Beatrice, also known as 'Lady with the Coronet of Jasmine' (Aberdeen Art Gallery), which was commissioned by Gladstone.

[preraphaelitepaintings]

Mariana

Artist: Dante Gabriel Rossetti (English, 1828-1882)

Date: 1870

Medium: Oil on canvas

Collection: Aberdeen Art Gallery, Aberdeen, Scotland

Description

The subject of the painting is taken from Shakespeare's play, 'Measure for Measure'. Mariana, a minor character, was also the subject of a poem by Tennyson. Rossetti's Mariana is lost in reverie - she has been rejected by her fiancé, Angelo, because her dowry was lost in a shipwreck. Her introspective gaze conveys her detached longing, giving no hint of the eventual re-union with her lover.

Rossetti's model was his lover, Jane Morris, who was married to the artist and designer, William Morris. Jane was herself a talented embroideress. She appears in a number of pictures by Rossetti at this time. The subject had a particular significance for Rossetti and his sitter, as it reflected their own predicament. His romantic attachment to Janey was particularly strong around this time and despite his involvement with other women, Janey's unusual beauty continued to obsess him.

[mythologypaintings]

The Bath of Venus

Artist: Sir William Richmond (British, 1842-1921)

Date: c. 1895

Medium: Oil on canvas

Collection: Aberdeen Art Gallery, Aberdeen, Scotland

Description

The beauty of the goddess Venus transcends the painting. The peach and emerald colours surrounding Venus’ body creates an almost golden glow on her skin as she steps into the water.

[vaampiricdecay]

COME W ME TO AN ART GALLERY FOR COLLEGE!!! 1!!!!

we r waiting 4 the bus to the bus station cause its so rainy and I cba to walk

we're on!! my headphones decided to die on me so I started charging them

at the bus station, it's like 10 mins b4 my bus

bus is here, waiting in the cold to actually GET ON THE DAMN THING

on the bus, finally going

this is bat, btw. I use him to ground myself if I have panic attacks

almost in aberdeen :p

got to the gallery 💪💪

top pics (wowwwasjajdjdk)

also sketched a bit while I was there, if u wanna see them ask and I'll post them!

[downthetubes]

Quentin Blake: Illustrating Verse exhibition on UK tour

The Quentin Blake Centre for Illustration is touring an exhibition of Quentin Blake's original illustrations around Britain

The Quentin Blake Centre for Illustration, the UK’s first and only charity for illustration, is touring an exhibition of Quentin Blake‘s original illustrations around Britain during 2023, and into next year, with more venues being sought. “The choice of moments, and a sense of discretion about what to draw and what not to draw, is particularly important in the business of illustrating poetry.” –…

[hometoursandotherstuff]

The pelvises of Christine Borland. Christine Borland is a Scottish artist who explores the fascinating intersections between art and medicine, life and death. This is an installation of 5  ceramic pelvises containing fetal skulls, which Borland based on antique obstetric models.

The pelvises & skulls are made of bone china — a type of porcelain that contained bone ash. Each set is hand-painted with an “oriental” pattern adapted from traditional 18th and 19th century English tableware.

Childbirth had a high risk for a woman, yet her value in society was linked to her ability to marry and reproduce. Instead of cups and saucers, Borland presents the female body as the thing which is most precious, fragile and commodified within the domestic setting.

[nonagalleryart]

I am at Aberdeen Comic Con this weekend and wanted to create a special t-shirt design for the event. So after talking with some lovely people in Glasgow I will be debuting this little chonk at the con. Come say hi if you’re going!

[ailishsinclair]

Up on the Roof of Aberdeen Art Gallery

You can now go up on the roof of the newly done-up Aberdeen Art Gallery. It’s quite nice up there among the green domes of the city. That’s the theatre straight ahead and Union Terrace Gardens (also going through the process of change) to the left. Arriving on the roof of Aberdeen Art Gallery I was relieved to arrive up on the roof during my recent visit. I’d displayed distinctly codger-like…

[lubentina]

Harold John Wilde Gilman (British, 1876 – 1919)

Grace Canedy (the artist's first wife), c.1904. Aberdeen Art Gallery & Museums

oil on canvas

[thunderstruck9]

James McBey (British, 1883-1959), El Marrakeshia, 1936. Oil on canvas, 79.1 x 65.2 cm. Aberdeen Art Gallery

[hildegardavon]

Charles Haslewood Shannon, 1863-1937

The Birth of Venus, 1923, oil on canvas, 105.6x107.6 cm

Aberdeen Art Gallery & Museums Inv. ABDAG003859

[marta-diablo]

‘Noel and Julian were possibly aroused’: The Mighty Boosh turns 20 – in pictures

 ‘Something magic happens when they get together’

While filming the surreal comedy, Dave Brown AKA Bollo was on hand with a camera to snap awkward kisses, creepy venues … and crack foxes ordering pie and mash

Tony & Dennis (Series 3 – The Strange Tale of the Crack Fox, 2007)

Dave Brown: ‘Lunchtime on set was a feast for the eyes. It was always a treat seeing cast members milling about munching on a jacket potato with ridiculous full face of makeup, asking for more cheese on their beans. Here, Noel Fielding (Tony Harrison) and Julian Barratt (Dennis the Head Shaman) pose for a quick shot before tucking into their pasta bake. Behind the Boosh 20, an exhibition by Boosh cast member Dave Brown AKA Bollo, is at the pop-up Behind the Gallery, London, 10-13 October. All photographs Dave Brown

Up on the Roof (Series 3 – Party, 2007)

‘During a particularly long scene, Noel and Julian look a little nervous and possibly slightly aroused as they contemplate their upcoming big kiss scene. I love the light and composition of this shot’

Tony & Saboo (Series 3 – Eels, 2007)

‘This was a particularly special scene. On Head Shaman Dennis’s stag do, Saboo rubs sun cream into Tony Harrison’s smooth pink crease, saying: “Don’t leave it in thick blobs, rub it in. Factor seven?! Shit off! I need factor 67 you ball bag!” It was always a hilarious pleasure to witness Noel and Richard Ayoade riffing off of each other in scenes, kinda like jazz, but jazz on bikes. Two very funny humans in ridiculous costumes at the top of their game, trying to out laugh each other with hilarious absurdities’

Luna Looks (Luna Park, Melbourne comedy festival, 2001)

‘Noel throws me his best blue steel look beneath the giant face of Luna Park as I lie on the pavement among the chewing gum and cigarette butts trying to get the angle. Melbourne festival was always very special, such an amazing city with brilliant crowds’

Come Play With Us (Aberdeen Future Sailors Tour, Press and Journal Arena, 2008)

‘The last gig of an insane tour. A strange place to end things after 99 dates that included Brixton, Wembley, Manchester and Sheffield but still, it was a great gig. Rich Fulcher was doing his usual dicking about pre-show in the corridors, grooving to tunes, practising his fossil moves. As I walked around the corner he was at the end and the blue suit reminded me of the Shining twins. I took two shots of him stood holding his own hand then comped them together. Way more terrifying than Kubrick’s version’

Hitcher Nabootique (Series 3 – Eels, 2007)

‘Loved this set: the sign, the lighting and one of my favourite characters, the Hitcher. Him walking up to the door in the rain was just a perfect moment to capture. All undercut by the ridiculous graffiti. Not sure why “loose change” makes me laugh so much, it’s one of those perfect examples of Noel and Julian’s writing and their way with language’

Noel Draws (Noel’s House during the Future Sailors Tour, 2008)

‘I spent many an evening pre-tour and sometimes during tour, in my flat or at Noel’s place, scribbling artworks for tour posters, DVDs, the book. The two of us produced all of that material. Old art school mates getting busy with the fizzy. We could draw those Boosh faces in our sleep, which became a bit of a problem some nights on tour in posh hotels’

Moody Naboo (Series 3 – Journey to the Centre of the Punk, 2007)

‘Naboo was indeed an enigma. Often found gazing into the middle-distance meditating deep astral conundrums, solving some of the world’s biggest problems and answering those age-old impossible questions like what flavour Pot Noodle he was going to have later when watching Columbo. Here is one of those moments in-between scenes shooting series three in a warehouse in a disused Ministry of Defence site somewhere in Surrey’

Foxy Man (Series 3 – The Strange Tale of the Crack Fox, 2007)

‘One of my favourite characters: those two voices, the laugh, the costume and makeup, terrifyingly hilarious! This is me capturing Julian just after lunch break walking back on set. It was a wonderful vision seeing the Crack Fox stood upright on two legs by the catering van ordering pie and mash from a visibly disturbed catering assistant, all while the real hungry Hackney crack foxes looked on through distant bushes in awe and jealousy’

Fossil Faces (Series 3 Rehearsals – American International Church, London, 2007)

‘Rich isn’t really acting in The Boosh. The character Bob Fossil is 92.4% Fulcher. A force of nature, he will crush any down moment anyone is having with his comedy fists and have you wetting your little blue pants in a hot minute. These shots were taken during rehearsals for series three in the American church on Tottenham Court Road in London. It was a pretty intense afternoon with some writing issues and a few moody clouds brewing. Then Rich provides these six faces and everyone’s laughing again’

Hippy Boosh (Series 2 – The Call of the Yeti, 2005)

‘Vince, Parsley and Naboo in full Polyphonic Spree get-up in front of the big blue studio 11 doors at 3 Mills Studios in east London. We’d just been shooting the song scene in Call of the Yeti and I was still in my Bollo suit. It always amused me when cast and crew from other shows filming at 3 Mills would walk past and assume this show had a Gorilla as the official set photographer’

Bendelack Directing (Pilot Episode –Tundra, Pinewood Studios, 2003)

‘Steve Bendelack directed loads of our favourites: Lee and Herring, Newman and Baddiel, League of Gentlemen. So when he was directing the pilot episode of Arctic Boosh at Pinewood Studios it was a pinch-me moment. Paul King took over from Steve when the first series was commissioned by the BBC. Steve was no doubt busy on something else. Or maybe he swerved it? Stewart Lee, who directed Noel and Julian in the Arctic Boosh stage show for the Edinburgh fringe in the late 90s, said it was like ‘trying to direct smoke’

Mutant Readers (Series 1 – Mutants, 3 Mills Studios, 2004)

‘Mike [Fielding] having some down time in his dressing room sipping on a brew and glancing across at a coupon for 10p off Monster Munch. Two trained thespians sit beside him on the smallest sofa in Europe; one reads a crime novel and an unshaven Pete from Dixons in the middle reads about how Bolton are on the brink’

Graffiti (Series 3 – The (Power of the) Crimp, 2007)

‘I’ve known Noel for over 30 years and Julian for over 25. Something magic happens when those two get together. They’re one of the great double-acts. It was never easy getting a decent shot of them together. Noel on his own was easy; he’d spot a camera lens a mile away in heavy fog. Julian, on the other hand, was usually eating, talking, squinting those already tiny eyes or hiding somewhere in a cabinet. I love these two nincompoops like brothers’

x

[caedmonofwhitby]

Train Landscape, 1940

Eric Ravilious (1903–1942)

Watercolour

Held at Aberdeen Art Gallery

[jewellery-box]

Lilac Evening Dress, 1895

Brocade corded silk, lace and flowers

© Aberdeen Art Gallery and Museums Collections

[yama-bato]

Ythan Mouth

James McBey (1883–1959)

Aberdeen Art Gallery & Museums

[mybeingthere]

Interesting lonely woodcuts by Pauline Jacobsen (1934 - 2014, British).

Pauline Jacobsen studied at Ealing Technical College & School of Art (1949) and then studied at The Slade School of Fine Art in London (1952). Here she studied wood engraving and etching under John Buckland Wright. In 1954 she was elected as a member of the Society of Wood Engravers. She had several one man exhibitions and exhibited regularly with the Society of Wood Engravers.Her work is held in the Aberdeen Art Gallery. She lived most of he life in Scotland and had five children. Her wood engravings are known for her use of the natural grain in the wood which she used to beautiful effect to make her prints, which often have a spiritual theme. She also made wood carvings and sculpture.