#animations inspired by de chirico | Explore Tumblr posts and blogs

emmanuelmonzonphotography · 6 years ago

Link

EXHIBITION

Urban Sprawl: Emptiness Emmanuel Monzon

16 March - 4 May, 2019 Reception: Saturday 16 March 2 - 5 p.m.

Robert Kananaj Gallery is honoured to bring to the Toronto public an opportunity to experience the photographs of Emmanuel Monzon. When so much is invested in what is loud and in your face, Monzon's "Urban Sprawl" series finds an opposing refuge in emptiness and silence. The artist invites one's experience, conversing in a no-man's land bordering the collision of cultures.

"...I capture places of transition, borders, passages from one world to another. Am I leaving a city or entering a new environment?... If I could sum up the common theme of my photos, it would be about emptiness, silence." - Emmanuel Monzon

This solo exhibition at Robert Kananaj Gallery of photographs by Emmanuel Monzon, is his first in Canada.

Emmanuel Monzon is a photographer and visual artist based in Seattle, WA. He graduated from the Academy of Beaux-Arts in Paris, France with honours. His work has been featured throughout the US, Europe and Asia through exhibitions, selections and various awards. Through his work, he explores and questions the signs of urban sprawl in our visual field. His photographic process is influenced by his background in the plastic arts.

Emmanuel Monzon at Robert Kananaj Gallery

by Cary Benbow

The work of Emmanuel Monzon embodies an approach of capturing the aesthetic of the banal, and grasping the everyday scene in such a way as to render it both an image and a screen for the projection of wishes and fantasies in the intermediate zone between urban and rural America. The uneasy emptiness found there results in an independent identity.

Monzon’s work falls into a space bordered traditionally and contemporarily by Giorgio de Chirico, Edward Hopper, Richard Misrach, and Michael Kenna. Formal aspects of Monzon’s images echo aspects of rendering the inanimate and the animate in a play of light and shadow, forms and patterns. Monzon’s animate elements are blatantly absent, but nonetheless, this deliberate strategy is hauntingly reminiscent of their cropping, use of foreground and concentration on visual elements which Monzon uses to make a comment on urban sprawl, and the twenty-first century tension experienced between occupied and unoccupied spaces. Kenna and Misrach both deal with the subject of landscape and explore the effects of human interaction and isolation. Their visions are achieved through long exposures, or expansive vistas, but Monzon chooses to take the baton of simplicity and clarity, and drive away with it. His automotive wanderings spur meaningful photographs in his response to the land. His quiet studies of shape, form, pattern, signage and landscape are a respite amidst the uneasy ‘non-places’, which he associates to the expansion of the urban or industrial landscape in the American natural landscape.

Monzon chose to photograph the in-between state found in the American landscape. He captures places of transition. A visual segue which gives the traveller an enigma. The limbo caught by his lens holds the viewer in check, and begs the question: am I leaving someplace or entering another? The disconcerting environment inspires him. The emptiness in both the urban landscape, and in the great American spaces. He mixes two approaches: The codes of the new topographics and the concept of ‘in-between two states’ as inspired by the anthropologist Marc Auge. These transitional non-places are like intersections or passages from one world to another, such as going from a residential area to an industrial area. Monzon includes views of tourist locations which are altered by human influence. We often find a feeling of emptiness, of visual paradox when encountering these spaces when traveling throughout the United States. By displaying structures humans built to serve their own needs, but in a rare state of absolute idleness, he creates a disconcerting environment. The visual irony of the significant impact of people upon their surrounding environment, and their notable absence in his images results in an eerie, surreal tension that stops viewers in their tracks.

========================

Cary Benbow is a writer and regular contributor to F-Stop Magazine and several other photography publications, including Lensculture.YIELD Magazine.

Web site: Wobneb Magazine (An online magazine featuring contemporary photography)

5 notes · View notes

szymong · 3 years ago

Text

Illusion - Research

Surrealism

Surrealism officially began with Dadaist writer André Breton's 1924 Surrealist manifesto. Still, the movement formed as early as 1917, inspired by the paintings of Giorgio de Chirico, who captured street locations with a hallucinatory quality.

After 1917, de Chirico abandoned that style, but his influence reached the Surrealists through German Dadaist Max Ernst. Ernst moved to Paris in 1922 as the Dade movement ended and was crucial to the beginning of Surrealism, primarily because of his college work at the time.

The disorientating illogic of Ernst's collages fuelled Breton's imagination as he became more entrenched in Sigmund Freud's ideas.

The Uncanny

German psychiatrist Ernst Jentsch first used the term in his essay On the Psychology of the Uncanny, 1906. Jentsch describes the uncanny – in German 'unheimlich' as something new and unknown that can often be seen as unfavourable at first.

Artists, including some associated with the surrealist movement, drew on this description and made artworks that combined familiar things in unexpected ways to create uncanny feelings. Now, the term 'uncanny valley' is also applied to artworks and animation or video games that reproduce places and people so closely that they create a similar eerie feeling.

Artists that were involved in the surrealism movement, drew upon this subject and created artworks that combined familiar things in unexpected ways to make uncanny feelings. Artists such as Hans Ballmer and Louise Bourgeois, Alberto Giacometti explored the uncanny world.

#illusion

0 notes

poppyhillmancrouchwonderland · 4 years ago

Text

Final evaluation

At the beginning of the project, I explored more abstracted themes around ‘Wonderland’ with my creative photoshoots focusing on mirrors and inner reflection. After conducting a character analysis of Alice, I wanted to create a garment for her reflecting her personality traits, animals she meets, things she experiences and how this influences her.

I was greatly influenced by Tim Walker’s White Rabbit photoshoot for Vogue Italia where the models are wearing over-sized rabbit heads (1). This made me look at the novel and the different characters Alice meets in more depth - leading me to create illustrations (2), a clay model (3) and eventually the tissue and wire mask seen in the final photos. I wanted the head piece to have more of a distorted feel instead of Disney-style “cute” rabbit. I researched the masks used in the 1973 ‘The Wicker Man’ (4) and how these added to the story line. Following along from this, I looked at artwork by Paula Rego’s ‘War’ (5) depicting human-like rabbits. This really helped me with the scale and the contoured look for the head piece as well as how it could be constructed.

When looking at possible silhouettes, colours palettes and construction methods, I came across costumes used in performance - including costumes by Georgia de Chirico in the play ‘Ball’ (6) from 1929 and the 1966 televised version of ‘Alice Through the Looking Glass’ (7). I really like both of these sets of costumes because of their block colouring. I incorporated this aspect into my final piece and illustrations by having the panels over the hips continuing into the trouser legs.

I also looked into the organic and nature aspect of Wonderland. Looking at flints (8) found in the fields surrounding my home helped for colouring and texture as well as sculptures by Peter Gentenaar (9) . He creates amazing, twisted pieces by creating a structure using bamboo and tissue paper. I wanted to use this method to create my sleeves - I used dope, modelling tissue and strimmer wire (10). However, this did not have the outcome I was after, so I manipulated fabric and used plastic boning instead to create a similar look.

Maths, Religion and Science - I developed my pattern cutting and construction method using mathematical working and calculations. I also looked into the darker aspect of Wonderland by watching a TED talk about Conscious Reality and how the brain processes our own reality, what calculation the brain makes to perceive it and how this relates to religious ideas of an afterlife. This links to Wonderland because of Alice’s experience and how this could be interpreted as either something that happens to her consciously or unconsciously in a dream.

I chose to focus on costume design, making, pattern cutting and dyeing. I picked these to focus on as I have not yet done a project with very complex pattern cutting, fitting and precision and really wanted to push myself. I chose dyeing as part of my project because I really enjoyed the process of printing my own fabric for the Inside Out project and the different effects I can make. This links very closely to my future plans as I want to do Costume Construction at university.

In the exploration stage of the project, I looked at the ‘Pool of Tears’ chapter from Alice in Wonderland. This led me into looking at how to make the fabric look wet and heavy without actually being that. I experimented with resin to give this look and it worked very well. I really wanted to include this sampling in my final piece but as my design developed this looked out of place with the overall aesthetic. I also sampled fabric manipulation techniques and dope/modelling paper to give the idea of expanding and contracting (as Alice does in size).

Overall view on outcome- broken down.

The colour palette – when deciding the colour palette for my overall look, I took a lot of inspiration from what Alice would see when falling down the rabbit hole. I used earthy tones - like the golden brown and greens - as an enhanced vision of nature, going into the more pastel colours of what I imagine Wonderland would have as you look up the costume.

In this project, I really focused on the pattern cutting, fitting and accuracy (12). I chose to do curved strips over the waist and creating a V shape in the centre front in order to exaggerate the waist and, with the under structures, help give a distorted figure shape. I found it difficult to get the point in the centre front even and continue the line accurately over the hips. This shape was inspired by James Charles 1940’s clothing (11) I decided to tell the story of ‘Absolem’ the caterpillar who helped Alice. This is shown by the stripes at the waist; they are thinner here representing his segmented body and wider at the bottom symbolising his growth into a butterfly.

I wanted to include pleated shapes down the legs on the light green side panel (13). However, when I tried to create these they did not work as I wanted them to, and I had to improvise. I hand dyed and made 60 flower shapes and hand sewed these over the hips whilst keeping the stripes visible. I chose the pastel colours pink, blue, purple and green as this is what I imagine Wonderland would have looked like before the Red Queen had all the flowers painted red. (14)

The colours used for the bodice were inspired by Disney’s animated version of Wonderland that most people associate with Alice. I used the white on the bodice to represent her curiosity and her youth. This also harks back to the original illustration -by John Tennial- of her white apron (15). As this costume additionally reflects characters Alice meets and her character development, this also resembles the white rabbit and the Queens servants who were painting the white roses red.

On the bodice, I wanted to include petal-like shapes. I used batik methods and hand dyed this piece. I originally wanted to dye them the same colour as the sleeves however something went unexpectedly in the dyeing process and created this turquoise colour (16). I am really pleased that this happened as this resulting tone linked the greens in the trousers to the blues in the sleeves. Having this on the front of the bodice really tied the whole costume together as before the bodice and trousers look very separate and not cohesive. I really like how the colour transitions from white to pale turquoise, growing out from the bodice.

For the sleeves, I tried lots of different techniques such as constructing a frame using tissue paper and dope inspired by Peter Gentenaar. However, this did not work in the way I wanted it to, so I resorted to using fabric manipulation. I dyed the white cotton using the dry ice and batik method to create different tones. As this is her most well know colour, I used the blue tones to represent Alice. I was very drawn to this colour and the idea of falling down a rabbit hole and different layers of the earth you would see. When out on a walk, I found blue Anglican flint and I really loved the texture and colours and included this into the sleeves. Another reason I chose this colour was to reflect her ‘Pool of Tears’ and the power of imagination.

To complete my costume, I created a mask from wire and tissue paper. I drew inspiration from Tim Walker’s photography from the ‘White Rabbit’ photoshoot for Vogue Italia where he used oversized animal’s heads. I started this process by drawing rabbit illustrations and developing this into a 3D clay model which I used as a basis for my final mask. I really like how the mask captures the white rabbit ambiance without being too cute/”Disney” and is instead darker and dream-like. I find this very effective as the White rabbit starts her journey and almost traps her in the world of Wonderland.

Overall, in my opinion my final outcome is very effective as I capture the dreamlike quality of Wonderland, with an uneasy feel. If I were doing this at college, I think my time management would be much better as I finished the garment 5 days late. I would have spent less time on the mock-ups and fitting but I feel this was necessary to complete my garment. I would have also included different print techniques and maybe a form of metal work or vacuum forming that I could not do from home. However, if I completed this project at college, I would not have made this outcome as I have now. I am very happy with what I have achieved. If I were to make this again, I would fix the bodice as the white cotton was a bit larger than the interlining layer causing wrinkling across the chest. I would also have built in a form of structure to the bodice to bring the waist in more and to avoid the wrinkling at either side. I would change the back fastening to something strong and be more innovative with that to have a flush finish.

I would really like to improve my time management in the future and make a schedule that is more realistic but still pushing myself. Going forward into the next project I want to work on using a wide range of skills and different approaches and design I could use to create a better outcome.

0 notes

andrew-low · 4 years ago

Text

Surrealism.

According to History.com Surrealism officially began in 1924 with writer Andre Breton’s manifesto, but the movement formed as early as 1917 inspired by Giorgio de Chricos work that captured street locations with a hallucinatory quality.

This is one of my favourite’s from Giorgio De Chirico and is from 1916, in 1917 de Chirico abandoned the style but it was continued on and influenced by other artists such as Max Ernst.

At the forefront of surrealism in photography was Philadelphia native Man Ray. Man Ray moved to Paris in the 1920′s and specialized in Rayographs, a technique that involves exposing photographic paper to light with objects placed on it. Below is one of his famous Rayograph’s.

Another photographer that was at the forefront of the surrealist movement was Maurice Tabard, a friend of Ray Mans. Maurice was drawn more to portraiture with the use of double exposures and solarization. Below is one of Maurice Tabard’s images using the double exposure effect.

In the mid 1930′s Hans Bellmer was also famous in the surrealist movement best known for the life-sized female dolls he produced and photographed, In 1938 he was described as a surrealist writer, painter and builder of large dolls. His early work of legs growing out of legs was created out of a desire to oppose the Nazi Regime’s goal of a so-called physical perfection.

The Uncanny

The Uncanny is the psychological experience of something strangely familiar rather than simply mysterious. It can describe incidents where a familiar thing or event is encountered in an unsettling, eerie or taboo context. Ernst Jentsch set out the concept of the uncanny in 1906 which influenced Sigmund Freud to elaborate it in his essay in 1919 which explored the eeriness of dolls and wax works. Freud also touched on the notion of “the double” or as we know it now as the doppelganger. Freud writes that doppelgangers can be found in mirrors, shadows, guardian spirts. Waxwork dolls, ghosts, mirrors, madness and severed limbs are mentioned throughout The Uncanny which influenced painters and sculptors to explore these themes and blur the boundaries between animate and inanimate, human and non-human, life and death.

Diane Arbus is often described as “the icon of the uncanny” Diane spent her career seeking out the abnormal, strange and unseen characters of America focusing her camera on the members of carnivals, nudist colonies and mental institutions.

This image by Diane Arbus was the direct inspiration for Stanley Kubrick’s use of of twins in The Shining.

#illusion

0 notes

kamccormickhnd1b · 4 years ago

Text

Illusion-Research

While I have the time today, I’m making good use of it and doing a little research for my new brief today, giving myself a head start!

Surrealism: when did it begin? What is it?

Surrealism is the artistic use of painting, sculpture, literature, photography and film. Surrealists were inspired by Sigmund Freud’s theories of dreams and the unconscious and often believed insanity was the breaking of the chains of logic, they used and demonstrated this idea of theirs by creating imagery that was impossible in reality, placing unlikely forms onto unimaginable landscapes. And while it faded away as an organized movement, Surrealism never disappeared as a creative artistic principle.

Surrealism began in 1924 with with Dadaist writer André Breton’s Surrealist manifesto, although the movement formed as early as 1917, inspired by the paintings of artist Giorgio de Chirico, whose work and paintings often captured street locations with a hallucinatory quality.

While de Chirico himself abandoned the art style he had been using, after 1917, his influence reached the Surrealists through German Dadaist Max Ernst.

Many artists took to joining the movement, some of these artists included Joan Miró and André Masson, who both met and became involved with Breton. with Freud’s influence still taking place, Breton had experimented with automatism through writing in order to create words with no thought or planning. In

In the year 1925, Ernst responded to automatism with practiced frottage, using cracks in a floorboard as the surface underneath his drawing paper. He adapted the concept to oil painting, spreading pigments on a canvas and then scraping. Ernst’s 1927 painting Forest and Dove used this technique.

Another artist was Jean Arp, Jean was regarded as one of the most versatile artists of the beginning of the 20th century and was also associated with both Dada and Surrealism. He expressed himself using sculptures, paintings, drawings, collages and poems. Through his work, he became best known for his sculptures characterized by wavy lines that he often referred to as the “organic abstraction”. Jean Arp embraced a chance and spontaneity as integral components of the artistic process. While many viewed his work as non-representational, it was rather firmly rooted in nature. As a co-founder of the Dada movement, many of his organically-inspired sculptures, in the first Surrealist exhibition in 1925, played an integral role in linking the two movements, at the same time shaping the future of Surrealism.

One of the most famous and well-known surreal paintings is that of the American painter Leonora Carrington, who was a bold artist. She managed to establish herself as a key figure of Surrealism despite the discrimination of her male peers. Many male artists of Surrealism were rather misogynistic. They would solely acknowledge women as a mere sexual desire and object. Women such as Leonora Carrington depicted the deeper female experience, particularly in male-dominated societies and environments. In this self-portrait, she explores her femininity by creating a mimesis between her and a hyena, relating herself to the animal’s rebellious nature.

Another famous painting revolving around surrealism is the “Harlequin’s Carnival”, it is considered to be one of the major surrealist artworks created by Joan Miro. The painting was exhibited during the collective exhibition “Surrealist Painting” in 1925 at the Pierre gallery in Paris. Surrealist artists such as Giorgio de Chirico, Paul Klee, Man Ray and Pablo Picasso also exhibited their work along with Miro. The painting was inspired by the Miro’s hallucinations when he was in experiencing difficulties and struggled to eat his fill. The apparent jumble of random items together is actually the fruit of a meticulous composition, as Miro’s preparatory sketches prove.

Sigmund Freud: The Uncanny

Over 100 years ago, Sigmund Freud wrote a paper that became famous and influenced many aspiring artists, this paper was called “The Uncanny”.

Freud’s theory was rooted in everyday experiences and the aesthetics of culture, the theory related to what is frightening, repulsive and distressing. His paper tackles the idea of horrific concepts, including inanimate figures coming to life, severed limbs, ghosts, the image of the double figure, known as doppelgangers. The theory lends itself to art, literature and cinema.

The Uncanny is written in two parts. Part one explores the etymology of the words ‘heimlich’ and ‘unheimlich’ (homely and unhomely). The second part of the paper consists of Freud tackling people, things, self-expressions, experiences and situations that best represent the uncanny feeling. Freud’s most popular example is the short story of E.T.A. Hoffmann’s ‘The Sandman’, a short tale that many parents would tell their children to encourage them to behave and go to sleep when told. The story goes that the child must be asleep for the Sandman to put sand in the child’s eyes–if they’re not asleep by the time he arrives, he would take their eyes as punishment. The protagonist is a boy named Nathaniel whose fate eventually does fall to the Sandman, losing not only his sight but his sanity, then his life.

Sigmund Freud believed that the removal of eyes alludes to a fear of castration, but the castration complex is masked by a fear of losing a different sensitive organ: the eyes.

Examples of The Uncanny

There are many examples in the world of situations that can provoke an uncanny feeling, such as inanimate objects coming alive, thoughts appearing to have an effect in the real world, the doppelgänger effect, illustrations of death, ghosts or spirits, and involuntary repetitions. The uncanny arises when childhood beliefs we have grown out of suddenly seem real.

The Uncanny in Art

In the artistic world, waxwork dolls, automata, doubles, ghosts, mirrors, the home and its secrets, madness and severed limbs are frequently mentioned throughout Freud’s “The Uncanny”, the theory helped to influence painters and sculptors to explore these themes and blur the boundaries between animate and inanimate, human and non-human, life and death.

#illusion #illusion brief #still life #still life photography #surrealism #research #student research

1 note · View note

wallpaperpainter · 5 years ago

Text

14 Reasons Why Sennelier Watercolor Set Is Common In USA | Sennelier Watercolor Set

IN SUSAN BENNERSTROM`S contempo oil delicate blue-blooded COTTAGE DOORS #1, best of the agreement is accustomed over to a able attic covered with a cubist arrangement of caliginosity and reflected light. Admitting the sources of the ablaze are acutely two perpendicularly adjoining doorways, of which we see abandoned the basal few inches, the floor`s geometry of assorted vanishing credibility sweeps the eye into such a ball of spatial estimation that the able credible seems assuredly to be lit from within. It`s abundantly awe-inspiring to be absorbed by such credible artlessness and emptiness. For a representational assignment of art in which there are no copse or hills, no animals, people, or objects-no nothing-a accomplished lot of article seems to be activity on.

Bennerstrom, who grew up and now works in the Northwest, fabricated COTTAGE DOORS #1 at Ballinglen Arts Foundation, in Ballycastle, County Mayo, an aesthetic retreat on the western bank of Ireland area best artists acquisition beheld afflatus in the beauteous landscape, abolition waves, and ambiguous weather. “But to me,” says Bennerstrom, “it was too much. So I went aback to accomplishing the interiors I`d been doing. And the interiors became alike added pared down. I got rid of all accidental capacity until I was bottomward to walls, floors, doors, light, shadow, and reflection.”

The effect, interestingly, is no beneath angry than if Bennerstrom had depicted an abutting Gaelic squall. The hyperinterior of COTTAGE DOORS #1 puts you OUt in the crosswinds of adorableness and anxiety, absence and immanence, blue and transcendence.

Often, the simpler an angel is, the added affecting any ambiguity or abnormality in it becomes. Conceivably that`s aloof a action of how attuned to alike the quietest affray our alertness is by habit, and how abundant our absorption homes in on the aboriginal discrepancy. Those brainy gyrations again draw affect in their wake, affect that seeks meaning. Edward Hopper, whose assignment is generally cited in discussions of Bennerstrom`s assignment and for acceptable reason, demonstrates this point. But so does any distinct amount by the pre-Renaissance masters Giotto or Massaeeio, any painting by the 20th-century Italian iconoclast Giorgio de Chirico. Thomas Hart Benton`s landscapes and abreast German ability Gerhard Richter`s studies of candles action the aforementioned lesson. These are all artists whose names Bennerstrom reels off the top of her arch as important influences. She speaks not aloof respectfully of them but with an beholden amore you wouldn`t automatically accept accustomed to an artisan fatigued to the extremes of a allotment like COTTAGE DOORS #1.

THEFIRSTINFLUENCE on Benncrstrom, the babe of an inventor/furniture architect ancestor and “a mom who was a mom,” was her affectionate grandmother. “She was not like anyone else`s grandmother,” contends the artist, who was built-in in 1949. “She gave

14 Reasons Why Sennelier Watercolor Set Is Common In USA | Sennelier Watercolor Set – sennelier watercolor set | Allowed to be able to my own blog, in this particular time period I’m going to provide you with regarding keyword. And from now on, this is the primary graphic:

Sennelier Complete Extra Fine Watercolor Pan Set of 14 – sennelier watercolor set | sennelier watercolor set

What about image previously mentioned? is which amazing???. if you believe and so, I’l d teach you a few picture yet again down below:

So, if you desire to secure all these great photos about (14 Reasons Why Sennelier Watercolor Set Is Common In USA | Sennelier Watercolor Set), click on save link to store the pictures in your laptop. There’re available for obtain, if you’d rather and want to obtain it, just click save badge in the article, and it’ll be instantly down loaded in your notebook computer.} Finally if you wish to obtain new and recent photo related to (14 Reasons Why Sennelier Watercolor Set Is Common In USA | Sennelier Watercolor Set), please follow us on google plus or book mark this site, we try our best to give you regular up grade with fresh and new photos. We do hope you like staying right here. For some up-dates and latest news about (14 Reasons Why Sennelier Watercolor Set Is Common In USA | Sennelier Watercolor Set) pics, please kindly follow us on tweets, path, Instagram and google plus, or you mark this page on bookmark section, We try to present you up grade periodically with fresh and new shots, love your exploring, and find the best for you.

Here you are at our website, contentabove (14 Reasons Why Sennelier Watercolor Set Is Common In USA | Sennelier Watercolor Set) published . Today we’re delighted to announce we have found an incrediblyinteresting contentto be pointed out, that is (14 Reasons Why Sennelier Watercolor Set Is Common In USA | Sennelier Watercolor Set) Some people looking for details about(14 Reasons Why Sennelier Watercolor Set Is Common In USA | Sennelier Watercolor Set) and of course one of them is you, is not it?

Sennelier Watercolor Metal Box 14 Tube Set – sennelier watercolor set | sennelier watercolor set

Sennelier Watercolor Sets – Aqua Mini Set with Brush – 14 Colors – sennelier watercolor set | sennelier watercolor set

Sennelier La Petite Aquarelle 14 La mitad de sartenes – sennelier watercolor set | sennelier watercolor set

Sennelier – Watercolor Travel 14 Half Pan Set – sennelier watercolor set | sennelier watercolor set

Sennelier L’Aquarelle French Watercolor Paint, Aqua Mini Set of 14 Half Pans – sennelier watercolor set | sennelier watercolor set

Sennelier : Watercolor Paint : Half Pan : Metal Tin Pocket Set of 14 – sennelier watercolor set | sennelier watercolor set

Sennelier L’Aquarelle Watercolour Metal Tin of 14 Half Pans – sennelier watercolor set | sennelier watercolor set

Sennelier Watercolor Travel Box 14 Tube Set by Sennelier: Amazon.es .. | sennelier watercolor set

Sennelier Watercolour Metal Tin of 14 Half Pans Classic Set – sennelier watercolor set | sennelier watercolor set

Sennelier : Watercolour Paint : Half Pan : Classic Metal Tin Set of 14 – sennelier watercolor set | sennelier watercolor set

Sennelier L’Aquarelle French Watercolor Paint, Metal Set of 14 Half Pans – sennelier watercolor set | sennelier watercolor set

Sennelier : Watercolour Paint : Half Pan : Classic Metal Tin Set of 14 – sennelier watercolor set | sennelier watercolor set

Sennelier : Watercolour Sets – sennelier watercolor set | sennelier watercolor set

The post 14 Reasons Why Sennelier Watercolor Set Is Common In USA | Sennelier Watercolor Set appeared first on Painter Legend.

Painter Legend https://www.painterlegend.com/wp-content/uploads/2020/05/sennelier-complete-extra-fine-watercolor-pan-set-of-14-sennelier-watercolor-set.jpg

#watercolor painting #sennelier watercolor pans #sennelier watercolor set #sennelier watercolor set 1

0 notes

hauwunted · 8 years ago

Note

who/what are you biggest inspirations and/or favorite artists? if you dont mind?

this is always such an exciting question to answer!!

More than anyone or anything I deeply love Nicole Eisenman and have written papers about how visually stunning and important her work is for many reasons (also shes genderfluid and a lesbian!!!!) but her work is S T U N N I N G and an absolute DELIGHT to look at, u can probably see a couple habits i picked up from looking at her work all the time, always my biggest recommendation for a big name artist (I also am forever, more classically, deeply inspired by klimt, matisse, and my boyfriend de chirico)

I also really love the manga art by yuhki kamatani, as well as haruko kumota!!! on that note, Yu Yu Hakusho (specif. the anime, in the good old charming anime phase of 1992,) has always been a style i’ve referenced and admired, AND i love the style in animal crossing!!!

i think though that the most important and boundless source of artistic inspiration for me might be the cartoon the amazing world of gumball, bc its quite honestly the most visually stunning work of art ive EVER laid eyes on!!!!

also also also !!! i’m also endlessly inspired by @ronibravo and how charming and personal all their art always feels, as well as @queenoftheantz whose art always has like...a sense of absolute wonder to it??? magical and loving!!!

#Anonymous

8 notes · View notes

4eternal-life · 6 years ago

Photo

Giorgio de Chirico. Sun on the Easel / Sole sul cavalletto, 1973

source: Artribune

The painting’s subject, in which a sun and moon are switched off in the sky and turned on inside a room, derives from a number of the sixty-six lithographs de Chirico executed to illustrate the prestigious edition of Apollinaire’s Calligrammes, published in Paris in 1930.

The transformation of this original graphic subject into painting came about during de Chirico’s final creative period, know as Neometaphysics (1968-76) together with many other themes from the past, which were taken up once again and treated with irony.

The painting’s iconography can be associated to two of the original lithographs: Le Vigneron Champenois, in which the protagonist is a sun on an easel, and L’Espionne where a moon is sitting in a room and connected to the sky with a cable. The composition is constructed as a theatre set with the sun and moon placed on a stage with curtains drawn open at either side, while at the back of the setting, a window is open on a Mediterranean landscape. Irony is a dominant element of all of de Chirico’s re-elaborations of the Calligrammes subject, in which elements of Nature, like the sun, the moon, or rain, are animated to a point of assuming almost human attitudes and set in theatre-like spaces where reality takes on a playful tone, strengthened by the warm and vivid colours. However, if on one hand the irony can be clearly seen in the connecting of the luminous moon and sun to their ‘doubles’ that are turned off, on the other, the black ‘counterparts’ possibly allude to death, and thus to a tragic theme.

“[…] I was inspired by memories from 1913-14. I had just met the poet. I often read his verses in which he spoke of the sun and the stars […] while thinking of Italy, its cities and ruins […] the suns and stars had returned to earth like peace-loving immigrants. Without doubt, they must have turned themselves off in the sky, because I saw them light-up once again at the entrances and gates of many of these houses”.

http://www.fondazionedechirico.org/casa-museo/opere-esposte/sole-sul-cavalletto-1973/?lang=en

#giorgio de chirico #de chirico #italian painter #italian surrealism #italian art #art #mu art #mu

0 notes

dirtyprojectors · 7 years ago

Text

“that’s a lifestyle” video

youtube

the animated video for “that’s a lifestyle” is out today. the director, kitty faingold, and i discussed bringing the song to life as a series of ethereal animated sketches, cronus the greek god, the visual metaphor of broken statues as a vanishing empire and much more . - dave

i feel like i haven’t seen animation like this … maybe ever, definitely since i saw bill plympton’s cartoons when i was a kid! what is your process — how do you make it look like that?

Basically, this animation was hand drawn with an HB pencil onto white paper and then photographed and put onto a timeline on a computer. I drew between six and eight drawings a second, which is not a lot and is why it looks jumpy and choppy - if you want a sleek look you need to draw more per second. But I’ve always liked lo brow & lo fi stuff, where you can see the artist’s hand at work and feel the human presence behind the piece. I like it when things look like they were made with the intense passion of a very dedicated amateur, it denotes enthusiasm, effort, aspiration, dreams. It’s flawed and personable and relatable. Maybe my taste is influenced by having lived in Latin America with it’s magical realism and it’s poetry of the mundane.

what’s the story you’re trying to tell in the video — and how does it relate to the story it seems like i’m trying to tell ?

The story is that we, the audience, are a spectral being hovering above a lake in front of a strange house that has infinite rooms. We float in through a window and decide to take a quick disembodied tour of the house that’s inhabited by a group of enchanted statues which some strange electric life force has animated for all eternity. They are the eerie marble remnants of an extinct civilisation, long annihilated, the silent survivors of a by-gone atomic end time. Like dancing shadows burnt into a wall by a nuclear blast. It’s tragic but also strangely optimistic - something survived, perhaps at the end of the world, human consciousness liberated of its material constraints, spread at light speed throughout the universe, and fuzzy bundles of memory, thought and emotion seeped into inert matter in distant galaxies and parallel universes, creating the world portrayed in this animation.

The video is an imagined outcome of the story that’s sung in the song, which as I interpret it, is about a society at the cusp of destruction, looking out from itself into its past and its future and wondering will we survive? or will the monster eat its young til they’re gone.

do you hate it when people ask you questions like that, because you have this feeling of like, ‘uhhhh, hopefully the work articulates the thing in a way that words cannot — that’s why it’s an animation and not a piece of prose; why are you asking me to bastardize & diminish what i’m doing??’ or do you feel like words / discourse provide a different and useful lens?

Haha! both I guess, most things that I make feel like they come from a place in my mind that doesn’t understand or speak a verbal language, and others are created in harmony with a more intellectually stimulated region of the mind, something with a narrative, a reference to some historical thing, for example. Words themselves can have power that goes beyond the literal meaning and melts into something more emotional. But I do often feel that contemporary art can be overly wordy and rationalised; when you explain or justify what you’ve created with a lengthy text, the piece looses elasticity and ossifies into a concrete message, or as Susan Sontag says “a sensibility is ineffable… a sensibility which can be crammed into the mold of a system.. has hardened into an idea.” I like this way of thinking about art as sensibility.

Also, when a piece of art or music has a precise explanation, it sort of becomes redundant, it’s just an illustration to accompany that other thing you’re saying. In art, I think, if words are used at all it should be to infuse the work with another layer of poetry, mystery and psychic life.

in this video, did you think much abt correlating image & sound — ie having the visual gestures harmonize with the movements of the music? (i think they go together super well…)

Yes, I wanted the images to resonate with and respond to the sound. On a macro scale, I wanted them to inhabit the same world, to belong together, so the look and feel of the images is enhanced by the sound of the song and vice versa. On a micro scale, the cuts are based on the rhythm of the song, and there are different moments in the story and particular characters and happenings that also relate to the specific moments or moods in the song.

when you’re working in this way, you’re the writer, director, artist and editor. does it feel natural and seamless to be in all these different roles, or do the imperatives of one role sometimes come into conflict with another ? like, does the draftsperson in you occasionally want to take things in a direction that the director simply can’t allow? if so, how do you resolve these conflicts?

That’s an interesting way of looking at it and very true; yes, I definitely had multiple voices in my mind whispering different things throughout the whole process - as an artist you are constantly engaged in an internal dialogue with many different elements of yourself and even with a fictional “other” that pretends to be an outside audience, so it’s challenging work. But this way of working does feel natural to me, I like being in control of as many aspects of my work as possible, so it doesn’t feel like a conflict that needs to be resolved, rather a conversation that’s had.

do you think there’s something special abt using old-school labor/time-intensive practices, even when there are readily available software/digital shortcuts ? like, maybe you value the specific unique feel to the finished work, or maybe you just get something you get from the process itself (eg meditative zen state that comes out of doing the rote repetition by hand?)

Yes, there is definitely something special about labour intensive work and, in this case, using analog rather than digital methods. On one hand, repetition as you say, let’s the mind wander into a meditative state which in a hyper stimulated world feels healthy and grounding. On the other, when you’re working purely in a digital realm you feel a sort of underlying existentialist horror as you are essentially one dimension removed from your work, or else you get a sense of plastic claustrophobia and you just need to run outside and roll around in some prickly grass or something! after a while of being on the computer you desperately need to feel the real material world around you, to feel phenomenologically “in” your body - to embody your reality. I think there is such a thing as a digital malaise akin to cabin fever. So I really enjoyed getting back to paper and pencil.

why roman / greek statuary? in general, where does your imagery come from? has it changed much over time, or from project to project, or do you find that there are leitmotifs and vibes that you return to consistently?

That was mainly based on the imagery that came to mind from the lyrics; words about an empire, a senator, a decaying civilization, violence, power, greed etc. Also when the song talks about a monster eating its children, I thought of Cronus the Greek God. I associate these things with the ancient classical world, and the marble skeleton of it that we have inherited. Also, surrealist works of art, for example by De Chirico, often feature statues and in particular greek/roman ones; there is evidently something about them that resonates with the subconscious mind, they are a meaningful symbol to us, they have a dreamlike and strange quality to them. This video was conjured up mainly by a stream of consciousness, which is a surrealist method for creating images. To the second question I would say both, each project is different as I am a pretty eclectic person and the world is full of new inspirations, but there is a river bed under the passing currents that doesn’t change much, a soil made up of a certain composition of minerals which, in my particular case, has surrealist foundations and an interest in myth, symbolism and the occult, and drawing eyes, people in trances, odd faces and strange places.

w the greek/roman statuary, do you feel like there’s some parallel you’re drawing to an idea of the vast, broken, vanishing empire — and the West today ? or maybe in general do u feel like that’s part of the operative fascination that vaporwave has with that imagery?

I definitely think that a broken statue is a clear visual metaphor for a vanishing empire, which might be why it populates the allegorical world of surrealism and vapourware as its digital extension- maybe for the last hundred years we’ve all felt on some subconscious plane a pending apocalypse, the world that we’ve created on the brink of an extinction level event. It makes sense, after the world wars, the cold war, the atomic/nuclear threats, climate threats, financial threats, etc. everything has seemed to be in a constant state of mortal danger for the past century! even our food is supposedly poisoning us, our clothes, bodies, water, air itself, everything is menacing and threatening and hostile, so it’s little wonder our art would express this sense of doom.

one of the things im kinda thinking out loud abt in the song is this question of, ‘in our insanely interconnected world, is it actually possible to draw our actions into congruence with our beliefs? what would that mean? and what does it mean if/when we can’t?’ sometimes it feels like the chains of production, ownership, causality etc are so deeply enmeshed that it’s impossible to chase down the global implications of our choices as consumers & citizens with any kind of confidence or accuracy … and that makes us feel powerless in the face of hideous injustices … like we’re all frogs in a pot of water slowly rising to a boil. so in the song, even though i don’t have a resolution or conveniently optimistic way of thinking about it, i hope there’s a value in articulating the feeling anyway. my question is, do you feel like art has a responsibility to be political? or do you feel like art is inherently political — and there might be something more human / empathetic / mysterious when art is fluid enough to evade the reduction into easy sloganeering ? for me it’s a question right now, because i’ve often landed in the latter camp, but this song woke up like this .. .

Yeah, it’s a tricky subject, politics and art. I guess that, in my opinion, your only responsibility as an artist is to give your audience your best and most genuine work, whatever that may be. The content of the work will vary hugely from artist to artist. There are many important things in the world, important parts of the experience of being, that don’t include politics at all, and perhaps are even antagonistic to it, so I don’t think that art has to be political. Sometimes it feels gratuitous and disingenuous when an artist injects some politics into their work or their discourse just because it’s in vogue. Lots of artists don’t have a clue about politics, they inhabit a parallel world of emotions, fairytales and daydreams! They might be an outsider, a rebel, or a romantic for example. Others are very passionate about being the voice of their own society, and are deeply entrenched in their cultural surroundings and make of their political ideas their body of work, in the hopes that their message might challenge certain prejudices or else that the audience will identify with the ideas and find expression for their own political thoughts. I don’t think one approach is more valid or moral than the other, as long as it’s genuine. However, on the other hand, anybody that has a visible social platform and access to a certain level of impact could be a useful tool to raise awareness for a number of social causes, but that’s something different.

how long did this video take you ?

Nearly a month! In fact I’d like to take the opportunity to thank Max Mannone who helped me sooooo much to make it in such a short time! he took all the photographs and digitised most of it, as well as giving me creative input. It’s super important to bounce off of someone you respect when you are working alone, because it’s such a self centred process that you can lose all perspective and start to drown in yourself!

do you like to revise a lot, or is it a first-thought-best-thought headspace ?

With a stream of consciousness type method definitely first-thought-best-thought although as I said above, bouncing off somebody else throughout the process is also good.

what kind of music do u like to listen to when you draw?

Well, for this video I listened to a lot of Dirty Projectors :-) I love this song, and instead of growing tired of it which can happen with repetition I grew to like it more and more! it’s definitely alive. I also have lots of synth stuff on my playlist like New Wave songs and Italo disco music. Probably because I came into the world during the eighties so it kind of feels like home. I actually listen to a lot of podcasts when I draw & animate, I like finding undiscovered youtube channels about weird topics particularly about magic, myths and the fascinating shadowy world of the occult which are all sources of inspiration.

thanks so much for this, kitty!! i love the animation a lot, and best of luck with future projects!

Thank you Dave! It was a real pleasure to work on this project, I love the song and hope the video did it justice :-) I'll look forward to hearing the new album!

1 note · View note

z5160760 · 7 years ago

Text

Assignment 2- 700 word concept statement

Question1

With this assignment I wanted to explore different issues that related to humans, non-humans, the environment and ecology. I created seven collages that addressed different issues related to the question. They explore areas related to the environment, climate change and pollution, non-humans, politics and identity. When I began thinking about this assignment, I wanted to focus on issues related to stereotypes and labels. After breaking down the question I realised there was more to the question and there were many more issues that could be covered. I then decided on creating A5 sized collages to highlight the numerous subjects related to the world in this question. Many artists from both modernist and contemporary periods inspired me. I looked at Minna Gilligan’s collages and was inspired by her playful and colourful style. I was also influenced by surrealist artists such as Salvador Dali, Rene Magritte and Giorgio de Chirico. I incorporated elements from surrealist paintings into my collages such as placing objects that are not associated with each other together. The collages were created with magazine cut outs as well as prints. I also added a hand-drawn element to the collages to create more interesting compositions.

For the poster with the face becoming a salad bowl, I explored issues related to pollution and destruction of the natural environment. The salad is placed in the brain area showing that is because of humans that our natural environment is being polluted. It also suggests that we ourselves are natural beings that have polluted the Earth around us. The cigarettes coming out of the salad represent the un-natural aspects of the environment that are man-made and dangerous to ecology and the Earth in the long term.

The banana peel with the city coming out of it proposes a similar idea to the salad collage. It suggests that the foundations of our cities are natural and it is only because of this support that we are able to build hundreds of skyscrapers. I also used contrast between the two elements to demonstrate that it is not what we expect to see when we peel a banana and the natural elements should stay.

The ‘humans with animals heads’ collage is based on combining the old with the new. The people sit with their arms folded properly and have been dressed up in formal clothing. The animal heads suggest different identities that people associate with themselves. Also the clouds with faces and the flower as the sun are aspects of childhood and memory. I wanted to this collage to look and feel nostalgic. Even the sky, which has been coloured in with pencil, brings back childhood memories of colouring in when we were young.

The collage with the astronaut dropping a toxic substance into a puddle is based on environmental and ecological issues. As a species, humans have evolved enough to create rockets and land on the moon, however we are polluting the Earth we live on with poisons such as carbon monoxide and other chemicals while at the same time making so much progress in other areas that are not essential to human survival such as exploring space. My message is that we should look for solutions to problems on Earth rather than in space.

The poster with the octopus tentacles on top of the lady’s head suggests that we are corrupting our natural environment for the good of human consumption and materialism. Using animal skins and fur for fashion is an example of selfish behaviour that satisfies non-essential aspects of our lives. Are animals’ lives worth giving up just for one designer hat/gown? This also shows another possibility for imagining humans in their environment.

The poster with the owl face holding the umbrella explores ideas about the non-human and politics. As humans we are bombarded with posters and propaganda related to politics. The non-human holding the umbrella is an example of a re-imagined being that has no connections or interests in the human world and society. It suggests that human political issues are futile in comparison to bigger world issues.

The last poster of the woman and the cyborgs show an element of the future and what it might look like. It suggests that robots we create may have personalities and vice versa: that humans we know and interact with are becoming robotic in their personalities. I explores complex issues related to artificial intelligence and the effects it has on the natural being.

Bibliography

· Minna Gilligan, Art and Current Climate, Feburary 2nd, 2017, http://www.minnagilligan.com/

· George Monbiot, The Guardian, Why we couldn't care less about the natural world, Friday 9 May 2014 20.10 AEST, https://www.theguardian.com/environment/georgemonbiot/2014/may/09/why-we-couldnt-care-less-about-the-natural-world

· Rani Morgan, Pinterest, Artsy, created over the last few weeks for this assignment https://au.pinterest.com/ranibmorgan/artsy/

· WikiArt, WikiPaintings, Salvador Dali Famous works, https://www.wikiart.org/en/salvador-dali

· Tate, Art term collage, http://www.tate.org.uk/art/art-terms/c/collage

· Rachael Lucas, ABC News, World-first René Magritte exhibition opens in Latrobe Regional Gallery, Updated 30 Aug 2017, 4:03pm, http://www.abc.net.au/news/2017-08-22/rene-magritte-to-latrobe-valley/8829814

#adad1002

0 notes

sandragrar-blog · 8 years ago

Text

ARTIST RESEARCH

Shaun Tan 1974

Writer, Penciller, Artist

Notable works: The Red Tree, The Lost Thing, The Arrival

Shaun Tan grew up in the northern suburbs of Perth, Western Australia. In school he became known as the 'good drawer' which partly compensated for always being the shortest kid in every class. He graduated from the University of WA in 1995 with joint honours in Fine Arts and English Literature, and currently works as an artist and author in Melbourne.

Shaun began drawing and painting images for science fiction and horror stories in small-press magazines as a teenager, and has since become best known for illustrated books that deal with social, political and historical subjects through surreal, dream-like imagery. The Rabbits, The Red Tree, Tales from Outer Suburbia, Rules of Summer and the acclaimed wordless novel The Arrival have been widely translated and enjoyed by readers of all ages. Shaun has also worked as a theatre designer, a concept artist for animated films including Pixar's WALL-E, and directed the Academy Award-winning short film The Lost Thing with Passion Pictures Australia. In 2011 he received the presitgious Astrid Lindgren Memorial Award, honouring his contribution to international children's literature.

Once asked about his background and the reason that he decided to become an illustrator he said: “I did exhibit some early talent as a child, or at least found a way of drawing 'convincing' images by the age of three, so that a bird really looked like a bird, rather than a bird-ish scribble. By five I think I understood a set of techniques and tricks at a basic level, that drawing was about finding simple elements in things. My parents, while not artists themselves, both had an interest in the visual arts (my Mum could draw quite well and my Dad is an architect), and I think their encouragement of drawing was far more important than any innate skill. It was always fun to draw something and then show it to them - they would always act incredibly surprised and amazed! Part of a parent's job description, I think. My brother's talent at the age of six was to collect, identify and label rocks: he's now a very successful geologist. I'm sure it's because of that same unqualified encouragement.”

Initially, Tan worked in black and white because the final reproductions would be printed that way. Some black and white mediums he used included pens, inks, acrylics, charcoal, scraperboard, photocopies and linocuts. Tan's current colour works still begin as black and white. He uses a graphite pencil to make sketches on ordinary copy paper. The sketches are then reproduced numerous times with different versions varying with parts added or removed. Sometimes scissors are used for this purpose. The cut and paste collage idea in these early stages often extend to the finished production with many of his illustrations using such materials as "glass, metal, cuttings from other books and dead insects.”

Tan describes himself as a slow worker who revises his work many times along the way. He is interested in loss and alienation, and believes that children in particular react well to issues of natural justice. He feels he is "like a translator" of ideas, and is happy and flattered to see his work adapted and interpreted in film and music (such as by the Australian Chamber Orchestra).

Tan draws from a large source of inspiration and cites many influences on his work. His comment on the subject is: "I’m pretty omnivorous when it comes to influences, and I like to admit this openly.” Some influences are very direct. The Lost Thing is a strong example where Tan makes visual references to famous artworks. Many of his influences are a lot more subtle visually, some of the influences are ideological. Below are some influences he has named in various interviews:

Films: Brazil, Yellow Submarine

Filmmakers: Tim Burton, Terry Gilliam, Stanley Kubrick, Ridley Scott

Artists and illustrators: Francis Bacon, Hieronymous Bosch, Raymond Briggs, Ron Brooks, Frederick Clement, Joseph Cornell, Giorgio de Chirico, Milton Glaser, Edward Gorey, John Olsen, Michael Leunig, René Magritte, Sidney Nolan, Gerald Scarfe, Katsushika Hokusai, J. Otto Seibold, Peter Sís, Lane Smith, Ralph Steadman, Arthur Streeton, Brett Whiteley, John Brack, Fred Williams, and Chris Van Allsburg

Other: paintings in galleries, "an arrangement of clouds, a lighting effect, a picture in a newspaper, or indeed supermarket plumbing", incidents, textures and accidental compositions created by objects, things from other cultures and times, Polish poster art, streets, clouds, jokes, times of the day, people, animals, the way paint runs down a canvas, or colours go together.

Sources:

http://www.shauntan.net/about.html (15/05/2017)

https://en.wikipedia.org/wiki/Shaun_Tan (15/05/2017)

http://www.bookslut.com/features/2009_07_014748.php (15/05/2017)

http://shauntanfan.weebly.com/biography.html (15/05/2017)

0 notes