#modern neo

[just-a-bored-alien-aisha]

THE BUNS ARE EXPANDING

[anim-ttrpgs]

(Exerpt from Eureka: Investigative Urban Fantasy.)

[visuac]

hydro millenium

[iasminomarata]

sonic and friends! this is everybody that i drew in 2023 -- let's go for even more in 2024 💙

[namedvesta]

— Pina Bausch, performance still from “Blaubart” (𝟣𝟫𝟩𝟩)

[fashionlandscapeblog]

Francis Bacon

Study for Portrait (With Two Owls), 1963

Oil on canvas.

[jareckiworld]

Karel Nepraš (1932-2002) Figure with Flling II [cast iron, paper, 1969]

[engelart]

“night music”, 2013 by Norman Engel

[lionofchaeronea]

Bonfire Celebrating Midsummer Night, Nikolai Astrup, 1912/1926

[sockoandchips]

“Let me show you just what I'm made of now…”

[germanpostwarmodern]

Piet Mondrian, Composition with Blue and White, 1936, oil on canvas, 121.3 x 59 cm, Düsseldorf, Kunstsammlung NRW.

[newyorkthegoldenage]

Piet Monderian, Broadway Boogie-Woogie, 1942-43. Oil on canvas.

Mondrian arrived in New York in 1940, one of the many European artists who moved to the United States to escape World War II. He immediately fell in love with the city and with boogie-woogie music, to which he was introduced on his first evening in New York. Soon he began, as he said, to put a little boogie-woogie into his paintings.

Mondrian’s aesthetic doctrine of Neo-Plasticism restricted the painter to the most basic kinds of line—that is, to straight horizontals and verticals—and to a similarly limited color range, the primary triad of red, yellow, and blue plus white, black, and the grays in between. But Broadway Boogie Woogie omits black and breaks Mondrian’s once uniform bars of color into multicolored segments. Bouncing against each other, these tiny, blinking blocks of color create a vital and pulsing rhythm, an optical vibration that jumps from intersection to intersection like traffic on the streets of New York. At the same time, the picture is carefully calibrated, its colors interspersed with gray and white blocks.

Mondrian’s appreciation of boogie-woogie may have sprung partly from the fact that he saw its goals as analogous to his own: “destruction of melody which is the destruction of natural appearance; and construction through the continuous opposition of pure means—dynamic rhythm.” —from MoMA Highlights: 375 Works from The Museum of Modern Art

Photo: Museum of Modern Art

[visuac]

fight club

[the-cricket-chirps]

Cy Twombly, Apollo and the Artist, 1975

Jean-Michel Basquiat, Equals Pi, 1982

Cy Twombly, Leaving Paphos Ringed With Waves (IV), 2009

[janewindsorcollage]

“Cherished”

14x20, mixed media, stacked, hand-cut collage.

2023

[historiartmoi]

Source

Horse and Train

Alex Colville, 1954