Paintings you like

[liminal_luke]

some of my partner´s abstract work 

[con.]

Michael Alexandrowitsch Wrubel    "Der Morgen"  

New Painting for our new Living Room

 

[Taomeow]

Nice choice.  

I've seen Vrubel's 1890 hit, The Demon Seated, in the original.  It felt... well, otherworldy.   

 

 

 

[con.]

Very cool.

They do have a quality to them.

This one is wie us for almost a year now and it still catches me.

[S:C]

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Edited May 8 by S:C
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[zerostao]

Happy Birthday Monet !!

 

 

"

Monet painted this dark, moody canvas of a willow tree growing at the edge of his water lily pond during the last year of World War I. He finished the painting the day after the peace settlement ending the fighting was signed. The subject, a willow tree, was a long-recognized symbol of remembrance of the dead, and Monet intended to offer this work to the French government as his personal tribute. For reasons unknown, the painting was never transferred, but Monet went on to create a huge cycle of water lily paintings that now are housed in the Museum of the Orangerie in Paris.

Painted late in Monet’s long life, this work demonstrates the Impressionist commitment to capturing the ever-changing motion of the sunlit natural world with detached, gestural brushstrokes of divided color. Here, however, his palette is darker and mood more emphatically somber compared to his earlier works.

Weeping Willow, 1918. Oil on canvas. Gift of Howard D. and Babette L. Sirak, the Donors to the Campaign for Enduring Excellence, and the Derby Fund"

 

----Coumbus Museum of Art

[Draco]

 

Millennium Tree by Josephine Wall

[Draco]

 

Tuco Amalfi

[Draco]

Ultima Nigredo

https://jungiangenealogy.weebly.com/nigredo.html

[Draco]

[Draco]

[Draco]

 

Hunting Lodges Northern Plains by Anderson R Moore

~

 

"Albatross Rough Sketch"

[doc benway]

Serhii Vasylkivsky 
Sunset over the Lake
National Art Museum of Ukraine

 

 

[Taomeow]

Bluebeard by Gustave Doré, pen and ink, 1868

 

[Taomeow]

How well do I remember Charles Perrault's tale for which the above picture was an illustration?

 

Let's see.  He was The Establishment, with all its might and wealth and power -- which he used, among other things, toward secret, hidden deadly cruelty committed in the privacy of a locked-away forbidden room.  She was An Independent Researcher (aka "a conspiracy theorist") with an inquisitive mind, bent on cracking mysteries and finding out what's hidden in the forbidden rooms, recklessly refusing to heed his "don't you dare go there," determined to go exactly where she wasn't allowed to go.  He told her explicitly -- you are allowed to go to any room on display, open any door with any key I provide, make yourself comfortable where I tell you to make yourself comfortable...  but this room, no, this door, no, this key, forget it, I forbid it.  She disobeyed -- and discovered horrors untold. 

 

I forget what the ending of the tale was, I read it as a little girl.  Was there a happy ending?  Perhaps.  In fairy tales, they often give us happy endings.  In real life, not so often.         

[Taomeow]

 Sofonisba Anguissola. «Ana de Mendoza y de la Cerda», c. 1560.

[Nungali]

'Neo - Zoroastrian '  -  Women of Persia

 

 

 

 

 

 

Mother of Zoroaster.

 

 

Admiral Artemisia discussing  battle strategy.

 

Estatira Sepahbod

 

 

Negan - Sassanid Commander .

 

 

'Against the Greeks'

 

 

'The end of Persepolis .'

 

 

"Oppression' .

 

 

 

 

 

'Mothers of Persia.'

 

 

 

 

[Taomeow]

Piet Mondrian (1872-1944)

An old tree

 

 

[Barnaby]

18 minutes ago, Taomeow said:

Piet Mondrian (1872-1944)

An old tree

 

Very cool, didn't know that period Mondrian at all

[Taomeow]

1 hour ago, Barnaby said:

 

Very cool, didn't know that period Mondrian at all

 

This one is from 1911 -- online resources tell me he did many studies of trees between 1908 and 1913.  From the explanations of what he was after, I gather he was trying to discover qi. Distilling images to simpler and simpler basics, seeking the underlying balance and harmony, connections, interrelatedness.

 

I seldom encounter abstract paintings I like, but the ones I do like have qi up the yin-yang -- this is felt much stronger if you chance upon an original though, but some reproductions do retain a bit of that "field."        

[Nungali]

Ainslie Roberts :

 

 

 

 

 

 

 

At one stage in his career he had a 'nervous breakdown' . His wife bought him ticket to Alice Springs in 'The Center' . He was taken on an 'outback trek' and ended up spending the night at a sacred site . He seemed to have been 'reassembled' there , and his paintings took on a different direction focusing on indigenous mythology and his new understandings and visions  .

 

" Ainslie found success with them and exhibited his first 21 works at the Osborne Art Gallery, Adelaide on 1 October 1963. Mountford opened the exhibition, saying, "No Australian artist has painted like this; he has followed no school – he has copied no previous artist."

Ainslie drew from many of the influences of the early twentieth century, though his style belongs to none. He acknowledged a debt to René Magritte for his ability to reveal the secret meaning of the world and its objects. His paintings of Aboriginal myths and legends often feature a central focus – person, animal, tree, rock or celestial body – and a secondary, sometimes hidden element that casts light on the meaning of the work."

Edited January 26, 2023 by Nungali

[RobB]

Found on FB today: Apologies for the weird formatting - bit of a lazy C&P but worth it I hope!

 

 

 

 

 

 

 

 

 

 

 

 

 

THE WOMAN WHO PAINTED THE FUTURE

In the summer of 1986 a Swedish farmer recovered his abandoned country house by his last tenant. In the basement next to the house he found, covered in dust from years, huge wooden boxes.

When he opened them he was baffled. There were 1200 paintings, some very large, with geometric figures of intense colors. He called in a neighbor who supposedly was more educated or informed, but didn’t even understand what they had just discovered. They assumed that the paintings formed an enormous scenography or were illegal, maybe stolen.

The neighbor thought he would call a friend who worked in a museum and asked if the paintings had a signature. "Yes," said the neighbor - on the corner says Hilma Klint."

Some officials and art connoisseurs arrived and took away the boxes.

A few weeks later the Stockholm Art Museum made public an unusual discovery. It was more than a thousand paintings, drawings and theoretical essays, a totally abstract work, with pure color geometric shapes and precise texture, signed and dated in the late 19th and early 20th centuries.

What was unusual was the dates: they were painted before Kandinsky, Malevich and Mondrian "invented" abstract painting. Hilma was a clear forerunner. Why did nobody know about her? Why were the paintings hidden?

Hilma af Klint was born in Stockholm in 1862. Her father was a mathematician and had a large library in which little Hilma prescribed everything about geometry and art.

At twenty she entered the Swedish Academy of Arts, one of the few schools that admitted women and was part of the first generation of European painters who set up exhibitions and lived off their work. She painted portraits and realistic landscapes that were well appreciated by her clients.

In those years X-rays were invented and electromagnetic waves were discovered, which could send information through air and vacuum. These events blew Hilma’s mind where apparently she came to the conclusion that invisible parallel worlds exist.

She was interested in these alternative realities and different levels of perception. Because in that time the sciences were connected with spiritualism and Hilma went to spiritual sessions.

The possibility of communicating with the most beloved of her sisters, who had already died, was also encouraged. She would attempt to communicate with her sister, but formed a club with five other women; they met every Friday, summoned spirits and had automatic painting and poetry sessions (which the surrealists did years later).

Hilma started creating rare paintings with random spots, pretending to let herself go to other energies, then she went to paint that chaos based on the geometric structures of nature, which she knew well since she was a child.

She spent some days painting her commissions and others locking herself in a country house to unleash a creative passion she kept top secret. Two painters in one person.

So hid away for several years and on the day she wrote her will, she put her grandson Erick as the sole heir, on condition that he kept his paintings in wooden boxes, which could only be opened twenty years after her death

Why did she decide this?

Perhaps she considered her paintings a very intimate and sincere view, only of herself; perhaps she thought her work was completely out of academic rules and making it public would end her successful career.

But here you are, life decided something else: the grandson left this world before the date of the revelation and the paintings remained hidden for many years more than Hilma wanted, until 1986, when the Swedish farmer found it in his basement.

In the eighties, the avant-garde of the beginning of the century were already totally assimilated; art followed its paths, more different than ever.

Amidst this worldly noise, Hilma af Klint returned from the afterlife to take her place as the true mother of surrealism…

www.wildrevolution.com

 

Edited January 27, 2023 by RobB

[doc benway]

I saw an exhibit of her work at the MOMA in NYC a few years back - magnificent!

And her history is fascinating. 

[Taomeow]

Remedios Varo

Creation of the Birds, 1957

 

[RobB]

So, my first thought was 'those feet look weirdly small'. Yes, Rob, that's right - because everything else in that picture is COMPLETELY NORMAL.