Roberto Matta’s Prince of Blood (triptych) was not only the painter’s first contribution to Surrealism, it was also the first artistic attempt to visualize Einstein’s theory of space-time. In this episode of Anatomy of an Artwork, discover how Matta was inspired by Marcel Duchamp to create a work that gives visual form to a world in flux and contradictions.
Roberto Sebastián Antonio Matta Echaurren, better known as Roberto Matta, was one of Chile’s best-known painters and a seminal figure in 20th century abstract expressionist and surrealist art.
A film about the Exhibition “After Raphael. 1520 – 2020” at the State Hermitage Museum. Director of the film – Manas Sirakanyan. The film was made with the support of the U.S. Ambassadors Fund for Cultural Preservation, U.S. Embassy Moscow and the Hermitage Museum Foundation (USA)
Raphael is the most influential artist of the Modern Era. Over the course of five centuries, exponents of Mannerism and Academicism, Caravaggisti and masters of the Baroque, Romantics and Modernists have invariably compared their own work with Raphael’s legacy. What is the cause of such fame? What did his name represent in this or that historical period, and what does it represent today? What connects the artist’s followers in different centuries? The exhibition in the Hermitage is an attempt to answer those questions and to look at the art of the past 500 years through the lens of Raphael’s influence.
The large-scale display includes more than 300 exhibits – paintings, graphic art, sculpture and applied art from the Hermitage’s own stocks and twelve other collections in Russia and Western Europe. They include both famous masterpieces and previously unknown works. Dozens of paintings and pieces of graphic art are leaving the museum’s storerooms and being presented to the public for the first time, while a whole number of the exhibits are going on show after painstaking restoration in the Hermitage’s workshops.
The display opens with works by the master himself: a painting and drawings from European collections. Without claiming to be a full representation of the artist’s oeuvre, they serve to set the tone, as it were, and after viewers have “tuned themselves in” it will be easier for them to identify echoes of Raphaelesque harmony in the works from later centuries. The choice of graphic art for this purpose reveals another dimension to the main metaphor: it is specifically the beauty of the clear, precise line, so evident in the drawings made by the master’s own hand, that lies at the foundation of the aesthetics of Raphael himself and many of his followers.
Two visionary artists, separated in time and space, are united by a shared fascination with nature. See the work of David Hockney and Vincent van Gogh side by side in Hockney – Van Gogh: The Joy of Nature.
This exhibition examines the common ground between British artist Hockney (born 1937) and Dutch artist Van Gogh (1853–1890). Both expressed their profound love of nature through brilliant color and the capacity to see the world with fresh eyes. The Joy of Nature reveals Van Gogh’s unmistakable influence on Hockney in a selection of carefully selected landscape paintings and drawings.
Through a bold use of color and experimentation with perspective, each artist crafts a painterly world that is utterly individual and true to themselves, yet offers immense universal appeal. The Joy of Nature brings together nearly 50 of Hockney’s vibrant works—ranging from intimate sketchbook studies to monumental paintings, as well as his experimental videos and iPad drawings—with 10carefully chosen paintings and drawings by Van Gogh.
Hockney – Van Gogh: The Joy of Nature premiered at the Van Gogh Museum in Amsterdam, and the Houston presentation marks the first time the two renowned artists have been paired in an American museum exhibition. The MFAH is the only U.S. venue.
As cultural institutions struggle to return to a semblance of normality, some spaces are drawing on all sorts of resources to keep fulfilling their role in society. FRANCE 24’s Renaud Lefort took a walk around the French capital, meeting its artists and artisans to see how they’re dealing with these unprecedented circumstances.
While museums in France are shut due to Covid-19 restrictions, private galleries are allowed to remain open and have become a haven for art enthusiasts. British artist David Hockney’s “Ma Normandie” (“My Normandy) show, which opened at a Paris gallery last year, has been the sensation of the season.
David Hockney, OM, CH, RA is an English painter, draftsman, printmaker, stage designer, and photographer. As an important contributor to the pop art movement of the 1960s, he is considered one of the most influential British artists of the 20th century.
Arguably the greatest master of the Dutch Golden Age, Rembrandt is famed for several types of works: his monumental history paintings, his self-portraits and, as beautifully exemplified by the transcendent Abraham and the Angels, his intimate biblical scenes.
Rembrandt Harmenszoon van Rijn was a Dutch draughtsman, painter, and printmaker. An innovative and prolific master in three media, he is generally considered one of the greatest visual artists in the history of art and the most important in Dutch art history.
The Dutch Golden Age was a period in the history of the Netherlands, roughly spanning the era from 1581 to 1672, in which Dutch trade, science, and art and the Dutch military were among the most acclaimed in the world. The first section is characterized by the Eighty Years’ War, which ended in 1648.
This video takes an in-depth look at Monet’s approach to painting in series, an approach that consumed his later years. From stacks of wheat in the French countryside to sites of foggy London to water lilies at his home garden in Giverny, Monet painted beloved subjects again and again, depicting changing light and atmospheric conditions in works that captivate us still today. New scientific discoveries, however, reveal that Monet’s genius goes well beyond what we see on the surface.
My main fascination lies within the manipulation of fibres and textiles as an expressive art form. Taking the rural environment as my inspiration,I explore long-term interests of texture, colour, layering and process to create contemplative and ethereal artworks.
My primary technique is wet felting; a traditional craft technique using wool tops, hot water, soapsuds and friction to interlock the fibres together. The making is muscular and rhythmic as I lay, pour, roll and squeeze again and again. It seems repetition nudges me into a semi-meditative space – it invites me to trust myself, and let the haptic connections sinuously paint a new space for the viewer to contemplate.
The compositions are built in layers, hinting at what may lie beneath, and use translucency and light to create absorbing moods. These are highly textured felt pieces in which cloth is embedded, prints disguised, and threads unravelled as a painter with her brush. The analogy with painting is significant throughout, making the viewing inquisitive, and challenging people’s perception.
Brought up in France and French Polynesia, I originally came to the UK to study textile design and am now a widely exhibited artist working and living in West Yorkshire. In 2015, I was awarded the Embroidery Magazine’s Best Emerging Textile Artist at SIT Select Showcase, as well as Best Picture in Show at theGreat North Art Show.
Contemporary artist Sam Szafran created truly dizzying perspectives in all of his art. In this episode of Expert Voices, discover how his extensive oeuvre often featured the same themes focusing on staircases, his studios and plants. ‘Staircase with a Blue Window’ and ‘Plants with Skylights’ perfectly depict his skill at capturing vertiginous aspects and ‘Atelier de la rue de Crussol’ shows a multitude of hidden details in this captivating work.
Sam Szafran (19 November 1934 – 14 September 2019) was a French artist. He has been buried in the cimetière parisien de Bagneux.
Vincent van Gogh’s “The Starry Night” has been a visitor favorite at MoMA since it first appeared in our Van Gogh retrospective in 1935 and then was acquired in 1939. To become acquainted with the heart and mind of its maker, there is no better source than his letters. Those to his brother Theo, in particular, reveal his deepest aims and convictions, and his pleasures and anxieties, especially during the last year-and-a-half of his life, working in near-isolation from an asylum in St.-Remy.