Over 200 of the world’s leading international Modern and contemporary art galleries display artworks by over 4,000 artists, including paintings, sculptures, installations, photography, film, video, and digital art. Visitors can find works ranging from editioned pieces by young artists to museum-caliber masterpieces.
Website: https://www.artbasel.com/miami-beach
From a Grand Prix History online posting:
His work was displayed in many exhibitions in the UK and twenty four of his paintings were exhibited in New York in 1960. the exhibition was entitled ‘British Motoring Achievements’ and was a collection of paintings depicting outstanding performances of British cars during the previous ten years. These included the Vanwall and Cooper in Grand Prix, Monte Carlo and Alpine Rallies, speed records by MG and Austin, and Le Mans wins by Jaguar and Aston Martin.
Roy Anthony Nockolds was born in Croydon in south London, England on the 24th January 1911. He was the last of seven children; one of his brothers Harold F. L. Nockolds would later become a motoring journalist and author of the classic Rolls-Royce history, “Magic of a Name”. His mother Flora Mary van der Heyden was the great grand daughter of Dutch Baroque-era painter and inventor, Jan van der Heyden. His farther Walter Herbert Nockolds was a descendent of farmers who had originally come to Britain from the Frisian Islands.
To read more: http://www.grandprixhistory.org/nockolds.htm
From a Christie’s online article:
Shortly after George Orwell’s death in 1950, his widow Sonia was visited in London by two representatives of the American film producer, Louis de Rochemont. They sought the rights to Orwell’s novel from five years earlier, Animal Farm. It’s said Sonia took some convincing but eventually agreed, on the promise that de Rochemont would introduce her to her hero, Clark Gable.
https://www.youtube.com/watch?v=b4egC00K7Dg
A conventional, live-action adaptation was out of the question given that the book’s main characters were farmyard animals, so an animated movie was decided upon instead. De Rochemont chose to have it made in the UK rather than the US — partly because of lower production costs, partly because he admired the work of British husband-and-wife duo John Halas and Joy Batchelor, a couple who ran their own animation studio and had produced several propaganda films for the British government during the Second World War.
Their adaptation of Animal Farm was released in 1954, to popular and critical acclaim — the first feature-length animation movie ever made in the UK.
From an Apollo Magazine online article:
He shot the Beatles in a St John’s Wood back garden before they had even broken the Top 10 (‘I didn’t know how to work with a group, but because I was a musician myself and the youngest on staff by a decade, I was always the one they’d ask’), and within a few months was kitting out the Rolling Stones with suitcases to look like a travelling band in a series of candid street shots.
His portraits, in grainy 35mm black-and-white, are a veritable roll call of the 1960s youthquake – Michael Caine, Terence Stamp, David Hemmings, Marianne Faithfull, Jean Shrimpton (walking barefoot on a rain-slicked King’s Road, or posing with the porcelain inmates of a dolls’ hospital) – and of the other stars of the age, from the Rat Pack to Muhammad Ali. He photographed Churchill being carried from hospital in an armchair, a potentate on a palanquin; shot Peter Cook and Dudley Moore floating on lilos in raincoats; and extensively documented the early career of Elton John – including a remarkable shot where he plays an upright piano with his legs floating up towards the ceiling, as if performing on the International Space Station.
From an Artsy.net online article:
Eakins’s ambitious painting brought Renaissance-era virtuosity to the mid–19th century United States, as American art was still struggling to find its place on the world stage. The Gross Clinic, which still hangs in Philadelphia today, is a triumph of composition, light, and shadow.
In 1875, Thomas Eakins decided to paint a picture that would glorify his hometown of Philadelphia. The first ever World’s Fair to be held in the United States, the Centennial International Exhibition, would open in the city the following year. Through his painting, Eakins hoped to honor the scientific breakthroughs that were coming out of the local Jefferson Medical College. The artist observed live procedures by the celebrated surgeon Dr. Samuel Gross, then translated them onto a large-scale canvas that he titled Dr. Gross (1875) (now known as The Gross Clinic). The work has become perhaps the most important painting in the history of American art.
To read more: https://www.artsy.net/article/artsy-editorial-thomas-eakinss-the-gross-clinic-american-painting
One of the most successful artists of the Italian Renaissance, Titian was the master of the sixteenth-century Venetian school and admired by his royal patrons and fellow artists alike. Several of his contemporaries, including the authors and art theorists Giorgio Vasari, Francesco Priscianese, Pietro Aretino, and Ludovico Dolce, wrote accounts of Titian’s life and work.
In this episode, Getty assistant curator of paintings Laura Llewellyn discusses what these “lives” teach us about Titian and the artistic debates and rivalries of his time. All of these biographies are gathered together in Lives of Titian, recently published by the Getty as part of our Lives of the Artists series.
Website: https://blogs.getty.edu/iris/podcast-the-lives-of-titian/
Gauguin’s stay at the Yellow House is mired in controversy. What really happened? Bernadette Murphy, author of ‘Van Gogh’s Ear: The True Story’, considers those fateful days from Gauguin’s point of view.
The Credit Suisse Exhibition: Gauguin Portraits 7 October 2019 – 26 January 2020 Book tickets online and save, Members go free: https://bit.ly/2IspPWH
The first-ever exhibition devoted to the portraits of Paul Gauguin. Spanning his early years as an artist through to his later years spent in French Polynesia, the exhibition shows how the French artist revolutionised the portrait.
Exhibition organised by the National Gallery and the National Gallery of Canada, Ottawa.
From a Christie’s online article:
Rodin first exhibited a bronze and a plaster version of The Age of Bronze at the Cercle Artistique in Brussels in January 1877. A few months later, he exhibited the plaster at the Paris Salon, where it caused a scandal. ‘The vitality and naturalism of the sculpture was so extreme, the sense of modelling so observed, that he was accused of having cast the sculpture from the model himself,’ says the specialist.
Tudor Davies, Head of Impressionist & Modern Art in Paris, reveals why Rodin’s Salon ‘scandal’ marked a pivotal turning point in the artist’s career.
The Age of Bronze was originally conceived in 1877, and is widely considered Rodin’s first great work, ranking alongside his later masterpieces, including La Porte de l’Enfer, Le Penseur and Le Baiser. Its conception marked a decisive turning point in the sculptor’s career.
Claude Monet once remarked that Manet “always wanted his painting to look as if done at the first attempt,” but the truth was more complicated. Manet went to great lengths to perfect his work and even greater lengths to conceal the effort involved. From his earliest oil paintings to his late watercolors, this lecture contrasts Manet’s cultivation of a reputation for effortlessness with the arduous reality of his practice.
Emily A. Beeny, Associate Curator of Drawings, The J. Paul Getty Museum, Los Angeles
From New Yorker article:
Since all of my paintings—almost every single one except for the figure paintings—are done from memory, I rely specifically on the memory of working in restaurants, or of visiting farms on which I worked as a young person. I try to recall the look and feel and love of what I have experienced.
At ninety-nine, Wayne Thiebaud—one of America’s greatest painters, and certainly its premier painter of food—is still going strong. This is Thiebaud’s ninth cover for the magazine, and it riffs on one of his previous paintings, an image of a turkey that he started in 2009. A sharp viewer might pick out the added details and embellishments, but more striking, perhaps, are the Thiebaud hallmarks that remain the same: soft light, clear color, a blue shadow pooling around a plate. We recently called Thiebaud at his home, in Sacramento, to talk about his work.
To read more: https://www.newyorker.com/culture/cover-story/cover-story-2019-11-25
Boomers Daily 