An exhibit at South Carolina’s Columbia Museum of Art shows Vincent van Gogh in a new light. “Van Gogh and His Inspirations” presents the younger, wayward artist who learned from looking hard at the world — and the work of artists around him. A private collection of his inspirations is made public for the first time and presented alongside a dozen original van Gogh works. Jeffrey Brown reports.
A film by Eric Minh Swenson.
My paintings are inspired by an intensely personal introspective journey of life, from the ever-changing complexities of love, loss, birth, and death. The context of my work is what I call, “Absence and Presence” pertaining to how someone or something can be physically gone, but the essence still remains. Capturing the physical mixed with spirituality on canvas. My application of paint is an extension of that thought process. Continuously building up and tearing down, layer upon layer, adding and subtracting. A visceral dance between the conscious and the unconscious until the emotion is expressed. Painting the essence of something rather than a depiction. My message is about the human condition, that joy is sweetened by the memory of the pain endured to reach it.
From a VoyageLA online article: http://voyagela.com/interview/art-life-mark-acetelli/
With more than 80 works spanning paintings, etchings, and drawings, the Dutchman’s lifelong practice of self-portraiture functions as a means of concretizing that which is fleeting, be it individual moments of development set against the inexorable passage of time, or the facial contortions of emotion that are gone, without a trace, as swiftly as they arrive.
Across the four decades in which they were painted, one constant is particularly striking across media and styles―Rembrandt’s dedication to presenting himself from multiple perspectives, celebrating the multiplicity of the individual and championing the unfiltered portrayal of emotional expression.
To read more and order: https://www.taschen.com/pages/en/catalogue/art/all/04641/facts.rembrandt_the_self_portraits.htm?utm_campaign=2019_xmas4_davinci_rembrandt&utm_source=tas&utm_medium=nl
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
The 10th EPSON International Pano Awards is dedicated to the craft and art of panoramic photography. Advances in digital photography and editing software have resulted in an ever-increasing rise in the popularity of image stitching, especially in the panoramic format. VR ‘immersive’ photography also continues to excite and develop at a rapid pace, and panoramic film photography remains alive and well.
To read and see more: https://thepanoawards.com/2019-winners-gallery/
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 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.
Boomers Daily 