Celebrating an American Artist - Edward Hopper

Edward Hopper - House by the Railroad - 1925 - Oil on canvas - 24 x 29 in. (60.9 x 73.6 cm.)

Edward Hopper, the best-known American realist of the inter-war period, once said: 'The man's the work. Something doesn't come out of nothing.' This offers a clue to interpreting the work of an artist who was not only intensely private, but who made solitude and introspection important themes in his painting. Among the subjects he painted were hotels, motels, trains and highways. He also liked to paint the public and semi-public places where people gathered: restaurants, theatres, cinemas and offices. But even in these paintings he stressed the theme of loneliness - his theatres are often semideserted, with a few patrons waiting for the curtain to go up or the performers isolated in the fierce light of the stage. Hopper was a frequent movie-goer, and there is often a cinematic quality in his work. He transformed the concrete 'public real' into something far more personal and emotional.

"Hopper frequently used a straight. horizontal motif, usually a road or railroad track. to construct the space within the picture and to emphasize the division between the picture space and the viewer's world. Indeed, the more the viewer tries to penetrate the depths of a Hopper painting, the more impenetrable it becomes. What holds the viewer is that the artist's vision seems under control and yet, on closer inspection, the viewer realizes that the visible surface is a tissue of improbabilities and unreadable shifts in space. Hopper's view that nature and the contemporary world were incoherent contributed to his artistic vision." - From "Techniques of the Great Masters of Art"

Manet Sets $33.1 Million Record

View of French Impressionist Edouard Manet's Self Portrait , 1878-1879, which sold at auction at Sotheby's in London, for $33.1 Million Tuesday June 22, 2010. AP Photo/Max Nash.

LONDON (REUTERS).- Sotheby's sold an Edouard Manet self-portrait for 22.4 million pounds ($33.1 million) on Tuesday, a record for the artist but toward the lower end of pre-sale expectations of 20-30 million pounds. The painting, one of only two self-portraits by the artist and the only one in private hands, was the centerpiece of the auctioneer's main impressionist and modern art sale in London this summer. (Excerpted from eporting by Mike Collett-White; Editing by Charles Dick) Reprinted from ArtDaily - 23 June 2010

Edouard Manet broke new ground by defying traditional techniques of representation and by choosing subjects from the events and circumstances of his own time. His Déjeuner sur l’herbe (“Luncheon on the Grass”), exhibited in 1863 at the Salon des Refusés, aroused the hostility of critics and the enthusiasm of the young painters who later formed the nucleus of the Impressionist group. Manet’s debut as a painter met with a critical resistance that did not abate until near the end of his career. Although the success of his memorial exhibition and the eventual critical acceptance of the Impressionists—with whom he was loosely affiliated—raised his profile by the end of the 19th century, it was not until the 20th century that his reputation was secured by art historians and critics. Manet’s disregard for traditional modeling and perspective made a critical break with academic painting’s historical emphasis on illusionism. This flaunting of tradition and the official art establishment paved the way for the revolutionary work of the Impressionists and Post-Impressionists. Manet also influenced the path of much 19th- and 20th-century art through his choice of subject matter. His focus on modern, urban subjects—which he presented in a straightforward, almost detached manner—distinguished him still more from the standards of the Salon, which generally favored narrative and avoided the gritty realities of everyday life. Manet’s daring, unflinching approach to his painting and to the art world assured both him and his work a pivotal place in the history of modern art. Even the recognition he has finally received does not do him justice. He was a remarkable painter.

Spain's Cultural Ministry to Reopen Caves of Altamira Despite Scientists' Warnings

Spain's Cultural Minister Angeles Gonzalez-Sinde said Tuesday June 8, 2010 that Spain has decided to reopen a cave complex with prized prehistoric paintings after 8 years of closure, despite scientists warnings' that heat from human visitors damages the art. AP Photo/Pedro A. Saura.

MADRID (AP).- A cave complex boasting prized prehistoric paintings will reopen after eight years of closure, despite scientists' warnings that heat and moisture from human visitors damage the site known as the Sistine Chapel of Paleolithic Art. The Culture Ministry and the site's board of directors said Tuesday that visits to the Caves of Altamira in the northern Cantabria region will resume next year, although on a still-unspecified, restricted basis. The main chamber at Altamira features 21 bison painted in red and black, which appear to be charging against a low, limestone ceiling. The site was declared a UNESCO world heritage site in 1985. The paintings are estimated to be 14,000 to 20,000 years old. Discovered in 1868, the cave complex became a tourist magnet and by the 1970s received 3,000 visitors a day. Body heat and moisture from people's breath were blamed for a gradual deterioration of the images, and from 1982-2002 only a handul of visits were allowed each day. The cave was completely shut off to most visitors after scientists detected green mold stains on the paintings in the main chamber. A replica of the caves was built in a museum in 2001. In April of this year, the government's main scientific research body, called the CSIC, recommended that the caves remain closed. "The people who go in the cave have the bad habit of moving, breathing and perspiring," CSIC researcher Mariona Hernandez-Marine wrote then. The site's board voted to reopen, however, calling the caves too valuable to keep closed. "Altamira is an asset we cannot do without," the Cantabria region's president, Miguel Angel Revilla, said.

Excerpted from "Art Daily" - Copyright 2010 The Associated Press.

Columbian Artist Fernando Botero is Welcomed in Istanbul

Colombian artist Fernando Botero poses in front of his paintings "La Fornarina, After Raphael" (L) and "After Velazquez" at the Pera Museum in Istanbul, during a preview one day before the opening of his first exhibition in Turkey.

ISTANBUL.- "Suna and İnan Kıraç Foundation Pera Museum welcomed one of the most exceptional artists of the 21st century, Fernando Botero in İstanbul for the very first time with an exhibition comprising a selection of 64 works. Botero’s art is not exclusively a narration or a representation, but brings with it the force of an inner vision, of his knocking on life’s door. Protecting his Latin and Colombian identity, Botero has succeeded forming his own style nourished not only by folkloric elements but also by the works of grand masters, and has poured his rich inner world into his works with a sophisticated, humorous and wise approach." - Excerpted from REUTERS/Murad Sezer.

"Nude, Green Leaves and Bust"

Pablo Picasso's 1932 'Nude, Green Leaves, and Bust' is seen at Christie's auction house in New York.

NEW YORK - "A 1932 Pablo Picasso painting of his mistress has sold for $106.5 million, a world record price for any work of art at auction. The striking work of Picasso's muse and mistress Marie-Therese Walter has been exhibited in the United States only once, in 1961 in Los Angeles to commemorate the 80th anniversary of Picasso's birth. The painting, which measures more than 5 feet by 4 feet, shows a reclining nude figure with an image of Picasso in the background looking over her. The painting had belonged to the late California art patron Frances Lasker Brody, who bought it in the 1950s. It had been kept in her family since then. Part of the sale proceeds will benefit the Huntington Library, Art Collections and Botanical Gardens in San Marino, Calif., where Brody was on the board. The previous record for a work of art at auction was $104.3 million for "Walking Man I," a sculpture by Alberto Giacometti sold on Feb. 3 at Sotheby's in London. The previous high price for a Picasso work was $104.2 million for "Boy With a Pipe (The Young Apprentice)," attained in 2004 at Sotheby's New York." - Excerpted from 'Art Daily'/'AP' -

"Foghorns" by the fantastic Arthur Dove

Arthur Dove - Foghorns - 1929 - Oil on canvas - 18 x 26 in. (45.7 x 66 cm)
Colorado Springs Fine Arts Center, Colorado

Arthur Dove (1889-1946) was an American painter who was one of the earliest nonobjective artists. Dove’s art reflects his belief that color and form are instruments with which to express the essence beneath the physical exterior of things; his shapes are typically amorphous, his colors muted. In his wonderful "Foghorns" (1929), for example, he used size-graduated shapes and gradations of hue to visually express the sound of foghorns. Despite their nonobjective character, his paintings often suggest the undulating qualities of landscape and the forms of nature.

Dove had a profound influence on Georgia O'Keeffe. From the start of her career, O’Keeffe credited a reproduction of a Dove pastel as her introduction to modernism. Dove’s use of sensual, abstract forms to evoke the flowing rhythms and patterns of nature had already put him at the forefront of the American modernist movement by the time O’Keeffe entered the scene around 1916. Dove had been featured at the renowned photographer Alfred Stieglitz’s New York gallery “291″ in 1912, and O’Keeffe’s work was first shown there in 1916. O'Keeffe seriously considered giving up painting entirely early on in her career. Although she was an award winning art student--she wasn't particularly interested in painting those subjects for which she was lauded. She also didn't want to paint in the manner of one her most famous teachers--William Merritt Chase--but at the same time didn't want to follow the paths of the European modernists. Seeing Dove's work helped O'Keeffe to find her own visual voice. When she was in her 70s, O'Keeffe recalled that, “It was Arthur Dove who affected my start, who helped me to find something of my own.” By all means, explore the paintings of Arthur Dove. It will be well worth the journey.

Leonardo da Vinci and the Art of Sculpture: Inspiration and Invention

Preaching of St John the Baptist
1506-11
Bronze, height: 265 cm (with base)
Baptistry, Florence

I highly recommend visiting the Getty Center to catch the current Leonardo exhibit. In addition to seeing incredible drawings (and the Vatican Saint Jerome) by the great master--there is a newly restored "Bearded Prophet" by the great Early Renaissance sculptor, Donatello also featured. In addition, there are elegant works by Giovan Franceso Rustici, who--mentored by Leonardo--produced works that come as close as possible to the way in which Leonardo might have sculpted them--and which refer to paintings created by Leonardo. Seeing the drawings of da Vinci gives viewers a unique opportunity to witness his thought (and work) process. It is also a delight to discover when and where Leonardo's mind would wander! Don't miss this event!