Wednesday, January 4, 2012
Art History at Carter Sexton
Check out my Art History class on Modern Art at Carter Sexton Artists Materials. Visit www.cartersexton.com for Info and to Register! This is a fun and affordable class--and it begins on Thursday, January 12, 2012.
Monday, August 22, 2011
New Student Works Posted
Please paste the following link in your browser to view the work of some of my students.
http://web.me.com/artsalive/Port-of-Arts,_Ltd./Art/Art.html
These artists are enrolled in the Pasadena City College Extended Learning program--in my Oil Painting for the Complete Novice and Intermediate Oil Painting classes. I'm very proud of their ongoing developments!
Sunday, June 12, 2011
Brick Lion from the Neo-Babylonian Period, about 604-662 B.C.
BRICK LION FROM ca. 604-662 B.C.
CHICAGO.- Martha Roth, dean of humanities at the University of Chicago, and Gil Stein, director of the Oriental Institute at the university, examine one of two glazed molded brick lions from the Neo-Babylonian Period, about 604-662 B.C. in one of the institutes galleries in Chicago. Roth is the editor-in-charge of a project started 90 years ago by the institute to assemble an Assyrian dictionary based on words recorded on tablets unearthed in Iraq, Iran, Syria, and Turkey, and written in a language that hadnt been uttered for more that 2,000 years. The massive 21-volume collection is now complete. AP Photo/M. Spencer Green.
Published by ArtDaily
Friday, March 25, 2011
LACMA Launches Image Library Expanding Online Access to Museum's Collection
Wilshire View. Los Angeles County Museum of Art. ©2008 Museum Associates/LACMA.LOS ANGELES, CA.- The Los Angeles County Museum of Art (LACMA) announce that it will provide access to free high-resolution images of the museum’s rich encyclopedic collection through its newly created Image Library. Visitors to the library can download the images free of charge and without any restrictions on use. The Image Library opens with 2,000 public domain images (with more to be added), representing a broad range of LACMA’s collections, including Egyptian, Decorative Arts and Design, Latin American, Chinese and Korean, European Painting and Sculpture, and many more.
The current selection of images presented in the Image Library represents a sampling from LACMA’s permanent collection that is comprised of more than 100,000 artworks. Each work in the Image Library is accompanied by identifying information, along with a link to its listing on LACMA’s Collections Online, where further details about the work and/or collection can be found.
Envisioned as a resource for students, educators, researchers, artists, designers, and media innovators, the Image Library continues the museum’s commitment to expand access to the breadth and depth of its collection to the widest possible audiences. The Image Library follows other online initiatives LACMA has launched in recent years, including the Reading Room, introduced in January 2010, which allows visitors to view a growing collection of rare, out-of-print exhibition catalogues. In addition, the museum’s blog, Unframed (established in September 2008), continues to create open conversation about art and artists represented at LACMA and give a behind-the-scenes look of the inner workings of the museum. - ArtDaily
Friday, December 24, 2010
Wednesday, December 15, 2010
Restored Renaissance Masterpiece on View in New Installation at Metropolitan Museum
Filippino Lippi (Italian, Prato 1457?–1504 Florence), Madonna and Child, Ca. 1485. Tempera, oil, and gold on wood, 32 x 23 1/2 in. (81.3 x 59.7 cm) The Metropolitan Museum of Art, The Jules Bache Collection, 1949 49.7.10.
NEW YORK, NY.- Filippino Lippi (1457-1504) is one of the great artists of 15th-century Florence. Among his principal patrons was the wealthy banker Filippo Strozzi (1428–1491), who in 1487 contracted the artist to decorate his funerary chapel in Santa Maria Novella with an outstanding cycle of frescoes. Around the same time, Strozzi also commissioned a Madonna and Child for his villa at Santuccio, west of the city. This work was acquired from the Duveen firm in 1928 by Jules Bache and was bequeathed to the Metropolitan Museum in 1949.
In preparation for an exhibition on the artist that will be held in Rome next year, the picture was taken to conservation for examination this fall. A test cleaning revealed that beneath a thick, discolored varnish there was a beautifully preserved, richly colored painting. It emerged that the varnish had been artificially toned to create an almost monochromatic appearance—an amber-colored uniformity that conformed to the idea of how an Old Master should appear. So striking is the transformation that the picture seems a new acquisition.
To celebrate this restoration, The Metropolitan Museum of Art is mounting A Renaissance Masterpiece Revealed: Filippino Lippi’s Madonna and Child, a focused exhibition, beginning January 15, 2011, that will include the picture and a number of objects in the Museum’s permanent collection that can be associated with the Strozzi by their coat of arms, which has three crescent moons.
The objects include a textile, a wooden chair, a cassone, and a column capital from the Palazzo Strozzi—the grandest of all 15th-century palaces in Florence. Filippo Strozzi belonged to one of the great patrician families of the city and played an important role there as an art patron. Although his father was exiled by the Medici in 1434, in 1466 Filippo was able to return to the city of his forebears, having made his fortune in the Strozzi bank in Naples. He set about rehabilitating the family’s prestige, in part by commissioning outstanding works of art such as Madonna and Child by Filippino Lippi. - Reprinted from artdaily.org
In preparation for an exhibition on the artist that will be held in Rome next year, the picture was taken to conservation for examination this fall. A test cleaning revealed that beneath a thick, discolored varnish there was a beautifully preserved, richly colored painting. It emerged that the varnish had been artificially toned to create an almost monochromatic appearance—an amber-colored uniformity that conformed to the idea of how an Old Master should appear. So striking is the transformation that the picture seems a new acquisition.
To celebrate this restoration, The Metropolitan Museum of Art is mounting A Renaissance Masterpiece Revealed: Filippino Lippi’s Madonna and Child, a focused exhibition, beginning January 15, 2011, that will include the picture and a number of objects in the Museum’s permanent collection that can be associated with the Strozzi by their coat of arms, which has three crescent moons.
The objects include a textile, a wooden chair, a cassone, and a column capital from the Palazzo Strozzi—the grandest of all 15th-century palaces in Florence. Filippo Strozzi belonged to one of the great patrician families of the city and played an important role there as an art patron. Although his father was exiled by the Medici in 1434, in 1466 Filippo was able to return to the city of his forebears, having made his fortune in the Strozzi bank in Naples. He set about rehabilitating the family’s prestige, in part by commissioning outstanding works of art such as Madonna and Child by Filippino Lippi. - Reprinted from artdaily.org
Monday, December 13, 2010
Unseen Egon Schiele Work to be Unveiled at the New Richard Nagy Gallery in UK
LONDON.- More than forty-five extraordinary works by Austrian artist Egon Schiele, previously unseen in the UK, will be unveiled at Richard Nagy’s new gallery on Old Bond Street from 07 February – 04 March 2011. Much of the four thousand works Schiele produced during his short lifetime can only be seen in Vienna; at the Belvedere, the Albertina and the Leopold Museum, or New York, primarily at the Neue Galerie.
While Schiele is recognised as one of the greatest draftsmen of the 20th Century, with watercolours making over $11 million at auction, his work is absent from museum collections in the United Kingdom and has been given little public attention in the past twenty years. In 1989, the Royal Academy of Arts staged the first and last museum exhibition in the country, Egon Schiele and his Time. Since then Schiele’s work has only made fleeting appearances in group shows, to which Nagy has loaned pieces. Focusing exclusively on women, this exhibition provides a rare opportunity to discover museum-quality drawings and watercolours from the artist’s most creative ‘Mature Period’ (1910-1918).
Egon Schiele was born in 1890 in the Austrian town Tulln, just outside of Vienna. After his father’s death in 1905, Schiele began studying painting and drawing at the Kunstgewerbeschule (School of Arts & Crafts), where Austrian painter Gustav Klimt was once a student, as well as the Akademie der Bildenden Künste (Academy of Fine Arts), both in Vienna. However finding these institutions too conservative, he left in 1907 to seek out Klimt, the leading contemporary artist of the day, becoming the painter’s protégé and friend. In some instances Schiele’s unsettling erotic work gained him unwelcome attention.
He was arrested in 1912 and charged with carnal knowledge and distributing immoral material, for which he was cleared, though he served 24 days in prison. That same year Schiele began a very public affair with Klimt’s model Wally Neuzil, who he later dropped to marry the bourgeois Edith Harms in 1915. Schiele produced little in the two years directly following his marriage as he was called to serve in the army. In 1917 following his participation in the war, Schiele began to exhibit successfully across Europe with shows in Vienna, Zurich, Prague, and Dresden. When Klimt died in 1918, Schiele became Austria’s leading artist, though he died of Spanish influenza at the age of 28, only months after Klimt and three days after his young pregnant wife.
Throughout Schiele’s life, women fascinated him. As the only son in a household of women, his earliest drawings are of his mother and sisters. His closeness to his younger sister Gertrude has raised many metaphorical eyebrows – exemplified by naked drawings of her and in some instances rather provocatively so. It is evident in his early nudes of street girls, that he had a young man’s curiosity for the erotic. Schiele has an unerring genius for scrutinising the human qualities in the women he draws. This interest in women matured with his years and circumstances, and was with him until his death.
Nagy’s exhibition shows the diversity in Schiele’s depiction of women, from the tension and anxiety demonstrated in his 1910-1911 works, to his calmer, softer style of 1917-1918 when he was becoming comfortable and successful as an artist. Schiele, for so long a hidden genius known only to a few, is now one of the acknowledged luminaries of 20th Century art history. Masterpieces on display include Dark Haired Girl (1910), Woman with Infant (1910), Nude in Orange Stockings (1914), and Girl in Underclothes (1917), amongst others. - Reprinted from artdaily.org
While Schiele is recognised as one of the greatest draftsmen of the 20th Century, with watercolours making over $11 million at auction, his work is absent from museum collections in the United Kingdom and has been given little public attention in the past twenty years. In 1989, the Royal Academy of Arts staged the first and last museum exhibition in the country, Egon Schiele and his Time. Since then Schiele’s work has only made fleeting appearances in group shows, to which Nagy has loaned pieces. Focusing exclusively on women, this exhibition provides a rare opportunity to discover museum-quality drawings and watercolours from the artist’s most creative ‘Mature Period’ (1910-1918).
Egon Schiele was born in 1890 in the Austrian town Tulln, just outside of Vienna. After his father’s death in 1905, Schiele began studying painting and drawing at the Kunstgewerbeschule (School of Arts & Crafts), where Austrian painter Gustav Klimt was once a student, as well as the Akademie der Bildenden Künste (Academy of Fine Arts), both in Vienna. However finding these institutions too conservative, he left in 1907 to seek out Klimt, the leading contemporary artist of the day, becoming the painter’s protégé and friend. In some instances Schiele’s unsettling erotic work gained him unwelcome attention.
He was arrested in 1912 and charged with carnal knowledge and distributing immoral material, for which he was cleared, though he served 24 days in prison. That same year Schiele began a very public affair with Klimt’s model Wally Neuzil, who he later dropped to marry the bourgeois Edith Harms in 1915. Schiele produced little in the two years directly following his marriage as he was called to serve in the army. In 1917 following his participation in the war, Schiele began to exhibit successfully across Europe with shows in Vienna, Zurich, Prague, and Dresden. When Klimt died in 1918, Schiele became Austria’s leading artist, though he died of Spanish influenza at the age of 28, only months after Klimt and three days after his young pregnant wife.
Throughout Schiele’s life, women fascinated him. As the only son in a household of women, his earliest drawings are of his mother and sisters. His closeness to his younger sister Gertrude has raised many metaphorical eyebrows – exemplified by naked drawings of her and in some instances rather provocatively so. It is evident in his early nudes of street girls, that he had a young man’s curiosity for the erotic. Schiele has an unerring genius for scrutinising the human qualities in the women he draws. This interest in women matured with his years and circumstances, and was with him until his death.
Nagy’s exhibition shows the diversity in Schiele’s depiction of women, from the tension and anxiety demonstrated in his 1910-1911 works, to his calmer, softer style of 1917-1918 when he was becoming comfortable and successful as an artist. Schiele, for so long a hidden genius known only to a few, is now one of the acknowledged luminaries of 20th Century art history. Masterpieces on display include Dark Haired Girl (1910), Woman with Infant (1910), Nude in Orange Stockings (1914), and Girl in Underclothes (1917), amongst others. - Reprinted from artdaily.org
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