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Mark Rothko Red

Post n°6 pubblicato il 11 Settembre 2013 da paintingsframe
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Red is a play by American writer John Logan about artist Mark Rothko first produced by the Donmar Warehouse, London in December 2009. The original production was directed by Michael Grandage and performed by Alfred Molina as Rothko and Eddie Redmayne as his fictional assistant Ken.

The production, with its two leads, transferred to Broadway at the John Golden Theater for a limited engagement which began on March 11, 2010 and closed on June 27. It was the 2010 Tony Award winner for Best Play. Additionally, Redmayne won a 2010 Tony Award for Best Performance by a Featured Actor in a Play.

Synopsis

"There is only one thing I fear in life, my friend... One day the black will swallow the red."

Mark Rothko is in his New York studio in 1958-9, painting a group of murals for the expensive and exclusive Four Seasons restaurant. He gives orders to his assistant, Ken, as he mixes the paints, makes the frames, and paints the canvases. Ken, however, brashly questions Rothko's theories of art and his acceding to work on such a commercial project.

Reception

Reviews for the London production were mixed for the play but positive for Molina's performance. Michael Billington in The Guardianwrote: "Alfred Molina, with his large frame and beetling eyebrows, has exactly the fierce intensity of an artist whose paintings were a dynamic battle between Apollo and Dionysus, ."

In reviewing the Broadway production, Michael Kuchwara of the Associated Press wrote: "They are the tantalizing first words of Red, John Logan's engrossing, often enthralling new play about art, an artist and the act of creation." Variety wrote that "Alfred Molina is majestic".

Awards and nominations

The play won the 2010 Drama League Award for Distinguished Production of a Play and Molina won the Distinguished Performance Award.

 

The play was nominated for a total of seven Tony Awards, winning six, including: Best Play, Best Featured Actor in a Play for Eddie Redmayne, Best Direction of a Play for Michael Grandage, Best Scenic Design of a Play for Christopher Oram, Best Lighting Design of a Play for Neil Austin and Best Sound Design of a Play for Adam Cork.All in all, it received the most wins out of any other production that season. The play also won the Drama Desk Award for Outstanding Play while Grandage and Austin were honoured with Drama Desk Awards for their work. Molina, Cork and Oram were also similarly nominated.

 
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Footprints in the Sand Thomas Kinkade

Post n°5 pubblicato il 11 Settembre 2013 da paintingsframe
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"When you see only one set of footprints, It was then that I carried you"
 
"The parable about footprints in the sand, which reminds us that in times of personal pain God is there to carry us through, resonates for me with profound truth.
 
My Footprints in the Sand takes us to the charming coastal town of Pismo Beach, California to explore the interweaving of the human and spiritual elements of our lives.  
 
The scene bustles with human activity
families strolling the pier, fishermen, even my first-ever portrayal of a surfer. The busy people are bathed in the heavenly light of sunset, and flocks of gulls, like messengers from Heaven, descend from the glorious sky.  
 
Two pairs of footprints in the sand narrow to one, reminding us that, when our human lives are troubled, God will always be a constant guide and steady support."  - Thomas Kinkade


 
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Fabian Perez, 1967 ~ Flamenco Dancers

Post n°4 pubblicato il 10 Settembre 2013 da paintingsframe
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Growing up in Argentina, Fabian Perez - Argentine painter, developed a fondness for art through his parents, who possessed strong creative sides but were never professional artists. His mother drew, and it rubbed off on Perez, who excelled in art classes and painted murals on the walls of his school at his teachers' requests.

The stories and photographs of what happened inside filtered back to Perez, and the air of sensuality and romanticism can be found in the portraits of women and nightclub scenes he paints today. Another influential force in Perez's artistic development was a martial arts instructor he started studying under when he was 18, the same year his father died. That time in Perez's life was tough, as his mother also had died three years earlier.

At 22, Perez moved with the instructor to Italy where he spent seven years developing his craft and writing a book titled "Reflections of a Dream", which was later published in the United States. After Italy, he moved to Japan and painted two pieces that are now on display at a government house. After a year there, he moved to Beverly Hills where he currently resides.When artist Fabian Perez captures a person or place on canvas, he doesn't just portray the outward beauty. He taps into the mood of the moment and leaves a powerful feeling in the wake of his brush strokes. In 2009 Perez was named the official artist of the 10th annual Latin Grammy Awards. In 2010 Perez was selected to paint the 2010 Winter Olympics.

It's Perez's emotion-filled art that five years ago caught the attention of Robert Bane, owner of Robert Bane Editions, a longstanding Beverly Hills-based art publisher. Bane was eating lunch with his wife in a Los Angeles cafe, and one of Perez's paintings on the wall compelled him to contact the artist. Shortly after meeting, the two men became business partners, and Perez quickly ascended the ranks of the industry's hottest emerging artists.

It's Perez's emotion-filled art that five years ago caught the attention of Robert Bane, owner of Robert Bane Editions, a longstanding Beverly Hills-based art publisher. Bane was eating lunch with his wife in a Los Angeles cafe, and one of Perez's paintings on the wall compelled him to contact the artist. Shortly after meeting, the two men became business partners, and Perez quickly ascended the ranks of the industry's hottest emerging artists.

 

Indeed, much of his subject matter is reminiscent of the culture of his youth and his Spanish heritage.
Today, Perez divides much of his rime between his studio and promotional tours. An artist that tends to go with the flow of his ideas, Perez is constantly altering his style to try new things. In the near future, he plans to experiment with the contrast of light and dark to "give less information" to viewers and "create mystery", he says. "As an artist, you have to be changing all the rime. If you put a name with what you do, people will compare you with it". Amid the desire for change, though, there will be one constant in Perez's paintings. People will still be the primary subject matter because he thrives off high lighting their inner spirits.


 
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Tiger in a Tropical Storm

Post n°3 pubblicato il 10 Settembre 2013 da paintingsframe
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Tiger in a Tropical Storm or Surprised! (French Tigre dans une tempête tropicale or Surpris!) is an 1891 oil-on-canvaspainting by Henri Rousseau. It was the first of the jungle paintings for which the artist is chiefly known. It shows a tiger, illuminated by a flash of lightning, preparing to pounce on its prey in the midst of a raging gale.

Unable to have a painting accepted by the jury of the Académie de peinture et de sculpture, Rousseau exhibited Tiger in a Tropical Storm in 1891 under the title Surpris!, at the Salon des Indépendants which was unjuried and open to all artists. The painting received mixed reviews. Rousseau had been a late developer: his first known work, Landscape with a Windmill, was not produced until he was 35, and his work is marked by a naïveté of composition that belies its technical complexity. Most critics mocked Rousseau's work as childish, but Félix Vallotton, a young Swiss painter who was later to be an important figure in the development of the modern woodcut, said of it:

His tiger surprising its prey is a 'must-see'; it's the alpha and omega of painting and so disconcerting that, before so much competency and childish naïveté, the most deeply rooted convictions are held up and questioned.

Rousseau's tiger is derived from a motif found in the drawings and paintings of Eugène Delacroix. It was claimed, either by Rousseau himself or by his friends and admirers, that he had experienced life in the jungle during his time in Mexico in 1860, where he had served as a regimental bandsman. In fact he never left France, and it is thought that his inspiration came from the botanical gardens of Paris, such as the Jardin des Plantes (which included zoological galleries with taxidermyspecimens of exotic animals), and from prints and books. The fin de siècle French populace was captivated by exotic and dangerous subjects, such as the perceived savagery of animals and peoples of distant lands (Morris & Green, 49–60). Tigers on the prowl had been the subject of an exhibition at the 1885 École des Beaux-Arts. Emmanuel Frémiet's famous sculpture of 1887 depicting a gorilla carrying a woman exuded more savagery than anything in Rousseau's canvases, yet was found acceptable as art; Rosseau's poor immediate reception therefore seems the result of his style and not his subject matter (Morris & Green, 143).

The tiger's prey is beyond the edge of the canvas, so is it left to the imagination of the viewer to decide what the outcome will be, although Rousseau's original title Surprised! suggests the tiger has the upper hand. Rousseau later stated that the tiger was about to pounce on a group of explorers. Despite their apparent simplicity, Rousseau's jungle paintings were built up meticulously in layers, using a large number of green shades to capture the lush exuberance of the jungle. He also devised his own method for depicting the lashing rain by trailing strands of silver paint diagonally across the canvas, a technique inspired by the satin-like finishes of the paintings of William-Adolphe Bouguereau.

Although Tiger in a Tropical Storm brought him his first recognition, and he continued to exhibit his work annually at the Salon des Indépendants, Rousseau did not return to the jungle theme for another seven years, with the exhibition of Struggle for Life (now lost) at the 1898 Salon. Responses to his work were little changed; following this exhibition, one critic wrote, "Rousseau continues to express his visions on canvas in implausible jungles... grown from the depths of a lake of absinthe, he shows us the bloody battles of animals escaped from the wooden-horse-maker" (Morris & Green, 142). Another five years passed before the next jungle scene, Scouts Attacked by a Tiger (1904). The tiger appears in at least three more of his paintings: Tiger Hunt (c. 1895), in which humans are the predators; Jungle with Buffalo Attacked by a Tiger (1908); and Fight Between a Tiger and a Buffalo (1908).

 

His work continued to be derided by the critics up to and after his death in 1910, but he won a following among his contemporaries: Picasso, Matisse, and Toulouse-Lautrecwere all admirers of his work. Around 1908, the art dealer Ambroise Vollard purchased Surprised! and two other works from Rousseau, who had offered them at a rate considerably higher than the 190 francs he finally received. The painting was later purchased by the National Gallery, London in 1972 with a contribution from the billionaire philanthropist Walter H. Annenberg.


 
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blue horse franz marc

Post n°2 pubblicato il 09 Settembre 2013 da paintingsframe
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Blue Horses or Die grossen blauen Pferde (The Large Blue Horses) is a 1911 painting by German painter and printmakerFranz Marc (1880–1916). In 1911, Marc was a founding member of Der Blaue Reiter (The Blue Rider), and was the center of a circle of German and Russian expatriate artists with August Macke, Wassily Kandinsky and several others whose works were seminal to the development of German Expressionism.
This work, which represents three vividly coloured blue horses looking down in front of a landscape of rolling red hills, is characterized by its bright primary colors and a portrayal that utilizes cubist style, stark simplicity, and a profound sense of emotion. According to the Encyclopedia Brittanica, "the powerfully simplified and rounded outlines of the horses are echoed in the rhythms of the landscape background, uniting both animals and setting into a vigorous and harmonious organic whole.". It is thought that the curved lines used to depict the subject are to emphasize "a sense of harmony, peace, and balance" in a spiritually-pure animal world and that by viewing human beings are allowed to join this harmony. Marc gave an emotional or psychological meaning or purpose to the colors he used in his work: blue was used for masculinity and spirituality, yellow represented feminine joy, and red encased the sound of violence and of base matter. Marc used blue throughout his career to represent spirituality and his use of vivid color is thought to have been an attempt to eschew the material world to evoke a spiritual or transcendental essence. This oil painting on canvas measures 41.625 inches by 71.3125 inches (unframed) and is unsigned.
This is one of Marc's earliest major works depicting animals and the more important of his series of portraits of horses in various colors. It is often thought that Marc thought animals to be more pure and more beautiful than man and represented a more pantheistic understanding of the divine or of spirituality. Swiss painter Jean Bloé Niestlé (1884–1942) urged Marc to "capture the essence of the animal." According to art historian Gabi La Cava, Marc depicts "the feeling that is evoked by the subject matter is most important"—moreso that zoological accuracy.
In 1942, Blue Horses was purchased by the Walker Art Center in Minneapolis, Minnesota through The T. B. Walker Foundation and its Gilbert M. Walker Memorial Fund. This was the first major modernist work to enter the collection.

 
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