Eugène Delacroix
Ferdinand Victor Eugène Delacroix (French: [ø.ʒɛn də.la.kʁwa]; 26 April 1798 – 13 August 1863) was a French Romantic artist regarded from the outset of his career as the leader of the French Romantic school.[1] Delacroix's use of expressive brushstrokes and his study of the optical effects of colour profoundly shaped the work of the Impressionists, while his passion for the exotic inspired the artists of the Symbolist movement. A finelithographer, Delacroix illustrated various works of William Shakespeare, the Scottish writer Walter Scott and the German writer Johann Wolfgang von Goethe.
Delacroix's most influential work came in 1830 with the painting
Liberty Leading the People, which for choice of subject and technique highlights the differences between the romantic approach and the neoclassical style. Less obviously, it also differs from the Romanticism of Géricault and the
Raft of the Medusa.
"Delacroix felt his composition more vividly as a whole, thought of his figures and crowds as types, and dominated them by the symbolic figure of Republican Liberty which is one of his finest plastic inventions…"
[13]
Probably Delacroix's best known painting, it is an unforgettable image of Parisians, having taken up arms, marching forward under the banner of the
tricolour representing liberty, equality, and fraternity; Delacroix was inspired by contemporary events to invoke the romantic image of the spirit of liberty. The soldiers lying dead in the foreground offer poignant counterpoint to the symbolic female figure, who is illuminated triumphantly, as if in a spotlight.
Following the
Revolution of 1848 that saw the end of the reign of King Louis Philippe, Delacroix' painting,
Liberty Leading the People, was finally put on display by the newly elected President, Louis Napoleon (
Napoleon III). Traditionally, it has been visible in the
Louvre museum in Paris; beginning December, 2012, it has been on exhibit at
Louvre-Lens in
Lens, Pas-de-Calais.
[14]The French government bought the painting, but officials deemed its glorification of liberty too inflammatory and removed it from public view. Nonetheless, Delacroix still received many government commissions for murals and ceiling paintings. He seems to have been trying to represent the spirit and the character of the people,
[13] rather than glorify the actual event,
a revolution against
King Charles X which did little other than bring in a different king,
Louis-Philippe, to power.
Manet-women dressed as men in the spirit of Halloween.
Amedeo Modigliani
Singer Sargent
Richard Prince
Richard Prince was born in 1949 in the Panama Canal Zone and lives and works in upstate New York. Mining images from mass media, advertising and entertainment since the late seventies, Prince has redefined the concepts of authorship, ownership, and aura. Applying his understanding of the complex transactions of representation to the making of art, he evolved a unique signature filled with echoes of other signatures yet that is unquestionably his own. An avid collector and perceptive chronicler of American subcultures and vernaculars and their role in the construction of American identity, he has probed the depths of racism, sexism, and psychosis in mainstream humor; the mythical status of cowboys, bikers, customized cars, and celebrities; and most recently, the push-pull allure of pulp fiction and soft porn, producing such unlikely icons as the highly coveted Nursepaintings.
MONOMANIA DISEASEED
In the early 1820′s french painter Théodore Géricault made ten portraits of mentally ill patients for his friend Dr. Étienne-Jean Georget. Georget used the paintings to illustrate different cases of monomania for his students. Five of them still exist, these are four of them: The Insane (1822-1823), The Woman with Gambling Mania (1819-1822), Portrait of a Kleptomaniac (1819-1822) and Portrait of a Woman Suffering from Obsessive Envy (1822).
Dum Dum
Parmigianinos “La schiava turca” (1530-tall), Cornelis van Haarlems “Bathseba at her bath” (1594).
Bartholomeus Sprangers “Hermaphroditus und die Nymphe Salmacis” (1580-82), Francesco de’ Rossis “Caritas” (1554-58) (alle bilder via Wikipedia).
>>>>>>>Through out art history the stylistic pendulum has swung a million times. Periods rise, blossom, get replaced, and always come back. During the Italian renaissance Leonardo and Raphael had perfected the classical painting, with elevated beauty and clarity as supreme goal. But then came mannerism. Artists like Parmigianino and Bronzino didn’t opt for perfect proportions and harmony in their paintings, and so were seen as artistic degeneration by their contemporaries. Still, mannerism spread across both national borders and forms of art, to litterature, music and architecture. For a modern, untrained eye the paintings above might look like any flabby renaissance composition, but take a closer look. Doesn’t the bodies look a little deformed? The babies overtly grotesque? Doesn’t Parminianino’s turkish slave have an extra sly look in her eyes? Different artists took inspiration from different directions, but a common feature is the abnormality in composition and figures. Long, weird fingers, deformed bodies – and a psychological depth the polished renaissance painters held pride in avoiding.
OLYMPIA
Paul Cezanne, A Modern Olympia, ca. 1873
Edourd Manet's, 1863
When Manet showed his Olympia at the Salon in 1865, it released a flood of both anger (how dear he paint a naked lady who is so obviously a prostitute, and not an ancient goddess type?) and inspiration. Many artists who had broken with the royal academy took after him, but few went as far as Cezanne. Ten years after Manet he painted his own Olympia, a rather small painting, before he had found the style he is so known for today. But who is the man sitting in front of her? Why, it’s Cezanne himself. Self portrait as a customer. I find it so weird that I’m going to Paris in November to write a paper on it.
Édouard Manet
Manet utmanade i grunden den
akademiska traditionen i Frankrike och blev på grund av detta offer för kontroverser och förlöjliganden. Detta berodde i huvudsak på de kvinnliga gestalternas oförblommerade
nakenhet, som uppfattades som ytterst stötande av en publik som kunde uppskatta öppen
erotik endast om den hade den rätta klassiska dräkten.
I sin skildring av samtiden hämtade Manet inspiration från mycket respekterade traditionella kompositioner, främst av
renässanskonstnärer som
Giorgione,
Rafael och
Tizian. Den målare som utövade det största inflytandet på Manets konst var dock spanjoren
Diego Velázquez, som Manet 1865 utropade till "målarnas målare". Från Velázquez hämtade Manet främst den svala grå-gröna färgskalan.
Laura Aguilar
Vania Zouravliov'
Emmanuel Radnitzky aka Man Ray
Sally Mann’s Body Farm series from 2000-2001
Artemisia Gentileschi by Artemisia Gentileschi.
Vivienne Westwood by Tim Walker.
Louise Bourgeois by Raimon Ramis.
Virginnia Woolf by Roger Fry.
Leonor Fini by Veno Pilon.
listen); 1863–1944) was a Norwegian painter and printmaker whose intensely evocative treatment of psychological themes built upon some of the main tenets of late 19th-century Symbolism and greatly influenced German Expressionism in the early 20th century. One of his most well-known works is The Scream of 1893.
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Bartholomeus Sprangers “Hermaphroditus und die Nymphe Salmacis” (1580-82), Francesco de’ Rossis “Caritas” (1554-58) (alle bilder via Wikipedia).
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