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About Vincent Van Gogh Bedroom Paintings

Van Gogh Painting His Bedroom

Two video lessons on the art of Vincent van Gogh’s Painting Of His Bedroom. We learn about van Gogh’s famous Bedroom painting and the van Gogh self portrait. Enjoy both videos. It’s an opportunity to learn the hows, whys and whats of Vincent van Gogh.

Enjoy!

Jackie-Jacobson- artist

Speakers: Dr. Beth HarrisDr. Steven Zucker

Van Gogh

van Gogh “The Bedroom”

Vincent van Gogh, The Bedroom, 1889, oil on canvas, 29 x 36-5/8 inches / 73.6 x 92.3 cm (Art Institute of Chicago)

The Bedroom, 1889
Oil on canvas
29 x 36 5/8 in. (73.6 x 92.3 cm)
Helen Birch Bartlett Memorial Collection, 1926.417
Medieval to Modern European Painting and Sculpture Gallery 241  Art Institute Chicago — Permanent collection label

 vanGogh – About “The Bedroom”

Vincent van Gogh’s three versions of this composition are the only record he made of the interior of the Yellow House. Arles in the south of France iswhere he lived.

The house embodied the artist’s dream of a “Studio of the South.” A community of like-minded artists working in harmony to create art for the future.

The first version of The Bedroom (van Gogh Museum, Amsterdam) was one of the paintings van Gogh made to decorate the house in anticipation of the arrival of his first guest, Paul Gauguin.

“It’s just simply my bedroom,” he wrote, “only here color is to do everything. To be suggestive here of rest or of sleep in general. In a word, looking at the picture ought to rest the brain, or rather the imagination.”

Gauguin’s stay at the Yellow House would be fraught with tension. After two months, van Gogh’s self-mutilation and Gauguin’s flight back to Paris ended the Studio of the South.

van Gogh made this second version of The Bedroom about a year after the first, While he was living at an asylum in Saint-Rémy.

Post-Impressionism

The work of van Gogh, Gauguin, Cézanne and Seurat together constitute Post-Impressionism. Yet their work is so varied and unrelated, we might never otherwise think of these four artists as a group.
 
Certainly van Gogh and Gauguin were friends and they briefly painted together. Each of these artists was concerned with solving particular issues that had to do with their own individual sensibility. Ironically, if anything ties these artists together it is this focus on subjectivity.
 
Read more intersting articles. https://jackiejacobson.com/blog/

Munch & Warhol

Edvard Munch & Andy Warhol

” The Scream and More”

” I believe every painter should paint in the style of the artists they most admire. And so…my portrait paintings of children in the Andy Warhol style. Well here it is Warhol does Munch! ~ Jackie

Painting - Jacobson

“Emma” in the style of Andy Warhol ©Jacobson

Edvard Munch & Andy Warhol :

Two Art Icons Had More In Common Than You Think

The Huffington Post | By Katherine Brooks

VIDEO – (Not in English, but see the Art Exhibit at Louisiana Museum – Denmark)

In 1984, the appropriation king, Andy Warhol, took on a modern art subject far removed from his Campbell’s Soup cans and Marilyn Monroe visages. That year he opted to reimagine the masterpieces of a certain anxiety-ridden Norwegian painter by the name of Edvard Munch.

Warhol tackled four of Munch’s iconic themes — “The Scream,” “Madonna,” “Self-Portrait” and “The Brooch.Eva Mudocci” — adding his signature neon color palette and fluid, screen printed lines to a host of already recognizable images. From the bald, bellowing creature Munch positioned on a fjord in the 1890s to the painter’s sensual depiction of what some art historians claim is the Virgin Mary, Warhol twisted and highlighted Munch’s symbolic figures until they were his own.

Andy Warhol

 

 

 

Warhol: © 2013 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York
A recently published book, based on a past exhibition at New York’s Scandinavia House, puts Warhol’s reinterpretations on display, sitting pretty next to the original Munch artworks that inspired them. Titled “Munch/Warhol and the Multiple Image,” it brings attention not only to Warhol’s era of Munch-ian fascination, but also to the very apparent similarities between the two emotionally charged artists. While Munch is considered to have been a recluse and tortured soul, and Warhol remembered as a serial co-dependent and fame monger, both men proved to have more than a penchant for the repeated image.

 

 

 

“Even though Warhol offered himself up as all surface, and Munch, all impenetrable depth, this exhibition finds many similarities in the ways in which the two artists built their careers by carefully controlling their public personas and artistic production,” remarked Dr. Patricia G. Berman, professor of art history at Wellesley College and the University of Oslo, in an essay for the book. “Far from being an isolate, Munch was very much in control of his career, demanding and winning the right to sequence his works in exhibition and keeping hold of the reins on the selling of his art.”

Andy Warhol

 

 

 

Warhol: © 2013 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York
It’s true that Munch produced four versions of his uber-famous “Scream,” and painstakingly oscillated between painting, lithographs and printmaking to reproduce the same image. It’s not much different from the art-making processes of Warhol, who screen printed 50 versions of Ms. Monroe alone, for just one diptych. Perhaps Warhol, famous for questioning, “Isn’t life a series of images that change as they repeat themselves?,” owes more to Munch than we thought.

 

 

 

Scroll through the images below for a peek at “Munch/Warhol.” For more, check out the entire book, available online at Artbook as well as through the Scandinavia House shop.

Andy Warhol

 

 

 

Warhol: © 2013 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York
 

 

 

munch

 

 

 

Munch: © 2013 The Munch Museum / The Munch-Ellingsen Group / Artists Rights Society (ARS), New York
 

 

 

 

munch

 

 

 

Munch: © 2013 The Munch Museum / The Munch-Ellingsen Group / Artists Rights Society (ARS), New York
munch
Munch: © 2013 The Munch Museum / The Munch-Ellingsen Group / Artists Rights Society (ARS), New York
 

 

 

 

warhol

 

 

 

Installation shot, Scandinavia House.
munch

 

 

 

 

 

 

Installation shot, Scandinavia House.
 

 

 

 

munch

 

 

 

Installation shot, Scandinavia House.
 

 

 

 

 

 

CHUCK CLOSE II

Chuck Close 

Artist  ” In His Own Words “

(CBS News) Chuck Close is one of America’s greatest painters, but he has faced tremendous hurdles throughout his life and career, including suffering from face blindness and a blood clot that left him paralyzed over twenty years ago.

Chuck Close on the Art Blog :

As part of the “CBS This Morning” Note to Self series, Chuck Close wrote a note to himself at age 14. Watch the “CBS This Morning” video above and read Close’s Note to Self below:

I was in the eighth grade and was told not to even think about going to college. I couldn’t add or subtract, never could memorize the multiplication tables, was advised against taking algebra, geometry, physics or chemistry and therefore would not get into any regular college. Since I was good with my hands I was advised to aim for trade school perhaps “body and fender” work.

Never let anyone define what you are capable of by using parameters that don’t apply to you. I applied to a junior college in my hometown with “open enrollment”, got in and embarked on a career in the visual arts. Virtually everything I’ve done is influenced by my learning disabilities. I think I was driven to paint portraits to commit images of friends and family to memory. I have face blindness and once a face is flattened out I can remember it better.

“Inspiration is for amateurs — the rest of us just show up and get to work. Every great idea I’ve ever had grew out of work itself.”

BEST KNOWN FOR

Chuck Close is noted for his highly inventive techniques used to paint the human face. He rose to fame in the late 1960s for his large-scale, photo-realist portraits.

 

Chuck Close - Artist

Chuck Close – Phil (2011-12) – work & detail

QUICK FACTS

  • NAME: Chuck Close
  • OCCUPATION: EducatorPainter
  • BIRTH DATE: July 051940 (Age: 72)
  • EDUCATION: University of Washington School of Art, Yale University School of Art and Architecture
  • PLACE OF BIRTH: Monroe, Washington
  • FULL NAME: Charles Thomas Close
  • AKA: Chuck Close
  • ZODIAC SIGN: Cancer

Early Life

Charles Thomas Close was born July 5, 1940, in Monroe, Washington. The son of artistic parents who showed great support of their boy’s early creative interests, Close, who suffers from severe dyslexia, struggled in almost all phases of schoolwork except art. He was not terribly popular in school, and his problems were furthered by a neuromuscular condition that prevented him from playing sports.

For the first decade of his life, Close’s childhood was more or less stable. But when he was 11, tragedy struck, when his father died and his mother fell ill with breast cancer. Close’s own health took a terrible turn around this time as well, when a kidney infection landed him in bed for almost a year.

Through all of this, however, Close deepened his love for painting and art in general. At the age of 14, he saw an exhibition of Jackson Pollack paintings. Pollack’s style and flair had a great impact on Close, and, as he later recounted, it made him determined to become an artist.

Close eventually enrolled at the University of Washington, graduating in 1962 and immediately heading east to Yale to study for a Master of Fine Arts from the university’s Art and Architecture School.

Steeped heavy in the abstract world, Close radically changed his focus at Yale, opting for what would become his signature style: photo-realism. Using a process he came to describe as “knitting,” Close created large-format Polaroids of models that he then recreated on large canvases.

This early work was bold, intimate and up-front, replicating the particular details of his selected faces. In addition, his pieces blurred the distinction between painting and photography in a way that had never been done before. His techniques too were noteworthy, in particular his application of color, which helped pave the way for the development of the inkjet printer.

By the late 1960s, Close and his photo-realist pieces were entrenched in the New York City art scene. One of his best-known subjects from that period was of another young artistic talent, composer Philip Glass, whose portrait Close painted and showed in 1969. It has since gone on to become one of his most recognized pieces. He later painted choreographer Merce Cunningham and former President Bill Clinton, among others.

By the 1970s, Close’s work was shown in the world’s finest galleries, and he was widely considered one of America’s best contemporary artists.

QUOTES by CHUCK CLOSE

Chuck Close

Chuck Close

“I am confident that no artist has more pleasure day in and day out from what he or she does than I do.”

“I think most paintings are a record of the decisions that the artist made. I just perhaps make them a little clearer than some people have.”

“Quadriplegics don’t envy the able bodied – we envy paraplegics. We think they’ve got an easier row to hoe. There is always someone worse

off than you.”

– Chuck Close

 

Thanks for watching. What one word described Chuck Close for you? My word is BRAVE.  Please leave YOUR WORD in the comment section below. See you next time on the Art Blog.

 

artist - Jackie Jacobson

 

 

 

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Georgia O’Keeffe

GEORGIA O’KEEFFE

NEW YORK CITY PAINTINGS

Georgia O’Keeffe – my inspiration. Well here are the New York City paintings.

Once again she’s got me. I really long to live among these skyscrapers, and here I am in the desert. She did both!

How fortunate to have this video : to see her and hear her describe some of her life experiences. Enjoy with me!

artist - Jackie Jacobson

NEW YORK CITY

Enthralled by the barren landscape and expansive skies of the desert, Georgia O’Keefe would become chiefly known for paintings of flowers, rocks, shells, animal bones, and the quiet beauty of open skies and sun-drenched terrains. Yet, it is her paintings of New York city done in the 1920?s that have always captured my imagination and linger in memory.

The drama and excitement of the modern metropolis at that time in history was unmistakable, embodied in landmark skyscrapers like the American Radiator Building located at West 40th Street, in midtown Manhattan. Designed by Raymond Hood, the combined Gothic and modern styles in the design of the Radiator Building was massive, solid, and illustrious, an engineering feat of wonder erected to match the prosperity of the period.

Black brick on the frontage of the building (symbolizing coal) was prominently featured while other parts of the facade were covered in gold bricks (symbolizing fire). The entry was decorated with marble and black mirrors in a style reminiscent of an Ayn Rand dream. Ornamented and sculptured, it was an edifice of opulence, particularly after dark when the upper floors were illuminated with floodlights.

It was this vision of that building at night in the changing skyline of New York that Georgia O’Keeffe captured in her wonderfully theatrical interpretation, “Radiator Building at Night.” Painted from her window on the thirtieth floor of the Shelton Hotel (some scholars dispute that, claiming it was the 28th floor penthouse) at 49th and Lexington, that she shared with her husband, the photographer Alfred Stieglitz, she detailed flooded lights illuminating the sky at right, and at left, a bright red marquee ablaze with the name “Stieglitz” in its glow.

Georgia O’Keeffe painting of the Radiator in 1927 (the same year as Fritz Lang’s Metropolis, tellingly) is remarkable for its color and for the depiction of the artificial light of the city night – the purple/blue tints of floodlights and the fluorescent whites of the office towers. There’s a touch of warm incandescence in windows here and there. The stylized smoky steam arising from the building at the right echoes the flipped curved cornices of the Radiator’s top floors. It’s pure theater.

City Night, 1926

Georgia O'Keeffe - Paintings

Georgia O’Keeffe – New York City – Paintings

The importance of the skyscraper at the time cannot be overlooked; it was considered a distinctly American “thing,” signifying symbols of modern technology. How it was to be represented in an accurate and aesthetically pleasing way became a challenge to photographers and painters alike in the New York art world. For artists like Charles Demuth and Charles Sheeler, for example, the mystique of the skyscraper was so great, it ultimately, became their muse.

Europeans visiting New York were equally fascinated with the architectural feats. “The appeal America exercised as the ideological reflection of anything inadmissible in ancient regime Europe” was possible because “America was free, it was unlimited in space, it abounded in natural resources and in money. It knew no tradition, it had no history.”

During those early years in New York, Georgia O’Keeffe grew to know the many early American modernists who were part of Stieglitz’s circle of friends, including Demuth, Arthur Dove, Marsden Hartley, Paul Strand and Edward Steichen. Strand’s photography, as well as that of Stieglitz and his many photographer friends, was instrumental in inspiring O’Keefe’s work (as evidenced below).

New York with Moon, 1925

Georgia OKeeffe  - Painting

Georgia OKeeffe – Painting “New York Moon”

While Georgia O’Keeffe’s New York paintings bear a romantic character resembling that of the Romantic movement and its fascination for glowing celestial bodies and halos in mystical colors, her urban works are most closely associated with the American art movement of the 1920?s known as Precisionism, or Cubist Realism, a combination of Cubism and Realism.

The Shelton with Sunspots, 1926

Georgia O'Keeffe - Paintings

Georgia O’Keeffe ” The Shelton with Sunspots”

Take her work entitled The Shelton with Sunspots, from 1926, for example, where the influence of romantic elements is portrayed from a photographic glare that is caused by not having a lens hood on the camera. The result is a painting in which the skyscraper appears to be a beacon of the divine, heralding the unearthly light of a deity.

Hence, many critics found mystical meaning in her work that O’Keefe, herself, eschewed, claiming she had no tolerance for such faulty interpretations. In response to those misguided dreamers, she emphatically noted:

“The things they write sound so strange and far removed from what I feel of myself. They make me seem like some strange unearthly sort of creature floating in the air – breathing in clouds for nourishment – when the truth is that I like beef steak – and like it rare at that.”

Georgia O’Keeffee was considered the premier female artist of the 20th century, a title she considered sexist.

Unusually private, O’Keeffe was rather bored by people and society, preferring to live and work in relative solitude. She was an intense, plainspoken woman who lived in the moment, focusing on the essence of things in her life as well as her art, and eliminating the superfluous.

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Hang Pictures #2

 Wall Decorating Ideas

Precise Rules for Hanging Pictures

[leadplayer_vid id=”51B5E2E6E8B6C”]
It’s not uncommon to see people who have a lot of art who don’t know how to hang it.

Yes, the Wall Art is beautiful, but the way it’s hung takes away from both the art and its surroundings.

So here’s a few simple rules. Follow them, and you’ll get oohs and ahhs from every visitor.

Hanging Pictures – Rule 1 – Aim to have a painting occupy two-thirds to three-quarters of a wall.

wall decorating

Nashville Interior Designer Beckwith Interiors

Large walls occupied by postage-stamp sized pieces result in art that loses its potential impact.

Rule 2 – Keep your art centered at eye level.

Keeping the art at this height makes it easier for the viewer to appreciate the painting.

Take into account whether you will be sitting or standing when you view a piece. This painting hangs a little lower because it’s in a dining room where it will be seen when sitting.

Rule 3 – Picture Arranging Ideas  The bottom edge of a piece should hang no higher than 6 to 12 inches above the furniture.

paintings

by New York Interior Designer Glenn Gissler Design

The idea is that the painting helps define the space. If it floats too high above furniture it will feel disconnected. If it sits lower, it will help tie together a furniture grouping. Here’s where the 57” rule applies.

 

 Rule 4 – Create a gallery wall tied together by colors, theme or materials.

Gallery -  Art

New York Interior Designer Thom Filicia Inc.

Taupe, beige and sepia tones come together to create a gallery wall that feels very integrated.

 

 Rule 5 – Make art the inspiration for the entire room. 

decorating walls

Atlanta Interior Designer Christy Dillard Kratzer

Deep brown and reds were used as a starting point to design the rest of the room, to great success.

 

START WITH THE ART FIRST

Wall decorating

Dahlia I • Rose XXX • Dahlia Bouquet © Jacobson 2013

Yes I like to start with the artwork and then create the rest of the room. But that’s not always possible, so choose art that makes you feel good in Your Room.
If you feel good with the artwork…so will your guests.

Hang Art

Hang Pictures – Eye Level • Dahlia I Painting ©Jacobson 2013

Rotate Your Art. That’s all it takes to redecorate and make your home feel new.
Think seasons and change your room by changing where the art is hanging.
When you move the art, it will look entirely new to you. And your home will feel new too.
I hope you enjoyed this article, learned something new and that you’re inspired to move around some of your art pieces.

Please leave your comment below. I love hearing your thoughts and ideas.

 

RECENT ARTICLES?

Here’s a video that got great reviews.
It’s always hard to know just how to hang those pictures
Well now you will.
How High to Hang you Artwork?

CLICK HERE  – WATCH THE VIDEO – 57” Rule

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Are You Visiting Palm Springs Soon?

What should you do on the weekend in the Palm Springs area?

  • Shop and have fun at the largest Street Fair in the area?
  • 340 Vendors
  • Arts – Crafts – and much more
  • Free Parking
  • Free Admission

Meet me at the College of the Desert Street Fair. I’m in booth #75, every Saturday and Sunday, October – May.  I do paint in the studio from June thru September. If you’re in town, please call and make an appointment to visit my at home studio. 760.831.1190  You’ll find hanging pictures and wall decorating ideas in my booth at the street fair and at my home/studio.

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Hanging Pictures

HANGING PICTURES

Wall Decorating Idea

 

 

Hanging Pictures

Today’s wall decorating idea is about hanging pictures.
For sure…most pictures are hung too high.
To perfectly enjoy your artwork or photos, here’s the rule used by art galleries and museums.
No guess work…no extra holes.

57″ is Eye Level

 

Hanging Pictures

Hanging Pictures – Eye Level

Rooms Where You Sit – Hanging Pictures

  • Living/Dining Room
  • Kitchen
  • TV Room
  • Home Office

How High should you hang pictures?

The center of the picture should be 57″ from the floor is the answer. That’s eye level

The main thing is to be consistent. Do it the same every time.

It creates balance rather than having things feels scattered.

Hanging Pictures – Step by Step – How To…

  1. Measure and lightly mark 57″ on the wall.
  2. Measure from the top of your picture to the middle (or take the height and divide by 2)
  3. Measure the top of your picture to the tightened wire (a small amount)
  4. Subtract this last amount to tell you how far above 57″ your hook should go
  5. Measure up from 57″ with this last amount and lightly mark on the wall.

There it is…the Center of all of your hanging pictures is 57″ and you are just figuring out  ” where the hook goes above it”

Not bad. That’s pretty easy.

Whether you’re hanging a single canvas or a group of framed art pieces the technique is the same.

Exception

Hanging Pictures

Hanging Pictures in Hallways

All rules have an exception.

I prefer 60″ in rooms where you’ll see the art when STANDING, such as hallways and  bathroom, .

So the same rule applies, just change your number from 57″ to 60″

Time to Hang or Rehang Your Pictures

Now get out that tape measure and hammer.

Have fun hanging pictures so that both you and your guests will say WOW…that’s a great picture!

It’s all about pictures. Col

GREAT ARTICLES

Did you miss any of these? Catch up now…

Edvard Munch

Fashion Illustration 

Emerald – color of 2013

Photographic Art Fair – Paris Photo Los Angeles

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Are You Visiting Palm Springs Soon?

What should you do on the weekend in the Palm Springs area?

  • Shop and have fun at the largest Street Fair in the area?
  • 340 Vendors
  • Arts – Crafts – and much more
  • Free Parking
  • Free Admission

Meet me at the College of the Desert Street Fair. I’m in booth #75, every Saturday and Sunday, October – May.

 

 

 

Georgia Okeeffe

GEORGIA O’KEEFFE

NEW YORK CITY PAINTINGS

 

NEW YORK CITY

Enthralled by the barren landscape and expansive skies of the desert, Georgia O’Keefe would become chiefly known for paintings of flowers, rocks, shells, animal bones, and the quiet beauty of open skies and sun-drenched terrains. Yet, it is her paintings of New York city done in the 1920?s that have always captured my imagination and linger in memory.

The drama and excitement of the modern metropolis at that time in history was unmistakable, embodied in landmark skyscrapers like the American Radiator Building located at West 40th Street, in midtown Manhattan. Designed by Raymond Hood, the combined Gothic and modern styles in the design of the Radiator Building was massive, solid, and illustrious, an engineering feat of wonder erected to match the prosperity of the period.

Black brick on the frontage of the building (symbolizing coal) was prominently featured while other parts of the facade were covered in gold bricks (symbolizing fire). The entry was decorated with marble and black mirrors in a style reminiscent of an Ayn Rand dream. Ornamented and sculptured, it was an edifice of opulence, particularly after dark when the upper floors were illuminated with floodlights.

It was this vision of that building at night in the changing skyline of New York that Georgia O’Keeffe captured in her wonderfully theatrical interpretation, “Radiator Building at Night.” Painted from her window on the thirtieth floor of the Shelton Hotel (some scholars dispute that, claiming it was the 28th floor penthouse) at 49th and Lexington, that she shared with her husband, the photographer Alfred Stieglitz, she detailed flooded lights illuminating the sky at right, and at left, a bright red marquee ablaze with the name “Stieglitz” in its glow.

Georgia O’Keeffe painting of the Radiator in 1927 (the same year as Fritz Lang’s Metropolis, tellingly) is remarkable for its color and for the depiction of the artificial light of the city night – the purple/blue tints of floodlights and the fluorescent whites of the office towers. There’s a touch of warm incandescence in windows here and there. The stylized smoky steam arising from the building at the right echoes the flipped curved cornices of the Radiator’s top floors. It’s pure theater.

Matisse – Chapelle

ENRI MATISSE

CHAPELLE DU ROSAIRE DES DOMINICANES DE VENCE

Continuing with the weeks focus on Chapels… from a Master of Color… the Light of Faith. A visit to Vence and the Henri Matisse Chapel. In this video we learn about Matisse and the Chapel project.

Enjoy!

artist - Jackie Jacobson

Article
By E.A. CARMEAN JR.

Matisse - Chepelle du Rosaire de Vence

 

The chapel is arguably the greatest religious art and architecture project of the 20th century.

Jesus’ Parable of the Mustard Seed, with its imagery of a seed growing into a plant big enough for birds to perch in, is often seen as foretelling the growth of Christianity. Arguably the greatest religious art and architecture project of the 20th century, Henri Matisse’s Chapel of the Rosary, provides another reading.

While recovering his health in 1943, Matisse had hired a young nurse who four years later became a novitiate in the Dominican Sisters of Monteil.

Once, Sister Jacque-Marie mentioned to Matisse her order’s dream of a new chapel. Four years later, the Chapelle du Rosaire des Dominicaines de Vence, perched above the French Mediterranean coast, was consecrated by the local bishop. In a statement read at the occasion, Matisse wrote, “I consider it my masterpiece.”

Planned principally for the sisters’ daily prayers, the chapel is modest. Yet it is replete with Matisse’s glorious creations, from the images on walls and the vestments worn by the clergy, to the altar and its liturgical objects.

Matisse - Windows Vence

Matisse’s stained-glass windows are the center and glory of the chapel.

There are two tall windows behind the altar, and another set of 15 windows divided into two groupings—six along the nave; nine placed behind the sisters’ stalls in an area adjacent to the sanctuary.

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THE COLOR PALETTE

For an artist long held as a master of color, the windows’ palette of only three hues—yellow, green and blue—may seem restrictive; but Matisse planned on the complementaries of red, orange and purple being cast by the filtered light’s shadows, even testing this effect in his studio.

Matisse’s colors provide a corresponding Christian iconography, with yellow a symbol of the sun and heavenly light; green of plant life and the earth; and blue of the sky, the sea and the Madonna.

The sanctuary is commanded by a towering figure of St. Dominic, the patron saint of the sisters’ order, who was said to have been given a rosary by the Madonna, thus making those prayers the center of Dominican practices. Matisse’s model was Father Couturier wearing his cowl.

The walls’ somber notes are provided by the Stations of the Cross, which Matisse placed directly opposite the altar’s Tree of Life window, perhaps acknowledging medieval texts that held that the wood of Christ’s Cross had come from the Tree of Life in Paradise.

For this Passion series, Matisse turned to Old Master paintings; for example, the Station I image of Christ before Pilate borrows from a work by the Renaissance artist Andrea Mantegna.

Matisse participated in virtually every detail of the project, creating the interconnection of elements sometimes called a church’s Holy Fabric.

His work included both the altar’s simple shapes made of a brownish, porous stone—to suggest the bread of the Eucharist—and the liturgical objects upon it: a crucifix and six candlesticks, and the tabernacle and the ciborium used to hold communion bread. Matisse also designed the vestments, planning each of the half-dozen different chasubles in one of the six church-appointed ecclesiastical colors for Seasons and Holy Days.

Before and after its June 25, 1951, consecration, Matisse’s chapel was sometimes disparaged. But praise won out. Pope Pius XII requested a set of the chasubles for the Vatican, and soon so many visitors began coming as to require restricted open hours to preserve the chapel’s—and Matisse’s—intended purpose of serving the sisters. Amusing—and telling—was the story of an English tourist asking directions to “the chapel of St. Matisse.”

As for the artist, Matisse said that “I wanted to create a spiritual space.” He did.

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Rothko Chapel

ROTHKO CHAPEL

HOUSTON TEXAS

One of my favorite places in Houston. As an institution, the Rothko Chapel functions as chapel, a museum and a forum. It is a place where religion, art, and architecture intermingle. A day of quite meditation in the Arts District in Houston.

Enjoy the experience in this video

artist - Jackie Jacobson

 

History of The Chapel

 

The Rothko Chapel was the last and one of the most important endeavors that Dominique and John de Menil, its founders, worked on together.

This modern work of religious art commissioned for Houston is comparable in importance to the Chapel of the Rosary in Vence by Henri Matisse or le Corbusier’s Chapel in Ronchamp, France.

MARK ROTHKO

Mark Rothko, one of the most influential American artists of the mid twentieth century, was commissioned by the de Menils in 1964 and given the opportunity to shape and control a total environment to encompass his work, resulting in a group of fourteen paintings created specially for the meditative space.

He worked closely with the original architect, Philip Johnson, on the plans, and then with Houston architects Howard Barnstone and Eugene Aubry who completed the building.

Since its dedication in 1971, the Rothko Chapel and Barnett Newman’s sculpture Broken Obelisk, which faces the Chapel and is dedicated to Dr. Martin Luther King, Jr., have achieved world recognition as examples of the greatest artistic achievements of the second half of the twentieth century.

The Rothko Chapel is free, open to the public, and accessible to the physically challenged every day of the year. It has become a pilgrimage stop for thousands of visitors who are drawn by its importance both as an artistic masterpiece and as an ecumenical gathering place for people of all religious beliefs. Students, art lovers, and scholars from all over the world visit the Chapel for research and inspiration. Modern art books and catalogues worldwide feature the Chapel.

Formal Recognition

Rothko Chapel

In 2001 the Chapel was listed in the National Register of Historic Places. The Chapel regularly makes top ten lists of places to visit, and is a featured entry in National Geographic’s Sacred Places of a Lifetime: 500 of the World’s Most Peaceful and Powerful Destinations, published in 2009.  Locally, the Chapel has received numerous awards, including the Peace Award from The Houston Baha’í Community (1998), a Community Award from the Museum District Business Alliance (2000), The James L. Tucker Interfaith Award from Interfaith Ministries (2004), an Urban Greenery Award from The Park People (2005), and recognitions from the Houston Peace and Justice Center (2008).

FOOTNOTE: The Rothko Painting at the Tate was vandalized.  Read more here

The Rothko Chapel, founded by Houston philanthropists John and Dominique de Menil, was dedicated in 1971 as an intimate sanctuary available to people of every belief. A tranquil meditative environment inspired by the mural canvases of Russian born American painter Mark Rothko (1903-1970), the Chapel welcomes over 60,000 visitors each year, people of every faith and from all parts of the world.  On the plaza, Barnett Newman’s majestic sculpture, Broken Obelisk, stands in memory of Dr. Martin Luther King, Jr.

The Rothko Chapel is an independent institution, a sacred place open to all people, every day.  In 2011 the Chapel celebrated its fortieth anniversary, having achieved, in those years, recognition as one of the greatest artistic achievements of the second half of the twentieth century.  In 2001 the Chapel was listed in the National Register of Historic Places, an honor awarded before the institution was fifty years old. The Chapel regularly makes top ten lists of places to visit, and is a featured entry in National Geographic’s book Sacred Places of a Lifetime: 500 of the World’s Most Peaceful and Powerful Destinations, published in 2009.

Mission Statement

The mission of the Rothko Chapel is to inspire people to action through art and contemplation, to nurture reverence for the highest aspirations of humanity, and to provide a forum for global concerns.

What Mark Rothko Thinks About Modern Art and People

https://youtu.be/EI29ye41gYs

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Chuck Close – Fingerpainting

CHUCK CLOSE

Fanny/Fingerpainting

Chuck Close (artist)
American, born 1940
Fanny/Fingerpainting, 1985
oil on canvas
overall: 259.1 x 213.4 x 6.3 cm (102 x 84 x 2 1/2 in.)
Gift of Lila Acheson Wallace
1987.2.1

 

Chuck Close - Painting

This ain't fingerpainting you did in kindergarten! That's artist Chuck Close "painting" a portrait of his grandmother-in-law with his fingertips.

 

Fanny/Fingerpainting, a portrait of Close’s grandmother-in-law, represents one of the largest and most masterly executions of a technique the artist developed in the mid-l980s.

That technique involved the direct application of pigment to a surface with the artist’s fingertips.

By adjusting the amount of pigment and the pressure of his finger on the canvas, Close could achieve a wide range of tonal effects.

Typically, he worked from a black and white photograph which he would divide into many smaller units by means of a grid.

He then transposed the grid onto a much larger canvas and meticulously reproduced each section of it.

The result is a monumental, close-up view that forces an uncomfortable intimacy upon the viewer.

Seen from a distance, the painting looks like a giant, silver-toned photograph that unrelentingly reveals every crack and crevice of the sitter’s face. Closer up, the paint surface dissolves into a sea of fingerprints that have an abstract beauty, even as they metaphorically suggest the withering of the sitter’s skin with age. The fingerpaintings provide a far more literal record of the artist’s touch than most abstract expressionist brushwork — but are at the same time dictated by an abstract, distinctly impersonal system.

ABOUT CHUCK CLOSE

Chuck Close was born on July 5, 1940 in Monroe, Washington. At the age of 14, Close saw an exhibition of Jackson Pollack’s abstract paintings, which helped inspire him to become a painter. Throughout his career, he has concentrated on portraits based on photographs he had already taken and has been called a Photo-Realist, Minimalist, and Abstract Expressionist.

  • NAME: Chuck Thomas Close
  • OCCUPATION: EducatorPainter
  • BIRTH DATE: July 051940 (Age: 72)
  • EDUCATION: University of Washington School of Art, Yale University School of Art and Architecture
  • PLACE OF BIRTH: Monroe, Washington

Childhood

Charles Thomas Close was born at home to Leslie and Mildred Close, a couple with a leaning toward artistic pursuits. Leslie Close was a jack-of-all-trades with a flair for craftsmanship, he built Charles his first easel. His mother was a trained pianist but unable to pursue a musical career due to financial restraints. Determined to provide her son with opportunities she herself never enjoyed, Mildred pushed Charles to take up a myriad of extracurricular activities during his school years and hired a local tutor to give his son private art lessons.

Charles had a difficult time with academics due to dyslexia, although teachers were often impressed with his creative approach to projects. He was also diagnosed at a young age with facial blindness and a neuromuscular condition that prevented him from engaging in athletics, making the social aspects of school life difficult. Once in college, and upon deciding to make a career in art, he excelled.

Read The Whole Story Here … https://www.theartstory.org/artist-close-chuck.htm

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Alex Katz

Alex Katz

Paintings – The Art of Optimism

Alex Katz is one of the painters who have influenced me and my paintings. It is his simplicity that I became attracted to. Katz figure paintings are what have inspired me to return to the figure. Here he is at 85 years old, and painting daily. You’ll get a feeling of his enthusiasm from these videos. Enjoy.”

artist - Jackie Jacobson

By Vincent Dowd Arts reporter, BBC News
The new exhibition places emphasis on Katz’s seascapes and summer scenes

Alex Katz - Paintings

Katz's seascapes and summer scenes

At 85, Alex Katz is hailed by some as the most important painter in the US. But acclaim came relatively late in life, perhaps because his work doesn’t fit convenient categories. An exhibition of his work has just opened at Turner Contemporary in Margate.

Asked to describe his work, Alex Katz often uses the word “optimistic” – probably uniquely among major contemporary artists.

“Even at art school I couldn’t stand the idea that tragedy was good,” he says.

INTERVIEW With Alex Katz.
https://www.youtube.com/watch?v=da6pj4c-laM&feature=youtube_gdata_player

Katz was born in Brooklyn in 1927
“To me a painting has to be immediate and of the moment – that’s its power – and the medium for the picture is light.”

Light suffuses the paintings he’s just spent a week hanging at Turner Contemporary in Margate in Kent. The show has transferred from Tate St Ives in Cornwall and consists of a selection of his works from the 1950s onward.

The seaside venues are appropriate. Few of the images feature rooms or closed spaces. You’re more likely to encounter a stylised seascape or a beach with good-looking people on it.

The size varies from very small pieces to the huge canvasses 20 feet across, a style he began to explore in the 1990s.

Katz has been influenced by the smooth surfaces of advertising and by the bright images of movies. His is not a world of dark shadows. Sometimes people look for social commentary in Katz’s work or a questioning of American values, but he insists there is none.

He has always mixed portraits and landscapes. His best-known recent portrait was of US Vogue’s editor-in-chief Anna Wintour, an image which now hangs in the National Portrait Gallery in London.

Alex Katz - Portrait Anna Wintour

Katz's portrait of Anna Wintour

Katz’s portrait of Anna Wintour marked the first time she had ever sat for a painter

The artist was born in Brooklyn in 1927. He spends most of the year in a large studio in SoHo in New York City, moving north each summer to Maine. After a 60-year career, he says he still works virtually every day.

I suggest to him that, for someone born and bred on the US East Coast, there’s a particularly West Coast feel to his imagery… but Katz disagrees.

“Maine light is very different from California light. California is hazy and bright but up in Maine it gets very clear. That’s why I moved there.

“Further south you get a lot of glare. And the light in Los Angeles is different again – sort of fuzzy and whiteish.”

Katz was never taken by the trend for Abstract Expressionism which gripped the generation of American artists before him, such as Rothko and Pollock. Though his work sometimes hints at Pop Art, he says he finds the whole question of labels a distraction.

“The style of the paintings in inherent: It comes out of the sub-conscious.

Continue reading the main story
FIND OUT MORE Read here

Alex Katz - Painting

Alex Katz, Black Hat (Bettina) 2010, Oil on linen

The Alex Katz exhibition at Margate’s Turner Contemporary runs until January 2013

Slide show here: Click

VIDEO ABOUT TURNER CONTEMPORARY


“Labels are just a journalistic thing. Painting gets promoted on the basis of schools or types. It’s a synthetic way of determining art. I think of my paintings as realistic and post-abstract.”

He says his paintings can sometimes be produced very quickly, in some cases in as little as five hours. But each time, he starts with a very clear idea of where he’s going. “I already have sketches and other paintings and there’s a drawing on the canvas. The colours are pre-mixed and the brushes are even laid out for the strokes. It’s all pre-planned.”

“I paint very directly and the paint stays exactly the way I want it. But then the paint can take about three months to settle. The picture goes from shiny to apparently having no shine. In fact if you stand at an angle to the picture, you’ll still see the shine.”

Katz has a characteristically New York mixture of humour and bluntness. He isn’t shy about identifying his influence in the work of artists such as Andy Warhol.

“But that was true even when I was in art school,” he says. “People work off what I’ve done.

“Some artists produce great work but it’s closed – there’s nothing for other artists to pick up on. Mine seems to be open. Every 10 years, there’s another crowd of people taking their cue from it.”

Although Katz has made a highly successful career as a painter, and his work can be found in important collections around the world, he was in his 60s before he gained a reputation internationally.

Does he ever wish the big success – and big money – had come earlier?

“Not really: it’s just the way the cookie crumbles. I concentrate on my work. These days it’s mainly flowers.”

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Winslow Homer Studio

Winslow Homer

Maine Art Studio • Open to Public

The first video is special, although older (2006) It actually shows us the inside of the studio before it became today’s museum.
I’ve included two videos so that you can see the before and after.
It’s really special that we can stand on the ground and watch the sea – the subject of many of Homer’s incredible paintings. .
Enjoy!
artist - Jackie Jacobson

Winslow Homer’s seaside studio is on display in Scarborough, Maine.

The home where Homer lived and worked from 1883 until his death in 1910, is open to the public following a multiyear, multimillion-dollar renovation by the Portland Museum of Art. Workers restored the exterior to its original colors, replaced the second-floor balcony, stabilized the foundation and replaced windows. The home will be open for public tours on Sept. 25.

AP Photo/Clarke Canfield. By: Clarke Canfield, Associated Press

More Information
Copyright © artdaily.org

Winslow Homer - Art Studio/Home

Winslow Homer - Painting

Winslow Homer Painting - Maine

SCARBOROUGH, ME (AP).- The studio where painter Winslow Homer derived inspiration on Maine’s craggy coast and produced some of his most notable seascapes isn’t heated by wood or illuminated by oil lamps the way it was in Homer’s day. But in most other ways, the studio has now been restored to what it was like when Homer lived there, from 1883 until his death in 1910, following a multiyear, $2.8-million restoration by the Portland Museum of Art. With the renovation complete, the museum will begin offering public tours this month, giving visitors a firsthand look at where Homer became one of America’s foremost 19th-century painters and an esteemed figure in American art. Museum officials unveiled the studio Monday to members of the media and museum supporters. There are only a small number of studios of famous artists — Andrew Wyeth, Jackson Pollock, Claude Monet and Frederic Church among them — that are open to the public and allow people to experience what the artist experienced in his day, Museum Director Mark Bessire said.

The Homer studio, located on the Prouts Neck peninsula 12 miles south of Portland, is significant because it’s where Homer’s artwork matured and where he created some of his masterpieces, he said. “When Homer comes to Maine, Maine changes the way he painted,” Bessire said. “You have artist studios where artists worked, but then you have artist studios where the place actually changed the artist.” Homer was born and raised in Boston and moved to New York as a young man. In his mid-40s, he moved to his family’s estate in Maine and lived in a remodeled carriage house with a second-story balcony and an unobstructed view of the ocean. Homer was already an accomplished artist, but it was here where he created his well-known works focusing on man versus nature, showing the angry tumultuous ocean crashing against shore and weather-beaten fishermen.

After Homer died, the studio passed down among family members until it was inherited by Homer’s great-grandnephew, Charles “Chip” Homer Willauer, who for many years lived in the studio in the summer months.

The studio will be open for public tours beginning Sept. 25. To celebrate the opening, the museum is presenting an exhibition, “Weatherbeaten: Winslow Homer and Maine,” featuring 38 of Homer’s oils, watercolors and etchings that he produced in his studio. The exhibition opened on Saturday and runs through Dec. 30.

More Information: https://artdaily.com/index.asp?int_new=57791&int_sec=2#.UFlBohB5mSM[/url]
Copyright © artdaily.org

Winslow Homer

Prouts Neck - Winslow Homer's Window

Of the roughly 160 homes on Prouts Neck, a very private parcel of land in Scarborough that juts into the sea, a handful are new or newly restored. But one of the houses tucked up close to the road stands out for its almost perfect condition. It is painted a dark green, and the trim is a deep red. Unlike most others along the sea there, it is relatively small, though it has a second-story balcony that offers a pristine view of the ocean across a manicured, if simple, lawn and the jagged rocks that hug the coast.

This little house was Winslow Homer’s studio, where he lived during much of his last 25 years and painted some of his most dramatic oils. Walk down a small trail from the front lawn through wild brush to the right places on the craggy coast and you may well be standing where Homer stood when he painted “High Cliff, Coast of Maine” — with the sea hurling itself against the rocks and waves exploding toward the sky in giant billows hard white against the chilling black-brown of the stones — or “Weatherbeaten,” another dramatic seascape. Stand on those rocks and look back toward Homer’s studio, just as it was when he worked so assiduously in its “factory,” the painting room that his brother Charles Jr. added in 1890, the room where the artist died in 1910 with his brothers around him.

Read More: https://travel.nytimes.com/2009/09/06/travel/06culture.html?pagewanted=all&_moc.semityn.levart

 

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Edward Hopper

EDWARD HOPPER

Happy Birthday Edward Hopper

Edward Hopper has always been one of my favorite artists. I was most attracted to the simplicity of the shapes and the light in his paintings. To this day a coffee table Hopper book is one of the main art books in my home.
I turn to Hopper for guidance  when my paintings get too busy with details. 

Posted: 07/22/2012

Today is the birthday of painter and printmaker Edward Hopper.

The artist who created “Nighthawks,” one of the most recognizable American paintings, would turn 130 if he were still miraculously alive today.

Hopper was born in Nyack, New York to a strict Baptist family. He is said to have developed a talent in drawing at the age of five, as well as a love of French and Russian culture. Encouraged by his parents, the young artist explored the media of pen-and-ink, charcoal, watercolor and oil, depicting scenes of nature as well as creating his own humorous political cartoons. Around the age of 18, he moved from his conservative home on the Hudson River to study at the New York Institute of Art Design (known as Parsons, the New School for Design), where he began working with live models and painting in the style of Edouard Manet and Edgar Degas.

“Night on El Train,” 1918

Edward Hopper

Edward Hopper • Night on El Train

In 1905, Hopper began working for an advertising agency to earn money, designing magazine covers despite his dislike for illustrations. It was during this time that he was able to travel to Europe to study artists like Rembrandt and the Impressionists. Briefly inspired by the soft palettes of the French painters, Hopper eventually settled into the dark color scheme he would become known for, painting urban scenes of street crowds and cafes through his signature shadowy lens. After returning from abroad, Hopper reluctantly continued to work in illustrations, and it wasn’t until 1913 that he was able to sell his first painting, “Sailing,” at the Armory Show in New York. About the Armory Show 

Hopper turned to etching urban scenes of Paris and New York while living in Greenwich Village. In 1923, he met his future wife, Josephine Nivison, the woman who would serve as his manager, primary model, and lifelong partner. From there, his career began to rise, showing newly created oil paintings and prints throughout New York.

“Nighthawks,” 1932

Edward Hopper

"Nighthawks," 1932

After a brief period of inactivity during the late 1940s, Hopper continued to create works throughout the next two decades, focusing on quintessential American themes like gas stations, motels, railroads and restaurants. Hopper lived through a series of artistic movements in the United States, but his style remained consistent, incorporating saturated colors and heightened contrasted to create dark, cinematic moods straight out of film noir. It shouldn’t be a surprise, then, that Alfred Hitchcock and Sam Mendes frequently cited him as an influence.

On May 15th, 1967, Hopper passed away in his studio near Washington Square in New York City, shortly followed by his devoted wife ten months later. His body of work was donated to the Whitney Museum of American Art, with some famous pieces finding permanent homes in the Museum of Modern Art in New York City, The Des Moines Art Center, and the Art Institute of Chicago.

So don’t forget to raise your glass to Edward Hopper’s Birthday today! And check out the slideshow below of some of the artist’s great portrayals of American life.
Happy Birthday Edward Hopper!

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Whitney Museum

WHITNEY MUSEUM

Whitney Museum of American Art

New Whitney Museum Building – 2015

VIDEO A preview of the Whitney Museum building at Washington Street and Gansevoort Street, in the Meatpacking District. Designed by architect Renzo Piano, the 200,000-square-foot space will open to the public in 2015.

https://whitney.org/About/NewBuilding/About

The Whitney Museum has broken ground on a 200,000-square-foot building in downtown Manhattan. Located in the Meatpacking District on Gansevoort Street between West Street and the High Line, the new building, designed by architect Renzo Piano, will provide the Whitney with essential new space for its collection, exhibitions, and education and performing arts programs in one of New York’s most vibrant neighborhoods.

Whitney Museum

Image courtesy of Renzo Piano Building Workshop in collaboration with Cooper, Robertson & Partners

According to architect Renzo Piano, “The design for the new Whitney Museum emerges equally from a close study of the Whitney’s needs and from a response to this remarkable site.

Whitney Museum - Renzo Piano Architect

Renzo Piano Architect

We wanted to draw on its vitality and at the same time enhance its rich character. The first big gesture, then, is the cantilevered entrance, which transforms the area outside the building into a large, sheltered public space. At this gathering place beneath the High Line, visitors will see through the building entrance and the large windows on the west side to the Hudson River beyond. Here, all at once, you have the water, the park, the powerful industrial structures and the exciting mix of people, brought together and focused by this new building and the experience of art.”

The new WhitneyMuseum building will include more than 50,000 square feet of indoor galleries and 13,000 square feet of outdoor exhibition space on a series of rooftops facing the High Line, providing long-awaited opportunities to show more of the Whitney’s collection in tandem with temporary exhibitions.

The collection has grown from about 2,000 works at the time of the building’s opening, in 1966, to more than 19,000 works today. An expansive gallery for temporary exhibitions will be approximately 18,000 square feet in area, making it the largest column-free museum gallery in New York City. Gallery space for ground-floor exhibitions (accessible free of charge), two floors for the permanent collection, and contemporary artists’ projects on the top floor will total approximately 32,000 square feet.

The dramatically cantilevered entrance along Gansevoort Street will shelter an 8,500-square-foot outdoor plaza or “largo,” a public gathering space steps away from the southern entrance to the High Line. The new building will engage the Whitney directly with the bustling community of artists, gallerists, students, educators, entrepreneurs, and residents in the Meatpacking District, Chelsea, and Greenwich Village, where the Museum was founded by Gertrude Vanderbilt Whitney in 1930.

The building also will include an Education Center offering dedicated space for state-of-the-art classrooms; a multi-use black box theater for film, video, and performance with an adjacent outdoor gallery; a 170-seat theater with double-height views of the Hudson River; and a Works on Paper Study Center, large art Conservation Lab, and Library Reading Room. The classrooms, theater, and study center are all firsts for the Whitney Museum. As well, a retail shop on the ground-floor level will contribute to the vibrant street life of the area. A ground-floor restaurant and top-floor café will be conceived and operated by renowned restaurateur Danny Meyer and his Union Square Hospitality Group, which recently opened Untitled, the new restaurant in the Whitney at 945 Madison Avenue.

Mr. Piano’s design takes a strong and strikingly asymmetrical form—one that responds to the industrial character of the neighboring loft buildings and overhead railway while asserting a contemporary, sculptural presence. The upper stories of the building will stretch toward the Hudson River on the west side and step back gracefully from the elevated park of the High Line on the east side.

“The building is projected to open to the public in 2015. I plan to visit. Join me!”

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David Hockney iPad Exhibit

David Hockney

Fresh Flowers : An iPad Exhibit at the ROM

My Review

David Hockney - Pop Art

David Hockney in his Studio

I’m about to begin a portrait painting of one of my favorite living artists.
David Hockney’s paintings have inspired me
and influenced how I observe and describe the world around me.

I was excited to find this video of his interview about his most recent exhibit in Toronto.
You see him here with his iPad (my favorite new painting studio) and you can watch him paint in the short video below from Louisiana.

In my opinion…The diversity of David Hockney’s exploration during his 50 year career is what is so fascinating and admirable.

His range from his California paintings, to his photography and photo collage, to his recent return to the landscape, and his iPad paintings are worthy of the title “master artist”

I’m very interested in hearing  your opinion. Please comment below.

North American Debut •  iPhone & iPad Art

Here’s a look at the North American debut of David Hockney’s drawings & paintings on the iPhone & iPad. On display at the Royal Ontario Museum in Toronto until January 1st, 2012 www.rom.on.ca Originally broadcasted on Channel12.ca

Inspired by David Hockney – See MY iPad Paintings

Drawing - ipad

Drawing • iPad • Jackie Jacobson

 

When I got my iPad, the first thing I really wanted to do was get a painting App.

I did, and it’s called ArtStudio

ArtStudio is a professional drawing / painting application. It uses advanced mathematics to attain the highest level of quality, at the same time offering incredible performance achieved through numerous code optimizations. It still remains a fantastic tool for beginners – it contains drawing lessons showing step-by-step instruction on drawing various types of images.

My review: It’s just like having an art studio with me wherever I go. I have different drawing and painting tools (brushes, pencils, pens etc), an entire group of novelty tools for textures and more. The size of the tools, their transparency, and many other properties can be changed on the fly. Great color selection tools, symmetrical drawing , multiple layers, and much more. 


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Artist Chuck Close

Artist Chuck Close

Making $1 Million Murals

For The Second Avenue Subway NYC

 “Chuck Close has been my portrait painting idol and inspiration.
When I’m in a city that may have a Chuck Close exhibit, you’ll find me there.
I’ve watched his style change from…
’67-68 photo realistic portraits to today’s style
a canvas of mini-paintings within a grid,
which when viewed from a distance are seen as a single or unified image.
Enjoy

Jackie Jacobson

Chuck Close - Big Self Portrait

Self Portrait - '67-'68

201205_chuckclose
Chuck Close working on a self-portrait (Laura Miller via Facebook).

Second Avenue Subway Project


The never ending Second Avenue Subway project has announced that famous local artist Chuck Close is going to be making a massive series of permanent mosaics for the subway line’s 86th Street station. All in all the mosaics will bring about 1,000 square feet of art to the subway—at a cost of roughly $1 million, according to the MTA’s Arts for Transit program. Luckily, the station is supposed to have an elevator—so the famously wheelchair-bound artist can see his work in action.

And Close, whose downtown studio would be off the Second Avenue Subway if it ever made it that far, seems genuinely excited about the prospect. He told the Times, “My work has always had a mosaiclike quality to it, so it’s not such a stretch. The idea is to reflect the riding population: old people, young people, people of color, Asians. I’m going to do as many as 12 separate mosaics, mainly from pictures of artists I’ve taken over the years.” Each of Close’s mosaics will be 10 feet high and will be distributed around the station.

Meanwhile, as DNAinfo points out, Close isn’t the only one closing in on the new line. Arts For Transit has a $5 million budget to dress up the Second Avenue stations, and has already announced two other artists working on the project. Sculptor Sarah Sze is set to to install “an intricate work of drawings on ceramic tiles spanning nearly two blocks long at East 96th Street” and artist Jean Shin is making a site-specific work for the station at East 63rd Street that uses archival photos from the NY Historical society and the Transit Museum to reference the old Second Avenue Elevated lines. Still to be announced? An artist for the East 72nd Street station.

Can’t wait? Instead of holding your breath we’d recommend playing around on the Arts for Transit permanent art website—because the Second Avenue Subway isn’t expected to be open until December 2016. At the earliest.

Contact the author of this article or email tips@gothamist.com with further questions, comments or tips.
By Garth Johnston in Arts & Entertainment on May 14, 2012 2:11 PM

MORE…New Video …Apr 12, 2012 

Charlie Rose Green Room with Chuck Close.

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  • Shop and have fun at the largest Street Fair in the area?
  • 340 Vendors
  • Arts – Crafts – and much more
  • Free Parking
  • Free Admission

Meet me at the College of the Desert Street Fair. I’m in booth #75, every Saturday and Sunday, October – May.

 

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Marilyn Monroe Painting

Painting

Video : Painting Marilyn Monroe

Watch this Video Demo • Voka paints Marilyn


Marilyn Monroe

The subject of movies, videos and paintings.

Watching a demonstration of how a painting is painted…that’s special.

Well…here it is. Marilyn Monroe

Spontaneous painting.

Here’s my tour through the Voka process and the points of interest.

At…00:16 The background painting. A free and exciting abstract background.

00:32 Line drawing for placement of the painting of Marilyn Monroe

00:41 Color Added to areas of the portrait – lips, eyes, forhead

00:43 Painting from reference photos of Marilyn Monroe

NOTE: The scale of this painting is smaller than most in the gallery.
The size looks to be about 60″. See gallery for larger paintings.

01:05 Getting down to the details of the face in the painting

01:26 Cleaning off the painting brushes. That’s water, painting with acrylic paints.

01:46 Drawn lines for placement of Marilyn Monroe features. Loose and free lines indicate placement, not
the details of the feature.

02:06 View of reference photos, scale of painting, and painting table with paints.

02:12  Note the size of this little brush on this big canvas.

Gallery Voka

Painting - Marilyn Monroe - Voka

Voka is the founder of
Spontaneous Realism

If you look in a dictionary for the word spontaneous you will find definitions like…

  • “rising from a momentary impulse without conscious reflection”
  • “not apparently contrived or manipulated: natural”
  • “often surprising for the surrounding environment”

Looking at Voka’s paintings from this vantage point, makes this newly created expression a more than meaningful description of his work. If one has the opportunity or chance to watch the painter while he is in the act of creating his work, and see — or better, experience — the immediacy, vigor and enthusiasm with which Voka creates his paintings, then this simple expression, spontaneous realism, conveys a defining emotion. And this is exactly the moment where his art begins. Voka’s inspirations are the everyday events of daily life, the seemingly hidden, though omnipresent.

www.voka.at

[Artists] Quotes

Famous Artists Quotes

  Some Inspiration for Your Artist Within

Christmas - Wreath - Tile Art

Painting • Wreath • ©Jacobson

A painter should begin every canvas with a wash of black, because all things in nature are dark except where exposed by the light. · Leonardo Da Vinci quotes 

You must have chaos within you to give birth to a dancing star.· Friedrich Nietzsche quotes 

Well, art is art, isn’t it? Still, on the other hand, water is water! And east is east and west is west and if you take cranberries and stew them like applesauce they taste much more like prunes than rhubarb does. Now, uh… now you tell me what you know.· Groucho Marx quotes

You might as well ask an artist to explain his art, or ask a poet to explain his poem. It defeats the purpose. The meaning is only clear thorough the search.· Rick Riordan quotes 

 “Picasso said it for me…My reason for for doing all that I do… 😉 ”  Jackie Jacobson

Creativity takes courage. · Henri Matisse quotes 

The painter has the Universe in his mind and hands.  · Leonardo Da Vinci quotes 

Quote from A Present Time Artist…

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  • Shop and have fun at the largest Street Fair in the area?
  • 340 Vendors
  • Arts – Crafts – and much more
  • Free Parking
  • Free Admission

Meet me at the College of the Desert Street Fair. I’m in booth #75, every Saturday and Sunday, October – May.

 

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[Artists] David Hockney IPad Drawings

David Hockney

iPhone • iPad Drawings

 

Today’s article is about one my favorite artists…David Hockney

He’s has inspired me all through my career, and today even more so!

Here’s a story about his iPhone • iPad Drawings.

Enjoy

David Hockney was in the Boy Scouts (motto: “Be Prepared”), so he points out that in tailoring terms he was ready for the advent of the iPad.

One of the tricky aspects of this new Apple Inc. device — intermediate between a cell phone and a laptop in size — is the difficulty of carrying it about. Hockney, though, has always had his suits made with a large internal jacket pocket for carrying sketch books.

He demonstrates by opening the natty, paint-stained charcoal-striped number he’s wearing. Within there’s a pouch of the kind in which poachers used to hide game. This is where he tucks his iPad.

In fact, he’s using this portable hi-tech gizmo in much the way he used to employ a pad of paper. It’s his latest drawing medium. A couple of weeks ago, I got a text from him reading: “I have got an iPad, what a joy! Van Gogh would have loved it, and he could have written his letters on it as well.”

Drawing - David Hockney -ipad

An untitled drawing by artist David Hockney created on an iPad. Hockney says that Van Gogh would have loved the iPad.

“I do love it, I must admit,” Hockney, 72, confirms. “I thought the iPhone was great when I bought one the year before last, but this takes it to a new level. It’s a new medium, eight times the size of the iPhone.”

The change in scale has altered the way that Hockney can work. After he bought his first iPhone, he began producing a stream of drawings on it that eventually amounted to hundreds.

Art for Free

They dropped into the inboxes of his acquaintances — direct, lyrical images of flowers and landscapes seen through his bedroom window. This was art for free, which is radical in itself. The art market has worked out ways to charge even for conceptual art, but so far not for these images.

David Hockney - ipad drawings

From Exhibit " Me Draw on iPad "

“I draw flowers every day and send them to my friends so they get fresh blooms every morning,” Hockney told Bloomberg last April. “And my flowers last!” These were executed with his thumb on the iPhone screen. “Who would have thought that the telephone would bring back drawing?” he said.

The iPad screen now allows him to make images of greater scale and complexity. Instead of just using one finger, he finds himself drawing with all of them. Is that more difficult than using a conventional pencil, brush or pen? “In a way, it’s faster,” he says. “I can change color or the width of the mark very rapidly on this, quicker than with an ordinary computer.”

Another difference between both the iPad and iPhone and conventional drawing media is that the former are luminous. Thus, in a way they resemble stained glass or mosaic, which reflect light. This led Hockney toward certain themes. “The fact that it’s illuminated makes you choose luminous subjects, or at least I did: the sunrise, for example, and flower vases with water in them that catch reflections.”

Moving Fingers

“I realized when I was doing the sunrises last year that it was partly because the iPhone was beside my bed when I woke up,” he says. “But if I’d only had a pencil and paper there I probably wouldn’t have chosen to make pictures of the dawn.”
Hockney also has discovered that the iPad can replay every move his finger makes, as he demonstrates to me. Lines snake across the screen, patches of color appear and disappear if he decides to erase them. This is something novel.

“I’ve realized,” he says, “that I can do performances.” So watch out next for Hockney drawings — in motion.
(Martin Gayford is chief art critic for Bloomberg News. Any opinions expressed are his own.)
To contact the writer on the story: Martin Gayford in London at martin.gayford@googlemail.com.

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What should you do on the weekend in the Palm Springs area?

  • Shop and have fun at the largest Street Fair in the area?
  • 340 Vendors
  • Arts – Crafts – and much more
  • Free Parking
  • Free Admission

Meet me at the College of the Desert Street Fair. I’m in booth #75, every Saturday and Sunday, October – May.

 

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[Artists] Pablo Picasso

 Artist’s Quotes that Teach Us

Pablo Picasso

Picasso Self Portrait

Picasso • Self Portrait • 1907

Artist Picasso on Ambition…

“My mother said to me, ‘If you become a soldier you’ll be a general; if you become a monk you’ll end up as the Pope.’
Instead, I became a painter and wound up as Picasso.”
 

Quotes by Artist Pablo Picasso

“Every child is an artist. The problem is how to remain an artist once he grows up.”

“Painting is just another way of keeping a diary.”

“Only put off until tomorrow what you are willing to die having left undone.”

“Today as you know, I am famous and very rich. But when I am alone with myself, I haven’t the ‘courage’ to consider myself an artist, in the great and ancient sense of that word… I am only a public entertainer, who understands his age.”

“Others have seen what is and asked why. I have seen what could be and asked why not. “

And what did he leave us…

Cubism

Picasso - the Three Musicians

Picasso • The Three Musicians • 1921 • Oil on canvas

Cubism began as an idea and then it became a style.

Based on Artist  Paul Cézanne’s three main ingredients – geometricity, simultaneity (multiple views) and passage – Cubism tried to describe, in visual terms, the concept of the Fourth Dimension.

Cubism is a kind of Realism.

It is a conceptual approach to realism in art, which aims to depict the world as it is and not as it seems.

This was the “idea.” For example, pick up any ordinary cup.

  • Chances are the mouth of the cup is round.
  • Close your eyes and imagine the cup.
  • The mouth is round.
  • It is always round – whether you are looking at the cup or remembering the cup.
  • The mouth of a glass is not an oval; it is a circle.
  • To depict the mouth as an oval is a falsehood.
  • This circular form is its truth, its reality.
  • The representation of a cup as a circle attached to the outline of its profile view communicates its concrete reality.
  • In this respect, Cubism can be considered realism, in a conceptual, rather than perceptional way.

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[Artists] Georgia O’Keeffe

Georgia O’Keeffe

Quotes to Remember

My granddaughter was 8 years old.

The class was studying famous artists of the world.

She was asked to choose one artist to study

When asked why she chose Georgia O’Keeffe she responded “Because she paints like my Grandma!”

Out of the mouth of babes.

Little did she know…Georgia O’Keeffe was my inspiration.

The love affair began when I was 12 years old.
It happened at the Art Institute of Chicago.

Georgia O'Keeffe

Georgia Okeefe- Black Cross

Georgia O'Keeffe • Black Cross

This is the first painting by O’Keeffe that mesmerized me.

Georgia O’Keeffe, artist, approached her subjects, whether buildings or flowers, landscapes or bones, by intuitively magnifying their shapes and simplifying their details to underscore their essential beauty.

Black Cross, New Mexico was painted during a summer visit to that state, where O’Keeffe eventually settled.

The large, dark cross seems to stand watch over the rolling hills at sunset, proclaiming man’s presence in this stark landscape.

Georgia Okeefe- Sky Above Clouds IV

Georgia Okeefe- Sky Above Clouds IV

Quotes by Artist Georgia O’Keeffe

“Art is not what you see, but what you make others see.” 
NOTE:  I now love looking at clouds from an airplane window

“To create one’s own world in any of the arts takes courage.”

“Still – in a way – nobody sees a flower – really – it is so small – we haven’t time – and to see takes time, like to have a friend takes time.”

“One day seven years ago I found myself saying to myself — I can’t live where I want to — I can’t go where I want to go–I can’t do what I want to — I can’t even say what I want to –….I decided I was a very stupid fool not to at least paint as I wanted to.”

“I found I could say things with color and shapes that I couldn’t say any other way-things I had no words for.”

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[Artists to Know] Pop Art

Who Gets to Call it Art?

Henry Geldzahler…

the man who made Pop Art famous in the ’60s.

 

Watch the Trailer Now…Just Click

 

is a literal title of a documentary that explores an amazing time in the history of pop art.

This is the trailer…I rented the dvd from Netflix. You should too. You’ll learn alot.

MY REVIEW: ***** IT’S A WONDERFUL FILM – Get to know the Art & the Artists

David Hockney - Pop Art

David Hockney in his Studio

My favorite Artist of the time…David Hockney. I’ll be sharing more about him in future posts.

ALSO…I do post to the blog every day, with interesting fun things.
Drawing, Painting, Decorating Tips, Fun Topics, Artists to Know, and more.
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The place was a 10-square block area in Manhattan where Jackson Pollock, Andy Warhol, David Hockney,
Jonas Mekas and other artists lived, worked and displayed their wares in galleries.
The time was the 1960s. Peter Rosen produced and directed the 80-minute film.

“I wanted to make a film about that extraordinary community of artists for years,
but I couldn’t figure out how to do it,” says the New York-based nonfiction filmmaker.
“It would have been boring to go from one artist to another in a linear fashion.”

Enter the eureka factor.
In 1999, Rosen suddenly had an idea for building the story around Henry Geldzahler,
who was the curator of contemporary art at the Metropolitan Museum of Art
in Manhattan during that period.

Who Gets to Call It Art? is a blend of archival stills and TV news footage,
including memorabilia harvested from Geldzahler’s archives at Yale’s rare book library,
and dozens of interviews filmed with artists, critics and journalists he knew.

The short list includes Mark Di Suvero, David Hockney, Robert Rauschenberg,
Larry Poons, James Rosenquist, Francesco Clemente, John Chamberlain, Jonas Mekas,
Frank Stella and Ellsworth Kelly, among others.

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[Decorating Ideas] Walls

Wall Decorating Ideas and Tips

No Matter What Your Decorating Style

 

Tile Mural - Bamboo

Tile Mural • Bamboo Leaves • © Jacobson

 

 

“How do I decorate my walls?” sends some people into a panic

After selecting the furnishings and accessories for a room or space, wall decorations can complete the look in a spectacular way.

No need to stress out over wall decor…just follow this process and the ideas presented here…you’ll be fine!

Poppy - Canvas Art

Canvas Print • Perfect for the Bedroom • © Jacobson

3 Tips for Adding Wall Decor

 

Wall Decorating Ideas : Tip 1  make sure that your walls themselves are in order.

Do they need …

some color?

decorative trim such as crown molding?

practical trim such as shoe molding?

a really good cleaning?

Take a good long look and make sure your walls are ready for those decorations..

Wall Decorating Ideas : Tip 2 – have a good sense of your decorating style for this space

For example, if contemporary home decor speaks to you, then you will definitely utilize the ‘less is more’ strategy for your wall decor.

You might select one dramatic piece of art for the focal point wall in the room.

“It doesn’t have to be an expensive original to be great. I do prints of my great original artwork!

Does traditional style more aptly define your lifestyle and preferences?

Your wall decor might include collections of pretty plates, floral prints and whitewashed wall vases with flowing greenery.

The point is, make sure that your wall decor is consistent with the rest of your room and home.

Wall Decorating Ideas : Tip 3What is the function of the room itself?

This may seem obvious, but sometimes we get caught up in how much we adore a particular picture, for example, and forget about the space it is going into.

If your wall decorating ideas are for the kitchen, for example, make sure they are appropriate for the space.

Just make sure that your selection is compatible with the room function, fits the color palette for the space as well as the decorating style you have chosen.

Tips for placement of your wall decorations:

1. Please, please don’t ‘hang ’em high’!

You and your guests should not have to look toward the ceiling to see the awesome artwork in the living room.

Place your artwork, collectibles, photos, etc. just a shade above eye level for the average height adult.

2. Take your artwork and hang it lower than stated in tip #1 and you can create a number of different and unique looks.

For example, if you have a nightstand in the bedroom with a lamp on it, hang your picture so that the bottom of the artwork is about 3 to 4 inches below the top of, and to the side of, the lamp. By doing this you are creating a visual tie between the artwork, the lamp and the table.

A collection of four prints, for example, can create a border above in a multi-surface area.

Try this as a ‘headboard’ in your guest bedroom!

Coasters - Seashells

SeaShells • Collection • © Jacobson

3. Too much adornment on the walls • Makes you dizzy to look at them?

You don’t have to, and should not, place something on every inch of open wall space in your home.

The result is a cluttered and unappealing mess.

4. Do you like collections?

Use your imagination! If you have a large wall space that needs help, try using varying shapes and sizes of:

Mural - Tile Art- Plumeria

Plumeria • Tile Art Mural • ©Jacobson

 

  • mirrors
  • vintage picture frames (just the frames – work well on a wall with color)
  • wall tiles
  • wrought iron accents, or
  • frame recipes, favorite songs or hymns, children’s artwork, vintage hankies

Have fun with your new wall decorating ideas.

Call on me for ideas and help with your walls, art or color selections.

760.831.1190

That’s my art! 🙂

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9 Tips for Better Pet Photos

[youtube https://www.youtube.com/watch?v=qN2-HX0yr_E?rel=0]

Meet the Artist…Jackie Jacobson

Woof • Meow • Smile

Pets hold that special place in our hearts and families.

We enjoy having their pictures framed on our desk or wall!

However taking pictures of your best friend is not always easy.

Pets, unlike humans, do not understand what we are trying to do and won’t just pose for the camera!

Here are 9 tips that will help you get the most from your photo session

1. Use Natural Light

If possible always use natural light when taking your pets picture. Avoid flash, as the flash burst not only causes red-eye, but also frightens the animal.

Instead…try to go outside or take the pictures in a room well lit by a large window.

2. Keep the Eyes Sharp

Having sharp eyes is important in any kind of portrait photography.

“Eyes are the Window to the Soul” and pets eyes can be very expressive. So make sure to focus on your pet’s eyes.

3. Go to Them

It is very important that your pet feels comfortable and at ease, so instead of forcing him to come to you go to him.

Get down to his level. We all know how a dog looks when viewed from above…this is the way we always see them. Show us the way they see world!

Sit on the floor or lie on your belly and remember to shoot from HER eye level or below.

4. Give Value to their Character

You know your pet better than anyone else, and a successful picture is one that conveys the character of its subject.

If you have a lazy cat show him yawning

If your animal is playful, try to capture that.

5. Go Telephoto

Put on that long lens or switch to telephoto.

Fill the frame with your pet’s face and fur. Close up shots often make beautiful animal portraits.

6. Surprise Them

One of the most difficult things is to have your pet hold still.

An easy trick is to let him play quietly and, once you have everything ready, let someone call for him or whistle. This will surprise him, grab his attention and you will have a few seconds to capture him in a nice and alert pose.

7. Schedule your Session

If you are longing for a formal pet portrait shot, try to schedule the photo session when you’re animal is somewhat sleepy.  It will be much easier to keep him still then.

If you want a more dynamic shot then pick a time when your pet is energetic.

8. Be Patient

Pet photography requires a lot of patience. No matter how excited your furry friend is, if you are patient enough, he will end up by relaxing and you will have the opportunity to get a decent shot.

9. Experiment

Take your time and enjoy the session, try different approaches, angles and compositions. Shoot a lot (I mean alot)

You will have plenty of time to worry about the results later.

Join Me in the Studio

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+1 demo: Basic page