Quantcast

Tag Archive "painting"

Mary Cassatt painting

Degas/Cassatt, and Titian’s “Danae” at the National Gallery of Art — An artistic friendship and the ultimate erotic painting

[Andrea visits a recent show focusing on the close friendship and artistic interchange between Edgar Degas and Mary Cassatt, including some unexpected deviations from the work we're all familiar with. Then, she stops off to view Titian's "Danae". -- the artblog editors] Degas/Cassatt, which was on view at the National Gallery of Art through Oct. 5, was a triumph of an exhibition, tightly conceived around ideas and artworks exchanged by the two artists in the early years of their friendship. I must admit that I had no interest in the exhibition before I saw it, thinking I knew the work ... More » »

40-12-05/44

The World Is an Apple — The Still Lifes of Paul Cézanne at the Barnes Foundation

[Jennifer digs into Cézanne's labor-intensive approach to art-making, and dedication to certain still life subjects--both of which set the artist apart in his rapidly industrializing era. -- the artblog editors] In his essay titled “Cézanne’s Doubt,” Maurice Merleau-Ponty tells us that it took Paul Cézanne “one hundred working sessions” to complete a still life. Last Tuesday, under a high-powered microscope in the Barnes Foundation’s light-filled conservation lab, it seemed that all the layers of paint applied in those 100 sessions were revealed. The microscope’s lens was focused on a small painting titled “Three Apples,” 1878-1879, temporarily removed from its usual location ... More » »

a50100ce1e8098e9d4d445f2d7caee64

Patterns & Permutations — Justin Kingsley Bean at JAG Modern

[Patterns possess the ability to both comfort and refresh the eye. Joshua reviews a colorful show that blends patterns comfortably into their gallery space. -- the artblog editors] The alliterative title of Justin Kingsley Bean’s solo show at JAG Modern is an apt description of Bean’s artistic oeuvre. Patterns & Permutations–arrangements of color and geometric shapes–dominate the artist’s paintings. The mathematic exactness of Bean’s style is oddly soothing, despite the accosting power of the color that is everywhere in the small gallery. Bean has an evident interest in the forms, rhythms, and patterns of the everyday world that inspire his ... More » »

Screen Shot 2014-06-10 at 7.50.16 PM

Joe Fleming’s Suckerpunch at Mike Weiss Gallery

[Evan reviews an off-the-wall show that strays a bit too far in pursuit of perfection, and concludes that the paintings' real success lie in their minor details. -- the artblog editors] Suckerpunch is Toronto artist Joe Fleming’s first solo New York exhibition, taking place at Mike Weiss Gallery in Chelsea. Here, Fleming displays a series of paintings with a strong sculptural bent, using recycled materials, graphic geometric shapes, and gestural line and brush work. He’s clearly influenced by Pop Art and cultural iconography, and his geometrical forms are evocative and self-referential. Works fuse with the wall Fleming’s paintings are extremely textured. ... More » »

Chambers

Drawing closer to uncertainty — Kit White at Andre Zarre

[Andrea examines why painter Kit White has recently radically changed his style--perhaps it's a reflection on his environment. -- the artblog editors] In his recent paintings, on exhibit at Andre Zarre Gallery, New York through May 10, 2014, Kit White has pared his palette back to black, white, and gray. Each of the ostensibly abstract works has a horizon line, so that thinking of them as landscapes doesn’t seem overly interpretive. The artist sometimes drags a thick gray band of paint below the horizon, sometimes bringing it into the upper register as well, where several paintings have a light staccato ... More » »

rsz_drew-bear__interior_antibes1953-2

The playful imagery of Jesse Drew-Bear at the Woodmere Art Museum

 [Irena introduces us to a little-known Philadelphia artist worthy of appreciation for her rich imagination and distinctive painting style. -- the artblog editors] Stories and Dreams, a spring-flavored exhibition at the Woodmere Art Museum, showcases the late Jessie Drew-Bear, an overlooked Philadelphia artist who painted with an advanced whimsicality and rich narrative imagination. Whimsy rooted in real talent Drew-Bear’s art imitated her colorful life, but both fell under the radar after the English-born artist’s death in 1962. Her career, which took off when Drew-Bear was 59 and spanned the last 24 years of her life, shifted and developed, surpassing the confines of ... More » »

rsz_gretz_brewery_32x48_oil_on_panel_copy

Familiar streets — Gregory Prestegord at F.A.N. Gallery

[Recognizing Gregory Prestegord's masterful ability to suspend viewers in a given moment, Rachel reviews the oil painter's work on view at F.A.N. Gallery. -- the artblog editors] Gregory Prestegord’s paintings will resonate with anyone who experienced the past winter in Philadelphia. He captures the heaviness of snow’s blanketing, the loneliness in the streets as the city’s inhabitants remain forced inside; the endlessness; the constant. City scenes described in oils If there is one painter capturing Philadelphia today, it is Gregory Prestegord. I first met Prestegord last year after wandering into F.A.N. Gallery in Old City. His pieces combined a sense of ... More » »

Joan Miro ‘The Hermitage’ (1924), oil ?, crayon and pencil on canvas, 45 x 57 9/16 in., PMA.

The Surrealists — works from the collection at the Philadelphia Museum of Art

(Andrea reviews a new exhibition showcasing Surrealist paintings and art objects. — the artblog editors) The Surrealists: Works from the Collection, on view at the Philadelphia Museum of Art (PMA) Perelman Building through March 2, 2014, is an excellent use of the museum’s permanent collection. It includes prints, photographs, books, magazines, and furniture, but the bulk of the work consists of paintings, which offer a particularly interesting survey of the varied and sometimes experimental paintwork of many Surrealists. The exhibition takes a strict interpretation of Surrealism as a movement by a group of artists in Paris and in exile during WWII, from the ... More » »

Sharon Butler, Silencer, 2013, pigment, binder, latex enamel, gesso, pencil, staples, loosely stretched linen tarp, 66 x 72 inches.

Sharon Butler’s New Casualist paintings at The Painting Center in New York

(Elizabeth tours Skin, a group show, and speaks with New Casualist painter Sharon Butler about Butler’s approach to failure, success, and “rightness” in her work. — the artblog editors) My eye fastens on a crumpled staple in Sharon Butler’s painting, and then I get it. A sense of loosening my expectation of what painting can or should be invades me. Butler and I are in front of “Silencer,” her large painting made with house paint on a linen tarp that has been nonchalantly stapled to the wall. I am stretching canvases this week and have removed many crumpled staples to perfect ... More » »

Madonna and Child, Diane Laison. Photo credit: Jack Ramsdale.

Political action and the love of painting – Diane Laison at iMPeRFeCT Gallery

(Maegan talks with artist and long-time Temple University mathematics professor Diane Laison about her late-blooming career as a painter.–the artblog editors)  I met Diane Laison to discuss her show, Waiting for the Wars to End, at iMPeRFeCT Gallery this month.  Her use of color, texture, religious iconography, symbolism and abstraction create a show that is both emotionally and intellectually stimulating.  Through our discussion of Laison’s beginnings, I caught a glimpse of what motivates and inspires her work: a passion for political action, combined with a profound love of painting. A career in mathematics and a switch to art Although Laison ... More » »

Next Page »