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Art

Lisa

Sunday, 21 July, 2019

The artist Gregory Ferrand says, “My paintings explore the disconnection and alienation we often feel despite (and sometimes because of) the close proximity in which we live to one and other.”

Lisa


Putting on the pullover

Saturday, 13 July, 2019

The gifted Mexican artist David Álvarez told the Spanish public radio and television service, RTVE.es, that “cada imagen que ha creado está apoyada en la ‘metáfora para intentar sorprender a quien mira, para que la imagen sobreviva a la primera lectura y que, con suerte, propicie alguna pregunta.'” In other words, each image he creates is supported by the metaphor of trying to surprise the person looking at it so that it survives the first encounter and prompts some questions.

David Álvarez


A drawing a day keeps the doctor away

Tuesday, 9 July, 2019

That’s the philosophy of Mrzyk & Moriceau, both of whom “Vivent et travaillent à MontJean-sur-Loire,” where they draw daily.

Mrzyk & Moriceau


El llano en llamas: The Burning Plain

Thursday, 20 June, 2019

Born in Santiago, Chile, and now living in London, the artist Francisco Rodríguez paints pictures that “describe inner states of consciousness.” His first London gallery exhibition, The Burning Plain, ran from December last year to March this year in the Cooke Latham Gallery, a new space for contemporary art located in a 19th-century warehouse in the city’s Battersea district. As curator and critic Christian Viveros-Fauné wrote, “Rodriguez’s title is a translation of El llano en llamas, Juan Rulfo’s celebrated short story collection. Fittingly, Rulfo’s stories consist entirely of interior monologues spoken by characters that wander bleak, crepuscular landscapes. Like the painter’s figures, they haunt rather than traipse the desolate roads they travel.”

Francisco Rodríguez


Mailer on the money

Tuesday, 11 June, 2019

A parable from The Spooky Art: Thoughts on Writing by the late Norman Mailer:

“The story is that Robert Rauschenberg was once given the gift of a pastel from Willem de Kooning. Rauschenberg, with de Kooning’s permission, erased the pastel and then signed it ‘Pastel by de Kooning Erased by Robert Rauschenberg’, after which he sold it. The story bothered me. There was something profound there, but how to get a hold of it? Then it came to me: Rauschenberg was saying that the artist has the same right to print money as the financier: Money is nothing but authority imprinted upon emptiness.”

Willem de Kooning


Summer No. 2

Monday, 10 June, 2019

Because Summer No. 1 isn’t working out that well… so far. This painting, “Summer No. 2”, is by the artist Zhongwen Hu, who divides her time between China and the USA.

Summer No. 2


See Klimt, not #Klimt, in Vienna, not #Vienna

Sunday, 9 June, 2019

With Barcelona and Dubrovnik and Venice groaning under the weight of overtourism, land-locked Vienna has decided to target the dread hashtag, so beloved of hipster tourists. Following the techlash, now comes the #hashtaglash.

“This is an invitation from Vienna — an ideal place for a little bit of digital detox and for creating moments that you, and you alone, can treasure forever. Because Vienna is far more colorful when not seen through the lens of a smartphone camera.”

Vienna


Banksy in Venice

Friday, 24 May, 2019

“If you don’t own a train company then you go and paint on one instead,” said Banksy in the book Banksy: You Are an Acceptable Level of Threat. The street artist was referring to the British government’s decision to privatize rail networks “to make millions for a cabal of financiers, largely at the taxpayers expense.” Is Banksy a genius? Some have criticized the “obviousness” of his work and accused it of being “anarchy-lite” geared towards a middle-class hipster audience, while the satirist Charlie Brooker wrote in the Guardian that “…his work looks dazzlingly clever to idiots.”

Still, if you don’t own a cruise ship, you go and paint one in Venice instead. Hilarious.


Blue Monday

Monday, 20 May, 2019

Femme assise au fichu (Melancholy Woman) was painted by Pablo Picasso in 1901. The woman here is probably in a cell in the Saint-Lazare women’s prison in Paris, which Picasso visited several times to make drawings for the paintings of his “Blue Period”. With these portraits, Picasso developed a way of representing poverty and isolation at a time when many would have preferred to avert their eyes from such subjects.

Femme assise au fichu can be seen at The Young Picasso — Blue and Rose Periods exhibition until 16 June at the Fondation Beyeler, near Basel in Switzerland.

Picasso


The Last Supper: Nabokov and Leonardo

Friday, 3 May, 2019

The world is marking the 500th anniversary of the death of Leonardo da Vinci, artist and inventor. In the town of Vinci in Tuscany, the Museo Leonardiano is exhibiting the artist’s first known drawing, dated 5 August 1473. From 24 May to 13 October, an exhibition will open at The Queen’s Gallery in Buckingham Palace, featuring 200 Leonardo drawings. The Louvre expects huge demand for its da Vinci exhibition in October, urging visitors to book a time slot ahead of their visit and, staying in France, a tapestry based on Leonardo’s Last Supper will be displayed at the Château du Clos Lucé in the Loire Valley, where he spent the final years of his life, between 1516 and 1519. It’s the first time the tapestry has been outside the Vatican museum since the 16th century.

The great writer Vladimir Nabokov was fascinated by The Last Supper and oblique references to the mural can be found throughout his books. In fact, the young Nabokov composed a poem in 1918 entitled, The Last Supper.

The Last Supper

The reflective hour of an austere supper
Prophecies of betrayal and parting
A nocturnal pearl illuminates
the oleander petals.

Apostle leans towards apostle
Christ has silvery hands
Candles pray brightly, and along the table
nocturnal moths crawl.

Vladimir Nabokov (1899 – 1977)

The Last Supper


Paintings painted

Sunday, 28 April, 2019

The Spanish artist Julio Anaya Cabanding paints paintings. Using graffitied walls as his canvas, he recreates famous paintings with astonishing detail, including their ornate frames. His logic? By taking a photo of an Old Master in a museum such as the Prado in Madrid, he “liberates” the image from “the sacrum of the institution” and he then puts it in a place where it has never been seen or will be seen in a very different way.

Painted Vermeer