{"id":1409,"date":"2023-12-19T09:45:30","date_gmt":"2023-12-19T09:45:30","guid":{"rendered":"http:\/\/meumon.synology.me\/wordpress\/?p=1409"},"modified":"2024-12-15T19:02:34","modified_gmt":"2024-12-15T19:02:34","slug":"art","status":"publish","type":"post","link":"http:\/\/meumon.synology.me\/wordpress\/art\/","title":{"rendered":"Art"},"content":{"rendered":"
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Not\u00edcies<\/a><\/p>\n

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2018<\/p>\n<\/div>\n

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mar\u00e7 2018<\/div>\n
https:\/\/mymodernmet.com\/different-types-of-chickens-photobook-monti-tranchellini\/<\/u><\/a>\u00a0 la bellesa de les gallines<\/div>\n
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https:\/\/www.artsy.net\/article\/artsy-editorial-art-historians-cracked-case-enigmatic-16th-century-japanese-painter<\/a>\u00a0Tohaku, pintor remples Zen Kyoto<\/div>\n
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Oscar Mu\u00f1oz\u00a0http:\/\/www.fundaciosorigue.com\/exposicion\/oscar-munoz-desmaterializaciones\/<\/u><\/a><\/div>\n
https:\/\/www.youtube.com\/watch?v=mZ1jE6zc4pM<\/u><\/a><\/div>\n
https:\/\/www.youtube.com\/watch?v=AfNeNvpD__4<\/div>\n
https:\/\/www.youtube.com\/watch?v=mZ1jE6zc4pM<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2018\/03\/12\/beyond-american-gothic<\/a>\u00a0Grant Wood, AMerican Gothic, s’inspir\u00e0 en Hans Memling.<\/div>\n
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https:\/\/www.abebooks.com\/art\/female-artists\/<\/a>\u00a0Georgia O’Keefe, K\u00e4the Kollwitz<\/div>\n
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https:\/\/artprof.org\/<\/a>\u00a0Cursos d’art<\/div>\n
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http:\/\/www.vivianmaier.com\/<\/a>\u00a0vivian maier, fotografia<\/div>\n
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https:\/\/www.atlasobscura.com\/articles\/sea-wave-photos-during-a-storm<\/a>\u00a0fotos de tormentes<\/div>\n
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https:\/\/www.artsy.net\/article\/artsy-editorial-gustav-klimt<\/a>\u00a0KLIMT<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2018\/03\/19\/india-mahdavi-virtuoso-of-color<\/a>\u00a0decoradora India Mahdavi<\/div>\n
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https:\/\/www.atlasobscura.com\/articles\/drawing-every-new-york-city-subway-station<\/a>\u00a0Dibuixos de les estacions de NYC<\/div>\n
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https:\/\/www.atlasobscura.com\/articles\/red-hong-yi-food-art<\/a>\u00a0fent quadres amb el menjar<\/div>\n
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https:\/\/www.ara.cat\/suplements\/diumenge\/Raoul-HausmannLespessor-del-temps_0_2005599423.html<\/a>\u00a0Raoul Hausmann, que va fer el cap que tant m’agrada,d eia que tot venia de la dansa<\/div>\n
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https:\/\/www.atlasobscura.com\/articles\/bodys-kingelez-zaire-utopia-exhibition<\/a>\u00a0maquestes de ciutats ut\u00f2piques imagin\u00e0ries<\/div>\n
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https:\/\/www.thecut.com\/2018\/05\/how-to-be-happy.html<\/a>\u00a0un curs per aprendre a ser feli\u00e7. aqu\u00ed online:\u00a0https:\/\/www.authentichappiness.sas.upenn.edu\/<\/a>\u00a0\u00a0https:\/\/www.coursera.org\/learn\/the-science-of-well-being<\/a><\/div>\n
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https:\/\/www.youtube.com\/watch?v=zFBvl-3dg9U<\/a>\u00a0Yayoi Kusama<\/div>\n
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http:\/\/fortune.com\/2014\/08\/05\/what-architects-dont-get-about-steve-jobs-spaceship\/<\/a>\u00a0arquitectura, Steve Jobs i pixar i aple per afavorir la interacci\u00f3.<\/div>\n
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https:\/\/mymodernmet.com\/michael-pederson-clever-street-art\/<\/a>\u00a0Instal\u00b7lacions humor\u00edstiques po\u00e8tiques, Michael Pederson,\u00a0http:\/\/miguelmarquezoutside.com\/<\/a><\/div>\n
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https:\/\/mymodernmet.com\/tom-bob-clever-street-art\/<\/a><\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2018\/06\/18\/giacomettis-skinny-sublimity<\/a>\u00a0Giacometti<\/div>\n
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https:\/\/artreview.com\/opinion\/online_opinion_jj_charlesworth_art_market_blockchain_christies\/<\/a>\u00a0implementar blockchain per aportar transpar\u00e8ncia a les transaccions en el mercat de l’art.<\/div>\n
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https:\/\/www.artsy.net\/article\/artsy-specialist-literature-inspired-works-collect<\/a>\u00a0art inspirat en la literatura<\/div>\n
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https:\/\/www.artsy.net\/article\/artsy-editorial-mysteries-pieter-bruegel-elders-peasant-paintings<\/a>\u00a0Brueghel<\/div>\n
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https:\/\/www.artsy.net\/article\/artsy-editorial-centuries-old-japanese-tradition-mending-broken-ceramics-gold<\/a>\u00a0enganxant bols de cer\u00e0mica trencats amb or<\/div>\n
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https:\/\/vimeo.com\/stock<\/a>\u00a0v\u00eddeos per comprar a vimeo<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2018\/08\/27\/alex-katzs-life-in-art<\/a>\u00a0Alex Katz<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2018\/09\/03\/treasures-from-the-color-archive<\/a>\u00a0el color<\/div>\n
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https:\/\/www.artsy.net\/article\/artsy-editorial-16-critics-changed-way-art<\/a>\u00a0Plini Winckelman Ruskin Walter Benjamin<\/div>\n
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https:\/\/www.artsy.net\/article\/artsy-editorial-why-walter-benjamin-is-the-art-world-s<\/a><\/div>\n
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http:\/\/tillmans.co.uk\/book-downloads<\/a>\u00a0Fotografia Wolfang Tillmans<\/div>\n
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Jason Polan\u00a0https:\/\/www.instagram.com\/jasonpolan\/?hl=en<\/a>\u00a0\u00a0https:\/\/20×200.com\/collections\/jason-polan<\/a><\/div>\n
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https:\/\/www.atlasobscura.com\/articles\/striking-portraits-of-lonely-cars-in-1970s-new-york<\/a>\u00a0fotos de cotxes als ’70<\/div>\n
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https:\/\/www.artsy.net\/article\/artsy-editorial-story-surreal-photograph-salvador-dali-three-flying-cats<\/a>\u00a0Dal\u00ed i la foto de Halsman<\/div>\n
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https:\/\/www.artsy.net\/article\/artsy-editorial-history-female-rage-art<\/a>\u00a0dones enfadades<\/div>\n
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Els Dialectograms de Mitch Miller\u00a0http:\/\/www.dialectograms.com\/<\/a>\u00a0 Take a dash of cartography, a pinch of architecture and a fair bit of ethnography and you have the dialectogram, graphic art that depicts place from the ground up.<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2018\/10\/01\/delacroixs-high-performance<\/a>\u00a0Delacroix<\/div>\n
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https:\/\/utah.com\/wendover\/sun-tunnels<\/a>\u00a0landart i astronomia<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2018\/10\/29\/the-myth-of-whiteness-in-classical-sculpture<\/a>\u00a0les escultures cl\u00e0ssiques estaven pintades<\/div>\n
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https:\/\/archnet.org\/sites\/7094<\/a>\u00a0Not Vidal, a Huse to watch the sunset<\/div>\n
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https:\/\/artreview.com\/power_100\/<\/a>\u00a0Artreview Power100<\/div>\n
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http:\/\/www.all-art.org\/art_20th_century\/dali-5.html<\/a>\u00a0\u00a0\u00a0material de refer\u00e8ncia en art<\/div>\n
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https:\/\/www.artsy.net\/article\/artsy-editorial-morning-routines-famous-artists-andy-warhol-louise-bourgeois<\/a><\/div>\n
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Joan Mir\u00f3 adhered to his routine religiously, in part because he worried the severe depression he dealt with when he was younger (before he began painting, beginning around age 18) might return. Throughout the 1930s, while living in Barcelona with his wife and daughter, the Spanish painter rose daily at 6 a.m. He bathed and ate a light breakfast of coffee and bread, before settling down in front of his easel. He painted without stopping from 7 a.m. to noon, at which point he would leave his studio and exercise for an hour.<\/div>\n
Mir\u00f3 was serious about working out, which he saw as another method to keep depression at bay. In Barcelona, he jumped rope and did Swedish gymnastics at a gym; in Paris, he boxed; and on vacation in Catalonia, he swam and jogged along the beach.<\/div>\n
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http:\/\/www.stgallplan.org\/en\/index_plan.html<\/a>\u00a0Codex sangallensis 1902, pl\u00e0nol d’un monestir<\/div>\n
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https:\/\/www.artsy.net\/article\/artsy-editorial-started-drawing-charcoal<\/a>\u00a0dibuixar al carb\u00f3<\/div>\n
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https:\/\/www.artsy.net\/article\/artsy-editorial-talk-kids-art<\/a>\u00a0com parlar d’art als nens<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2018\/11\/19\/theres-still-no-escaping-andy-warhol<\/a>\u00a0Andy Warhol<\/div>\n
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https:\/\/www.theatlantic.com\/technology\/archive\/2018\/11\/how-restaurants-got-so-loud\/576715\/<\/a>\u00a0restaurants sorollosos per est\u00e8tica minimalista<\/div>\n
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https:\/\/www.artsy.net\/article\/artsy-editorial-going-art-museum-good-exercise<\/a>\u00a0els efectes benefactors per la salut de visitar un museu<\/div>\n
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COlor of the year L’empresa Pantone fa diners codificant els colors. Per\u00f2 tamb\u00e9 \u00e9s un empresa intel\u00b7ligent i interessant i cada any tria un color. El 2019 ser\u00e0 el color corall:<\/div>\n
https:\/\/www.pantone.com\/color-intelligence\/color-of-the-year\/color-of-the-year-2019<\/a><\/div>\n
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https:\/\/www.artsy.net\/article\/artsy-editorial-history-living-coral-pantones-color-year<\/a><\/div>\n
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https:\/\/www.artsy.net\/article\/artsy-editorial-anne-brigman-pioneering-photographer-nude-self-portraits<\/a>\u00a0sxix fot\u00f2grafa nua a la naturalesa<\/div>\n
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2019<\/div>\n
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https:\/\/www.vox.com\/the-goods\/2018\/12\/27\/18156431\/recession-fashion-design-minimalism<\/a>\u00a0les tend\u00e8ncies de disseny<\/div>\n
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https:\/\/www.artsy.net\/article\/artsy-editorial-studying-dreams-help-art-practice<\/a>\u00a0els somnis, instruccions de Dal\u00ed<\/div>\n
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https:\/\/vimeo.com\/stock<\/a>\u00a0v\u00eddeos vimeo royalty free<\/div>\n
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https:\/\/www.artsy.net\/article\/artsy-editorial-italian-art-supply-shop-renaissance-painting-techniques-alive<\/a>\u00a0Proveidor de pigments cl\u00e0ssics a Firenze<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2019\/01\/14\/does-the-paint-world-need-another-white<\/a>\u00a0un nou color blanc<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2019\/01\/21\/the-bleak-brilliance-of-nick-drnasos-graphic-novels<\/a>\u00a0Dranaso i Sabrina<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2019\/01\/21\/an-artists-life-refracted-in-film<\/a>\u00a0Gerhard Richter\u00a0 \u00a0https:\/\/www.gerhard-richter.com\/<\/a><\/div>\n
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https:\/\/www.artsy.net\/article\/artsy-editorial-nasa-art-shape-vision-future<\/a>\u00a0il\u00b7lustradors de ci\u00e8ncia ficci\u00f3 per la Nasa<\/div>\n
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Paisatges hivernals de Breughel\u00a0https:\/\/www.artsy.net\/article\/artsy-editorial-deadly-truth-pieter-bruegel-elders-idyllic-winter-landscapes<\/a><\/div>\n
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https:\/\/www.bbc.com\/news\/entertainment-arts-47152778<\/a>\u00a0Jeff Koons<\/div>\n
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Mir\u00f3\u00a0\u00a0https:\/\/www.newyorker.com\/magazine\/2019\/03\/11\/joan-miros-modernism-for-everybody<\/a><\/div>\n
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https:\/\/www.artsy.net\/article\/artsy-editorial-complex-meanings-hand-gestures-buddhist-art<\/a>\u00a0mudras, l’expressi\u00f3 de\u00a0 les mans en l’art budista, tocar la terra, meditar, saludar, ensenyar, allunyar les pors<\/div>\n
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https:\/\/getpocket.com\/explore\/item\/welcome-to-airspace<\/a>\u00a0 airspace, maons i fustes reciclades.\u00a0 It\u2019s possible to travel all around the world and never leave AirSpace, and some people don\u2019t.<\/div>\n
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https:\/\/www.artsy.net\/article\/artsy-editorial-figurative-painting-good<\/a>\u00a0Qu\u00e8 fa que una pintura figurativa sigui bona-<\/div>\n
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Michael Wolf, el fot\u00f2graf de les ciutats:\u00a0http:\/\/photomichaelwolf.com\/#<\/a>\u00a0\u00a0https:\/\/petapixel.com\/2013\/04\/05\/eye-popping-photographs-of-hong-kong-high-rise-apartment-buildings\/<\/a><\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2019\/04\/29\/the-man-who-built-the-bauhaus<\/a>\u00a0Gropius, el fundador de la Bauhaus<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2019\/05\/13\/garry-winogrand-and-jeff-wall-photography-in-two-phases<\/a>\u00a0el fot\u00f2graf Terry Winogrand<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2019\/06\/03\/timelessness-in-works-by-thomas-cole-and-brice-marden<\/a>\u00a0 Thomas Cole, Brice Marden.\u00a0Two small shows in the Hudson Valley hint at long spiritual rhythms that are not lost, though they may be occluded, in the staccato frenzies of our day. Two sublime small shows that will last the summer in towns along the Hudson River remind me of something that art is good for: consolation. I speak of \u201cThomas Cole\u2019s Refrain: The Paintings of Catskill Creek,\u201d at the Thomas Cole Historic Site, in Catskill, and \u201cBrice Marden\u2019s Cold Mountain Studies,\u201d which will open to the public on June 9th at \u2018T\u2019 Space, in the wooded outskirts of Rhinebeck. Roughly a century and a half apart in history, the artists touched me with a sense of timelessness that, today, couldn\u2019t be timelier. They happen to represent the first great American landscape painter, in Cole, and arguably the last great American abstract painter\u2014the last, certainly, to have achieved an influential late style\u2014in Marden.<\/div>\n
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https:\/\/mymodernmet.com\/free-3d-models-scan-the-world\/<\/a>\u00a0models 3d d’escultures per imprimir<\/div>\n
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https:\/\/www.artsy.net\/article\/artsy-editorial-untold-legacy-nc-wyeth-andrews-artist-father<\/a>\u00a0Andrew Wyeth<\/div>\n
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https:\/\/getpocket.com\/explore\/item\/how-pantone-comes-up-with-new-colors-for-its-authoritative-guide<\/a>\u00a0pantone, nous colors<\/div>\n
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https:\/\/www.artsy.net\/article\/artsy-editorial-female-patrons-shaped-art-history<\/a>\u00a0dones mecenes Alelia Walker i Harlem Renaissance<\/div>\n
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https:\/\/oakesoakes.com\/<\/a>\u00a0superf\u00edcies esf\u00e8riques<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2019\/08\/26\/renoirs-problem-nudes<\/a>\u00a0Renoir i els nus sense personalitat<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2019\/09\/02\/vija-celmins-surface-matters<\/a>\u00a0Vija Celmins. Dibuixos del mar, del cel<\/div>\n
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https:\/\/www.artsy.net\/series\/artsy-vanguard-2019<\/a>\u00a0artistes emergents i grans que es reconeixen<\/div>\n
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https:\/\/www.alexprager.com\/<\/a>\u00a0Fot\u00f2grafa alex prager<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2019\/10\/07\/richard-serra-will-jolt-you-awake<\/a>\u00a0Richard Serra<\/div>\n
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https:\/\/www.artsy.net\/article\/artsy-editorial-decoding-boschs-wild-whimsical-garden-earthly-delights<\/a>\u00a0Bosch, el jard\u00ed de les del\u00edcies<\/div>\n
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https:\/\/artreview.com\/power_100\/<\/a>\u00a0els 100 influents de 2019<\/div>\n
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http:\/\/platonphoto.com\/menu\/<\/a>\u00a0Platon fot\u00f2grafia<\/div>\n
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Genevi\u00e8ve Asse, “finestres al blau”<\/div>\n
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https:\/\/www.newyorker.com\/books\/page-turner\/how-gyo-fujikawa-drew-freedom-in-childrens-books<\/a>\u00a0GYO FUJIKAWA<\/div>\n
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https:\/\/www.artsy.net\/article\/artsy-editorial-influential-artists-2019<\/a>\u00a0artistes 2019<\/div>\n
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https:\/\/www.bbc.com\/news\/blogs-trending-50840434<\/a>\u00a0nookbooks, diorames de fantasia enmig d’una llibreria<\/div>\n
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2020<\/div>\n
https:\/\/www.artsy.net\/article\/artsy-editorial-6-greek-myths-understand-art-history<\/a><\/div>\n
mites i art<\/div>\n
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avibou.com\/index.php\/project\/about-ornitographies\/<\/a>\u00a0fotografia ocells en moviment xavi bou<\/div>\n
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https:\/\/duckduckgo.com\/?t=ffab&q=peter+saul&atb=v80-1&ia=images&iax=images<\/a>\u00a0Peter Saul, un gamberro<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2020\/03\/16\/the-dark-revelations-of-gerhard-richter<\/a>\u00a0Gerhard Richter<\/div>\n
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La provocaci\u00f3 de Jordan Wolfson\u00a0https:\/\/www.newyorker.com\/magazine\/2020\/03\/16\/jordan-wolfsons-edgelord-art<\/a><\/div>\n
https:\/\/www.youtube.com\/watch?v=ro9ICtoA-3s<\/a><\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2020\/04\/13\/mortality-and-the-old-masters<\/a>\u00a0Schejdahl obre mortalitat a l’art antic.\u00a0 Why does the art of what we term the Old Masters have so much more soulful heft than that of most moderns and nearly all of our contemporaries? (I place the cutoff between the murderous scourges of war that were witnessed by Francisco Goya and those that \u00c9douard Manet, say, read about in newspapers.) I think the reason is a routine consciousness of mortality. Pandemic diseases and innumerable other causes of early death haunted day-to-day life, even for those creators who were committed to entertainment. Consider the heaps of bodies that accumulate in Shakespeare\u2019s tragedies: catharses of universal fear. The persistence of religion in art that was increasingly given to secular motives\u2014Bible stories alternate with spiritually charged themes of Greek and Roman mythology\u2014bespeaks this preoccupation. Deaths of children were a perpetual bane. Paintings of the Madonna and Child, most grippingly those by Giovanni Bellini, secrete Mary\u2019s foreknowledge of her son\u2019s terrible fate. The idea that God assumed flesh, suffered, and died was a stubborn consolation\u2014Mary\u2019s to know and ours to take on faith or, if we\u2019re atheists, at least to marvel at as mythic poetry. \/\/\u00a0 Never mind the explicitness of that time\u2019s memento mori, all the skulls and guttering candles. I am talking about an awareness that\u2019s invisible, but palpable, in Rembrandt\u2019s nights\u2014his fatalistic self-portrait in the Frick Collection comes to mind\u2014and in Vermeer\u2019s mornings, when a young wife might open a window and be immersed in delicate, practically animate sunlight. \/\/\u00a0 But right now we have all convened under a viral thundercloud, and everything seems different. There\u2019s a change, for example, in my memory of Diego Vel\u00e1zquez\u2019s \u201cLas Meninas\u201d (1656), which is the best painting by the best of all painters.\u00a0 \/\/<\/div>\n
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https:\/\/simonstalenhag.se\/<\/a>\u00a0escenes apocal\u00edptiques<\/div>\n
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https:\/\/www.timeout.cat\/barcelona\/ca\/noticies\/museus-centres-dart-i-galeries-del-mon-per-visitar-des-de-casa-041720<\/a>\u00a0museus virtuals<\/div>\n
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https:\/\/thenextweb.com\/syndication\/2020\/05\/22\/a-brief-history-of-typeface-and-its-online-evolution\/<\/a>\u00a0historia de la tipografia<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2020\/05\/18\/dorothea-lange-and-felix-feneon-at-moma-and-online<\/a>\u00a0fot\u00f2grafa de la depressi\u00f3 Dorothea Lange<\/div>\n
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https:\/\/www.artsy.net\/artist\/andreas-gursky<\/a>\u00a0fotografia Andreas Gursky<\/div>\n
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https:\/\/www.bbc.com\/news\/entertainment-arts-52900476<\/a>\u00a0agnes martin<\/div>\n
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https:\/\/getpocket.com\/explore\/item\/the-romanovs-art-of-survival<\/a>\u00a0les tend\u00e8ncies art\u00f1istiques dels Romanov<\/div>\n
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https:\/\/www.youtube.com\/channel\/UCD8J_xbbBuGobmw_N5ga3MA<\/a>\u00a0restauracions a alta resoluci\u00f3 de v\u00eddeos antics<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2020\/09\/14\/pipilotti-rists-hedonistic-expansion-of-video-art<\/a>\u00a0Pipilotti Rist<\/div>\n
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https:\/\/youtu.be\/VJhgIcbSEeM<\/a>\u00a0Sip Ocean<\/div>\n
https:\/\/youtu.be\/yRnDHu0Fmtk<\/a>\u00a0pixel forest<\/div>\n
https:\/\/youtu.be\/t-C9ZBVLOsc<\/a>\u00a0presentaci\u00f3 de Pipi al Louisiana<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2020\/09\/14\/how-can-we-pay-for-creativity-in-the-digital-age<\/a>\u00a0la dificultat dels artistes per generar ingressos a l’era digital<\/div>\n
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https:\/\/www.bbc.com\/culture\/article\/20201002-blinding-light-the-great-american-painting<\/a>\u00a0S<\/div>\n
Say the phrase \u2018Great American Novel\u2019 and a crush of worthy titles come to mind \u2013 from Herman Melville\u2019s Moby Dick to Mark Twain\u2019s The Adventures of Huckleberry Finn, from Harper Lee\u2019s To Kill a Mockingbird to Toni Morrison\u2019s Beloved. But what about \u2018The Great American Painting\u2019? Surely the ability to capture the complex spirit of a nation \u2013 the tension between its loftier aspirations and tawdrier flaws \u2013 is not limited to works composed of words. Any credible shortlist of canvases deserving of that armchair accolade would have to include Grant Wood\u2019s brace of inscrutable stares, American Gothic (1930), and Edward Hopper\u2019s menacing meditation on urban loneliness, Nighthawks (1942); Georgia O\u2019Keeffe\u2019s patriotic skull-scape Red, White and Blue (1930) \u2013 and Michael West\u2019s explosive, epoch-defining study of creative fission, Blinding Light (1947-48).<\/div>\n
https:\/\/en.wikipedia.org\/wiki\/Corinne_Michelle_West<\/a><\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2020\/10\/05\/a-fuller-picture-of-artemisia-gentileschi<\/a>\u00a0Artemisia Gentileschi<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2020\/10\/12\/the-iconoclast-remaking-los-angeles-most-important-museum<\/a>\u00a0l’arquitrecte Zumthor\u00a0https:\/\/www.archdaily.com\/106352\/bruder-klaus-field-chapel-peter-zumthor<\/a>\u00a0la capella de Bruder Klaus\u00a0https:\/\/www.archdaily.com\/13358\/the-therme-vals<\/a>\u00a0Therme Vals<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2020\/10\/26\/in-love-with-the-louvre<\/a> El Louvre<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2020\/11\/30\/the-metropolitan-museum-at-a-hundred-and-fifty<\/a> el MET, el magatzem de l’\u00e0nima<\/div>\n
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https:\/\/www.atlasobscura.com\/articles\/underwater-illustrations<\/a> Ransonnet-Villez, from colour pencil drawings made by the artist while submerged in his diving bell, from his 1867 Sketches of the Inhabitants, Animal Life and Vegetation in the Lowlands and High Mountains of Ceylon. Biodiversity Heritage Library\/Public Domain. Pintures a l’oli submarines del natural<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2021\/01\/18\/how-el-anatsui-broke-the-seal-on-contemporary-art<\/a> El Anatsui, tapissos amb taps d’ampolla<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2021\/02\/08\/lucian-freud-and-the-truth-of-the-body<\/a> Lucian Freud<\/div>\n
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El Museu M\u00e9s Petit Del M\u00f3n: l’art amagat dins les parets de Barcelona https:\/\/www.elnacional.cat\/ca\/cultura\/museu-mes-petit-mon-art-amagat-parets-barcelona_582393_102.html<\/a>\u00a0 \u00a0 https:\/\/noemibatllori.com\/el-musueu-mes-petit-del-mon<\/a>\/<\/div>\n
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NFT non fungible token Art digital https:\/\/www.vice.com\/en\/article\/pkdj79\/peoples-expensive-nfts-keep-vanishing-this-is-why<\/a> un que desapareix,\u00a0 https:\/\/www.vice.com\/en\/article\/jgqz73\/beeple-nft-sells-for-dollar69-million-in-christies-auction<\/a> beeple<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2021\/04\/12\/helen-frankenthaler-and-the-messy-art-of-life<\/a> Helen Frankenthaler abstract expresionism<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/1988\/06\/06\/beatrix-potter<\/a> beatrix Potter era sobretot una zo\u00f2loga interessada en la vida dels animals i va comen\u00e7ar e escriure i dibuixar Peter Rabbit per a un nen que estava malalt.<\/div>\n
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https:\/\/thehustle.co\/why-its-nearly-impossible-to-buy-an-original-bob-ross-painting\/<\/a> un home que va pintar potser 30.000 paisatges the joy of painting<\/div>\n
https:\/\/youtu.be\/1s58rW0_LN4<\/a><\/div>\n
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https:\/\/www.bbc.com\/culture\/article\/20210521-are-these-stunning-photos-of-imaginary-worlds-a-new-artform<\/a> la fotografia virtual d’espais imaginaris desenvolupada a partir dels jocs per ordinador.<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2021\/05\/24\/francis-bacons-frightening-beauty<\/a> FRANCIS BACON. \/ Some critics, sensing this, took the position that Bacon was both figurative and abstract, and that the power of his art derived from the tension between the two sources. Bacon sometimes gave a tentative nod to that position, but he was insistent that, however distorted his figures, he was not an abstractionist. \/\/ Bacon wanted his work to convey human emotions, but not unambiguously. He said, \u201cI would like my pictures to look as if a human being had passed between them, like a snail, leaving a trail of the human presence and memory trace of past events as the snail leaves its slime.\u201d This is oblique, but not a bad description. You are drawn in, then repelled, then drawn in, then repelled. \/\/ https:\/\/www.youtube.com\/watch?v=xoFMH_D6xLk entrevista amb David Sylvester\u00a0 \/\/ Remarks like Berger\u2019s were probably a response to Bacon\u2019s life as well as to his art. He was not a discreet man, bless him, and his daily routine was widely known. He woke up at dawn and was at the easel by about 6 A.M. If things went well, or fairly well, he painted until midday. Then he put on his makeup (he wore lipstick and pancake makeup and touched up his hair, including his carefully positioned spit curl, with shoe polish), and went out and had a big lunch at one of the Soho bars that served him not just as drinking establishments but also, with their louche clientele\u2014drunks, slackers, hoodlums, gay people\u2014as social clubs. Then he was back at the bar, where he drank pretty much till he dropped. (When he was young and short of funds, the proprietress of his favorite bar, the Colony Room, gave him ten pounds a week and free drinks to bring his friends in, which he did.) Sometimes, before resuming drinking, he had sex. For that, he liked the afternoon best.\u00a0 \/\/ Triptych, May-June 1973\u00a0 \u00a0\u00a0 \/\u00a0\u00a0 https:\/\/en.wikipedia.org\/wiki\/Three_Studies_for_a_Crucifixion<\/a><\/div>\n
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Cezanne [ una cr\u00edtica de la modernitat que diu que es va desintegrar cap al 1960 ] https:\/\/www.newyorker.com\/magazine\/2021\/06\/28\/my-struggle-with-cezanne<\/div>\n
So what\u2019s my problem? Partly it\u2019s an impatience with C\u00e9zanne\u2019s demands for strenuous looking. I tire of being made to feel smart rather than pleased. (Here I quite favor the optical nourishments of van Gogh, Gauguin, and Seurat.) But my discontent is inseparable from C\u00e9zanne\u2019s significance as a revolutionary. How good an idea was modernism, all in all? It disintegrated, circa 1960, amid a plurality of new modes while remaining, yes, an art of the museum. It came to emblematize up-to-date sophisticated taste, spawning varieties of abstraction that circle back to C\u00e9zanne\u2019s innovative interrelations of figure and ground. It also fuelled a yen in some to change the world for the more intelligent, if not always for the better. The world took only specialized notice. Modernism\u2019s initially enfevered optimism could not survive the slaughterhouse of the First World War and the political apocalypse of the Russian Revolution, which ate away at myths of progress that had seemed to valorize aesthetic change. Dedicated newness in art devolved from a propelling cause into a rote effect. Lost, to my mind, is the strangeness\u2014which I strive to reimagine\u2014that had to have affected C\u00e9zanne\u2019s first viewers, as he began to upend traditions that had been more or less continuous since the Renaissance. I have felt this retrospective discomfort in other contexts. It peaks for me in \u201cC\u00e9zanne Drawing,\u201d even as I join fellow-congregants in genuflecting before the artist\u2019s genius<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2021\/07\/26\/have-you-heard-of-nikolai-astrup<\/a> nikolai astrup<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2021\/10\/11\/jasper-johns-remains-contemporary-arts-philosopher-king<\/a><\/div>\n
jasper jons\u00a0 You can perceive his effects on later magnificent painters of occult subjectivity, including the German Gerhard Richter, the Belgian Luc Tuymans, and the Latvian American Vija Celmins. But none can rival his utter originality and inexhaustible range. You keep coming home to him if you care at all about art\u2019s relevance to lived experience. The present show obliterates contexts. It is Jasper Johns from top to bottom of what art can do for us, and from wall to wall of needs that we wouldn\u2019t have suspected without the startling satisfactions that he provides.<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2021\/11\/15\/choose-your-own-kandinsky-adventure-at-the-guggenheim\u00a0\u00a0 The show\u2019s curator, Megan Fontanella, recommends starting at the bottom, with the overwrought works of the artist\u2019s final phase, and proceeding upward, back to the simpler Expressionist landscapes and horsemen of his early career. This course is canny in terms of your enjoyment, which increases as you go. The teeming complexities of the enigmatic glyphs and contradictory techniques that mark Kandinsky\u2019s late phase defeat my comprehension: they are numbingly hermetic. A middle range, from about 1910 to the early twenties, seethes with the artist\u2019s excitement as he abandons figuration to let freely brushed, spontaneously symphonic forms, intended as visual equivalents of music, enthrall on their own. He became a devoted fan and friend of the atonal composer Arnold Schoenberg.<\/div>\n
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Kandinsky was right on time when he published the eloquent book \u201cOn the Spiritual in Art,\u201d in 1911. It called for artists to reject materialism\u2014a soul-crushing evil\u2014in favor of, ideally, a worldwide spiritual awakening. He graphed artistic intention as a triangle with gross materiality at the bottom and perfect transcendence, true to inward experience, at the peak<\/div>\n
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Kandinsky was born in Moscow in 1866. The son of a prosperous tea merchant, he moved to Odessa as a child, and then returned to Moscow to study law and economics. Smitten with a haystack painting by Monet and an intuition, from Richard Wagner\u2019s opera \u201cLohengrin,\u201d of synesthesia\u2014sounds seen, colors heard\u2014he began to paint, with a bang, at the age of thirty, on folkloric themes that were infused with the quasi-religious tenets of Theosophy. As he would write in the 1911 book, \u201cColor is the keyboard. The eye is the hammer, while the soul is a piano of many strings. The artist is the hand through which the medium of different keys causes the human soul to vibrate.\u201d His initial variations on nature gave way to spontaneous gestures and energized shards of geometric form. Some intoxicating breakthrough paintings include \u201cBlack Lines\u201d and \u201cLight Picture\u201d (both from December, 1913), which stage dances of liberated line atop passages of effulgent color.<\/div>\n
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Kandinsky hit on a symbiosis of mysticism and geometry that had affected religious traditions (the European Gothic, the Indian tantra) since well before its ancient Greek codification, notably by Pythagoras: a force field in which the least rational of entities, the soul, meshes with the utter rationality of mathematical design\u2014the latter subliminal but still present in Kandinsky\u2019s brushy manner. The conjunction had never before been consistently addressed in fine art. And Kandinsky wasn\u2019t alone in seizing on it in the early years of the twentieth century, as a wildly and justly popular show in 2018, also at the Guggenheim, of the all but unknown (partly because she was secretive, surely because she was female) Swedish painter Hilma af Klint (1862-1944) proved. Af Klint, for those keeping score, seems to have beaten Kandinsky to the punch of modern abstraction by five years. She did so most dramatically with a suite of huge, stunning floral and geometric paintings, begun in 1906, whose genesis she attributed to dictation from named supernatural beings.<\/div>\n
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Kandinsky held back from the ghostlier variants of Spiritualism but was in key with the anti-worldly tendencies of a period that has long embarrassed art historians. Many still skate past the mystic roots of the formally reductive painters Piet Mondrian and Kazimir Malevich. That scanted tradition is up for rediscovery. I sense stirrings of a renewed interest in spiritual motives today, primarily among young artists who are fed up with postmodernist irony. If I\u2019m right, I sort of empathize with the urge as a matter of speculative faith, albeit one short of conviction. You can\u2019t gainsay results, however peculiar their premises.<\/div>\n
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Staked to wealth by the inheritance from an uncle of a building in Moscow, in 1901, Kandinsky lit out for a bohemian existence in Germany, abandoning a wife for a partnership with the dashing German painter Gabriele M\u00fcnter. They travelled widely, including to Tunisia. Kandinsky, determined to counter French aestheticism with modes that were both earthier and less tied to observation, quickly attracted allies and followers. Owing to his classification in Germany as an enemy alien, he returned to Russia at the onset of the First World War and was trapped there by the Revolution, which expropriated his property, and which he toiled to serve as an educator and an administrator until, with difficulty, he managed to leave, in 1921. He did so with a new wife, Nina Andreevskaya, who may still have been a teen-ager when she married the fifty-year-old Kandinsky, in 1917. He taught at the Bauhaus, where he pursued his commitment to abstraction alongside valued friends and rivals, mainly Paul Klee, who maintained tenuous links to real or imagined reality.<\/div>\n
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But the impenetrable puzzle of a painting like \u201cAround the Circle\u201d (1940), a riot of heterogeneous whatsit shapes\u2014whimsies, really, adrift in zero gravity\u2014acquired a fashionable sort of prestige, as emblematic of far-out modernity. Didn\u2019t get it? That was the point. You weren\u2019t supposed to.<\/div>\n
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The mining heir and mogul Solomon R. Guggenheim met Kandinsky in 1930 and began collecting him in bulk. The two men were connected by a mediocre German painter, Rudolf Bauer, who further ingratiated himself as the boyfriend of Guggenheim\u2019s principal adviser, the enthusiastic German baroness Hilla Rebay.<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2021\/12\/06\/sophie-taeuber-arps-crafting-of-abstraction<\/a><\/div>\n
Sophie\u00a0 Taeuber, dada abstracci\u00f3 i tapissos<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2022\/02\/14\/the-uncanny-impact-of-charles-rays-sculptures\u00a0\u00a0 https:\/\/www.charlesraysculpture.com\/<\/a><\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2022\/02\/28\/review-holbein-capturing-character-morgan-library-museum<\/div>\n
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Holbein is an awkward fit in art history\u2014overqualified, in a way, for the sixteenth century\u2019s march of eclectic Mannerist styles toward the aesthetic revolution of the Baroque.<\/div>\n
You can\u2019t deduce much about the period\u2019s upheavals, except obliquely, from Holbein\u2019s career as a hired-gun celebrant of whoever employed him, most decisively Henry. Holbein can appear ideological only by glancing association with Christian humanists in the circle of Erasmus of Rotterdam, the illegitimate son of a priest and a towering intellectual who strove to refine rather than to upend Catholic doctrine and bitterly contested the more radical Luther. Testifying to flexible convictions, the Morgan show includes a rondel painting by Holbein, circa 1532, of Erasmus\u2019s thin-faced, pointy-nosed mien, and also a small portrayal, circa 1535, of Luther\u2019s most efficacious disciple, Philipp Melanchthon.<\/div>\n
You can\u2019t deduce much about the period\u2019s upheavals, except obliquely, from Holbein\u2019s career as a hired-gun celebrant of whoever employed him, most decisively Henry. Holbein can appear ideological only by glancing association with Christian humanists in the circle of Erasmus of Rotterdam, the illegitimate son of a priest and a towering intellectual who strove to refine rather than to upend Catholic doctrine and bitterly contested the more radical Luther. Testifying to flexible convictions, the Morgan show includes a rondel painting by Holbein, circa 1532, of Erasmus\u2019s thin-faced, pointy-nosed mien, and also a small portrayal, circa 1535, of Luther\u2019s most efficacious disciple, Philipp Melanchthon.<\/div>\n
Holbein left Basel for London in 1532, likely impelled by a terror of rampaging iconoclasm\u2014the wholesale destruction of religious imagery and artifacts by overenthusiastic Protestants in the Swiss city. Might Holbein have continued to evolve as, temperamentally, a visual bard of mortality had he stayed? Perhaps. But Basel\u2019s formerly open mind had snapped shut. A sepulchral penchant resurfaced, briefly, in \u201cThe Ambassadors\u201d (1533), a double full-length portrait of French agents with a horizontal smear across it in white and gray which, when viewed at angles from the sides of the work, resolves into the apparition of a skull. (That marvel hasn\u2019t travelled to the Morgan from its home, in Britain\u2019s National Gallery.)<\/div>\n
Holbein proved very, very good at modernizing the kicked-up realism of Northern Renaissance styles, routinely executed in oils on wood panels, that dated from Jan van Eyck, a century earlier. Consider, and be wowed by, Holbein\u2019s renderings of skin, reminiscent of Hans Memling: aglow with light that can appear, ambiguously, either to fall upon or to radiate from within a subject, if not somehow both at once. His virtuosity with fabrics and heraldic ornament stuns, preternaturally. Holbein abridged Netherlandish portraiture\u2019s typically fancy compositions by centering his sitters, either more or less head on or in closeup profile. The Morgan show\u2019s proposition that Holbein \u201ccaptured character\u201d seems a bit of a stretch. The subjects register more in terms of assigned or attained public distinction than of interior lives. They project secular prestige. But their singular physiognomies go bang at a glance.<\/div>\n
We can only wonder about the artist\u2019s own fortunes had he survived the three or so years between his demise and Henry\u2019s, in 1547. There had been about their situation a strange symbiosis, I feel, of royal tyranny and artistic discipline. A formulaic fealty, enforced by reasonable jitters, seems to me part of what isolates Holbein in comparison with rangier, more historically mainstream peers such as Pontormo and Bronzino, in Medici Florence. Could Holbein have been a greater artist if he\u2019d been granted imaginative license? Maybe and maybe not. He would be different, and we would both know a lot more about him as a man and miss the monumentality of his definitive achievement.<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2022\/03\/07\/making-way-for-faith-ringgold-new-museum<\/div>\n
artista de Harlem, il\u00b7lustracions de jazz<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2022\/03\/14\/the-influencers-of-their-day-ruth-brandon-spellbound-by-marcel-duchamp-love-and-art<\/a> Duchamp<\/div>\n
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the all-time most glamorous and consequential American instance, thriving in New York between 1915 and 1920, centered on Europeans in temporary flight from the miseries of the First World War. Their hosts were Walter Arensberg, a Pittsburgh steel heir, and his wife, Louise Stevens, an even wealthier Massachusetts textile-industry legatee.<\/div>\n
How would the modernizing New York art world have evolved had the Arensbergs not existed\u2014or if Duchamp hadn\u2019t made his way to their door? Differently, for sure, and with considerably less social synergy. One participant, the rich and flamboyant mondaine Louise Norton (who was soon to be a sometime lover of Duchamp\u2019s), proposed a collective credo as \u201cBeauty for the eye, satire for the mind, depravity for the senses!\u201d Attendance was nonexclusive; friends of friends were welcomed.<\/div>\n
The Arensbergs nourished local modernist talents (not least with free food and drink) like Charles Demuth, Joseph Stella, Charles Sheeler, John Covert, and, fatefully, Man Ray, who became a boon friend and lifelong ally of Duchamp\u2019s on both sides of the Atlantic. Other frequenters included the writer, photographer, and promoter of the Harlem Renaissance Carl Van Vechten; the poets William Carlos Williams and Wallace Stevens; and a remarkable roster of such formidable women as the dance artist Isadora Duncan; the ardent promoter of modern art Katherine S. Dreier; the multitalented British-born radical Mina Loy; the wealthy faux-na\u00eff painter and intentional spinster Florine Stettheimer, along with her two likewise chaste and endearing sisters; the all-around outrageous German proto-performance artist Baroness Elsa von Freytag-Loringhoven; and the rebellious daughter of straitlaced New York socialites named Beatrice Wood.<\/div>\n
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Wood, while by any canonical measure a lesser figure on the scene, is effectively the protagonist and certainly the most appealing subject of \u201cSpellbound by Marcel: Duchamp, Love, and Art,\u201d a gossipy account of the period by the cultural historian and novelist Ruth Brandon.<\/div>\n
In New York, Duchamp emerged as the Olympian antihero of modernism whom we salute today. Still, he haunts rather than advances Brandon\u2019s narrative, as an unfailingly charming, fun-loving presence, but not as a man so much as a shadowy affect. He grew up in a richly cultured family. Two older brothers became prominent artists: the painter Jacques Villon and the extraordinary sculptor, who died too young, Raymond Duchamp-Villon. A younger sister whom he adored, Suzanne Duchamp-Crotti, also took up art, as a Dadaist in several mediums. Ever cerebral\u2014his strongest subject at school was math, and he delighted in games, puzzles, and ribald humor\u2014Duchamp was educated in art but, after tentative stabs at painting, took no interest in rivalling his brothers. \u201cNude Descending,\u201d instantly an icon of modernist chic, was one of his last canvases. Renouncing painting as a tired medium that was trivially \u201cretinal,\u201d he embarked on startling mind games, notably by presenting common objects as art\u2014\u201creadymades,\u201d he dubbed them.<\/div>\n
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The most famous of those is \u201cFountain,\u201d an inverted store-bought urinal, crudely signed \u201cR. Mutt 1917,\u201d that Duchamp submitted to a show at the Society of Independent Artists. Recent scholarship indicates that he may have got the idea from von Freytag-Loringhoven, who had emigrated from Germany in 1910 and acquired her title from her third marriage. (Later a collaborator and lover of Djuna Barnes, the Baroness had many outr\u00e9, mostly exhibitionist impulses, such as being filmed by Duchamp and Man Ray shaving her pubic hair.) The \u201cFountain\u201d that you see at the Museum of Modern Art is not the original, if that designation for an infinitely repeatable jape even counts for anything. Duchamp took no pains to preserve the first iteration. He enjoyed and encouraged the furor that resulted, but said that he expected it to be fleeting, destined for oblivion. He may have been as slow as others were to realize that he had lit a long fuse for concatenating detonations in future artistic and intellectual culture.<\/div>\n
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The rejection of \u201cFountain\u201d confirmed Duchamp\u2019s already temperamental disdain for artists\u2019 groups. He parodied them, in league with his bosom crony the Cuban French painter Francis Picabia (given to \u201cfast cars, opium, and drink,\u201d Brandon writes), by initiating a facetious movement\u2014New York Dada, alluding to the artistic insurrection that had erupted in Zurich in 1916. Never conspicuously serious, Duchamp cultivated a novel tone for art: call it seriously unserious. He had been inspired by the methodical nonsense of the French literary renegade Raymond Roussel, who built lengthy novels and plays around arbitrary puns. Duchamp\u2019s modus operandi was to be recognized without being understood\u2014impenetrably deadpan. He required an audience, positing that art works, hazarded by artists, are completed in the perception of viewers. Americans supplied him with something like a focus group for that premise.<\/div>\n
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am not a Marcel Duchamp enthusiast, though I\u2019m forever in awe of his cast of mind and, oh my, his cleverness. His sparse production can\u2019t contain him. Ad-hoc ideas that for him were amusing, sneakily hostile, and attended by a stubborn indifference to their meaning, if any, aren\u2019t fungible. They evoke a hobby more than a vocation. The practically scientific detachment that was his second nature became a posture for subsequent artists who kept\u2014and still keep\u2014taking cues from him, the most profoundly comprehending of whom has been the protean painter, sculptor, and printmaker Jasper Johns. Others, termed conceptualists, have drawn on his authority for varieties of art that are more or less used up in thinking about them, whatever their material trappings.<\/div>\n
I am partial to the retinal. Duchamp\u2019s disdain for painting came to be weaponized by university-trained artists and theorists who took being as blind as bats to be a good thing. But give me anything by Matisse\u2014or by Johns, who never subordinates the visual beauty of things to the ideas that inform them\u2014in favor of any readymade, even the most beguiling, such as a dangling snow shovel entitled \u201cIn Advance of the Broken Arm\u201d (1915), which Duchamp created during his first winter in New York. Pairing banal objects with poetic captions, he activated polar extremes of objectivity and subjectivity with nothing in the middle. The trope became a standing test case of what is required to qualify anything as \u201cart,\u201d which turns out to be no more or less than its acceptance as such by one or another institutional agency\u2014a designated burr under the saddle of traditional connoisseurship.<\/div>\n
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In between, declaring himself \u201cantimarriage but not antiwomen,\u201d he radiated an air of gallant reserve in romance as in art. For a spell, in New York, he came to prefer the company of the Stettheimer sisters and other undemanding older women. His favorite, Ettie Stettheimer, detected loneliness beneath his aplomb: \u201cpoor little floating atom,\u201d she characterized him, tenderly.<\/div>\n
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When Duchamp died, in 1968, while visiting a second home in France, he left behind as a parting shot a final magnum opus, on which he had worked in secret for twenty years: \u201cGiven: 1. The Waterfall, 2. The Illuminating Gas.\u201d This piece is also in Philadelphia now. You peer through a set of peepholes in a decrepit brick-framed door at a realistically sculpted, legs-spread naked woman without pubic hair, her face not visible, holding a lighted gas lamp aloft as a motorized artificial waterfall pours forth in the background. The work eludes pornography with characteristic sang-froid, evoking sex in a vein that is more forensic than lubricious.<\/div>\n
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https:\/\/www.bbc.com\/news\/in-pictures-61222913<\/a> fotos de menjar, central Park amb br\u00f2quils, pizza.<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2022\/05\/16\/the-immersive-thrill-of-matisses-the-red-studio<\/a> Matisse<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2022\/05\/16\/matthew-wongs-life-in-light-and-shadow<\/a> Matthew Wong<\/div>\n
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Tend\u00e8ncies art actual<\/div>\n
https:\/\/artreview.com\/the-clout-chasers-of-the-artworld\/<\/a><\/div>\n
l’art actual presenta dues tend\u00e8ncies: a les biennals hi ha una majoria d’obres amb missatge que donen veu als que fins ara havien estat oprimits, dones i minories. A les galeries es venen obres agradables a la vista. lso, and relatedly, living white male artists complaining, three beers in and off the record, that they\u2019ll never get another show.<\/div>\n
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https:\/\/www.bbc.com\/culture\/article\/20221017-the-painter-who-revealed-how-our-eyes-really-see-the-world<\/a> CEzanne hauria sabut deformar la perspectiva per reproduir tal com l’ull mira una escena, que la recorre enfocant-se a diferents centres<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/postscript\/10\/31\/remembering-peter-schjeldahl-a-consummate-critic<\/a><\/div>\n
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Don\u2019t misunderstand: in the many years of his writing for The New Yorker<\/i>, Peter was perfectly willing to give a bad show a bad review, and there were some artists he was just never going to love\u2014Turner<\/a> and Bacon<\/a> among them\u2014but he was openhearted, he knew how to praise critically, and, to the end, he was receptive to new things, new artists. His list of favorites was vast: Vel\u00e1zquez<\/a>, Goya<\/a>, Rembrandt<\/a>, Cindy Sherman<\/a>, David Hammons<\/a>, Martin Puryear<\/a>, Rachel Harrison<\/a>, Laura Owens<\/a>. He took his work seriously\u2014despite the cascades of self-deprecation, there were times when I think he knew how good he was\u2014but he was never self-serious. He once won a grant to write a memoir. He used the money to buy a tractor.<\/div>\n
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https:\/\/getpocket.com\/explore\/item\/the-four-letter-code-to-selling-just-about-anything<\/a><\/div>\n
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el dissenyador Loewy, el m\u00e9s avan\u00e7at possible dins l’acceptable. MAYA<\/div>\n
Loewy called his grand theory \u201cMost Advanced Yet Acceptable\u201d\u2014maya. He said to sell something surprising, make it familiar; and to sell something familiar, make it surprising.<\/div>\n
In a popular online video called \u201c4 Chords,\u201d which has more than 30 million views, the musical-comedy group the Axis of Awesome cycles through dozens of songs built on the same chord progression: I\u2013V\u2013vi\u2013IV.<\/div>\n
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https:\/\/www.atlasobscura.com\/articles\/tolkien-favorite-father-christmas-santa-holiday-letters<\/a> nadales de il\u00b7lustrades de Tolkien<\/div>\n
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https:\/\/www.atlasobscura.com\/articles\/international-art-and-found-day-2023<\/a>\u00a0 art que es deixa a un lloc per que la gent el trobi<\/div>\n
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https:\/\/getpocket.com\/explore\/item\/naughty-nuns-flatulent-monks-and-other-surprises-of-sacred-medieval-manuscripts<\/a> marginalia als manuscrits medievals. [imaginaci\u00f3, monja collint fal\u00b7lus]\u00a0 https:\/\/britishlibrary.typepad.co.uk\/digitisedmanuscripts\/index.html<\/a><\/div>\n
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https:\/\/www.gq.com\/story\/jackson-pollock-sullivan-institute?utm_source=pocket_mylist Jackson Pollock<\/div>\n
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https:\/\/stephenwilkes.com\/fine-art\/day-to-night\/<\/a> fotografia d’escenes dia i nit alhora<\/div>\n
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La barra d’un artista dan\u00e8s a qui van encarregar una obra amb diners enganxats, i nom\u00e9s va entregar el marc, quedant-se els diners https:\/\/www.bbc.com\/news\/world-europe-66847139<\/a><\/div>\n
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https:\/\/monoskop.org\/Bauhaus<\/a> descarregables Bauhaus<\/div>\n
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https:\/\/thehustle.co\/who-chooses-the-worlds-color-of-the-year\/?utm_source=pocket_mylist<\/div>\n
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https:\/\/www.esquire.com\/news-politics\/a45847294\/minatures-trend\/?utm_source=pocket_mylist<\/div>\n
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Il\u00b7lustracions de cargols enfrontant-se Cavallers a els llibres de l’edat mitjana (BBC<\/a>)<\/div>\n
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Foto noies a les finestres<\/a><\/p>\n

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2024<\/p>\n

Camille Pissarro NY20240101<\/a>, honest, jueu, comprom\u00e8s amb el cas Dreyfus, Degas i Renoir reaccionaris, mentor de Cezanne que alg\u00fa de casa bona que volia passar per rural. Around this time, too, life within the Pontoise house and garden became his other favorite subject. His portraits of his daughter Minette, from 1872, are perhaps the best portraits of a child since those of the early German Romantic Philipp Otto Runge. The wise child is one of the central modernist inventions of the eigh- teen-sixties and seventies-it is, after all, the period of Alice and her looking glass- and Minette looks out at us as a French Alice: in higher fashion, but also in equal parts intelligent and sensitive, a small girl in that odd moment of young girls who, while dressed in ways that seem over- mature, grace it by a second, inner ma- turity of their own. The wise children of John Singer Sargent and Cecilia Beaux begin here.<\/p>\n

Art i matem\u00e0tica dels espirals, angle de la ra\u00f3 daurada de 137.5 http:\/\/www.johnedmark.com\/spirals\/<\/p>\n

Leyendecker, il\u00b7Lustrador que va influir Norman Rockwell, imatge masculina. Collector’s Weekly<\/a><\/p>\n

https:\/\/www.bbc.com\/news\/articles\/cy87202v43no qu\u00e8 \u00e9s art? un pl\u00e0tan enganxat a la paret<\/p>\n

https:\/\/artreview.com\/power-100\/ els influents l’any 2024<\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Not\u00edcies 2018 mar\u00e7 2018 https:\/\/mymodernmet.com\/different-types-of-chickens-photobook-monti-tranchellini\/\u00a0 la bellesa de les gallines https:\/\/www.artsy.net\/article\/artsy-editorial-art-historians-cracked-case-enigmatic-16th-century-japanese-painter\u00a0Tohaku, pintor remples Zen Kyoto Oscar Mu\u00f1oz\u00a0http:\/\/www.fundaciosorigue.com\/exposicion\/oscar-munoz-desmaterializaciones\/ https:\/\/www.youtube.com\/watch?v=mZ1jE6zc4pM https:\/\/www.youtube.com\/watch?v=AfNeNvpD__4 https:\/\/www.youtube.com\/watch?v=mZ1jE6zc4pM https:\/\/www.newyorker.com\/magazine\/2018\/03\/12\/beyond-american-gothic\u00a0Grant Wood, AMerican Gothic, s’inspir\u00e0 en Hans Memling. https:\/\/www.abebooks.com\/art\/female-artists\/\u00a0Georgia O’Keefe, K\u00e4the Kollwitz https:\/\/artprof.org\/\u00a0Cursos d’art http:\/\/www.vivianmaier.com\/\u00a0vivian maier, fotografia https:\/\/www.atlasobscura.com\/articles\/sea-wave-photos-during-a-storm\u00a0fotos de tormentes https:\/\/www.artsy.net\/article\/artsy-editorial-gustav-klimt\u00a0KLIMT https:\/\/www.newyorker.com\/magazine\/2018\/03\/19\/india-mahdavi-virtuoso-of-color\u00a0decoradora India Mahdavi https:\/\/www.atlasobscura.com\/articles\/drawing-every-new-york-city-subway-station\u00a0Dibuixos de les estacions de NYC https:\/\/www.atlasobscura.com\/articles\/red-hong-yi-food-art\u00a0fent quadres amb el menjar … <\/p>\n

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