STILL LIFES AREN'T BORING

When you first start as an artist, or if you are walking through any art museum you see tons and tons of still lifes. Many people imagine it is the basis of all art forms, you know once you've practiced with enough boring things like apples and oranges then you can start to branch out to figures. But, still lifes weren't even apart of the Western Art World until the late 16th Century. Before then almost all paintings were religious or documentary. And so if any still lifes were made they still held religious symbolism.

The first types of still lifes that were created were of course within Egyptian tombs. They would have artists paint any sort of riches from food to items on the walls of the tomb thinking that in the afterlife they would be there for the deceased. Some of the other earliest recounts of still lifes were within Pompeii and were Roman mosaics used for decoration and signs of hospitality. None of the still lifes up until the Dutch and Flemish paintings in the late 16th Century were what you'd think are typical still lifes we see covering museums today. The Dutch and Flemish painters were in a craze for still lifes because of the combination of religious images being banned in the Dutch Reformed Protestant Church (which led to the symbolism within still lifes) and the simple obsession with horticulture that the Dutch had.

Egyptian wall painting of food (http://www.timetrips.co.uk/still_life_history.htm)

uncovered still life found at Herculaneum showing Roman still life (https://sketchesandscratches.wordpress.com/tag/vanitas/)

Willem Kalf, Still Life with Ewer, Vessels and Pomegranate, oil on canvas, mid-1640s, The J. Paul Getty Museum

Jan van Huysum, 1723, oil on panel, Rijksmuseum Amsterdam (http://www.essentialvermeer.com/dutch-painters/huysum.html)

Something funny and interesting that I found about still lifes is that there was a genre of still lifes known as "breakfast paintings" which would be the presentation of the upper class breakfasts while also a religious reminder not to be gluttonous.

Willem Claeszoon Heda, Breakfast Table with Blackberry Pie, 1631, Gemaldegalerie Alte Meister

As you can imagine, still lifes evolved along with the many art movements, being the cornerstone of all styles and genres of art. You can find a still life of any genre and style of art you desire and probably by any artist you desire as well. It is the basis of all artists today and a great way to study the aesthetic elements, but it shouldn't be thrown aside as a beginners form of art.

Ori Gersht, Blow Up, photographs and videos, 2007

Still lifes allow the artist to impose any sort of composition and arrangement of elements within the artwork. This sort of freedom allows for many styles and genres of art to take place, which led to how contemporary still lifes will include two-dimensional or three-dimensional mixed media and sometimes even video or sound.

Next time you think Still Lifes are "boring" or "too beginner", think again.

BLACK HISTORY MONTH: KEHINDE WILEY

Similar to Barkley L. Hendricks, Kehinde Wiley is a contemporary portrait painter. Wiley is a New York based artist whose work is in museums around the world. His work rivals great masters of portraiture from Titian and Ingres to Reynolds and Gainsborough. Wiley combines aspects of traditional portraits which we know well with contemporary twists. On his website is explains that he "engages the signs and visual rhetoric of the heroic, powerful, majestic and the sublime in his representation of urban, black and brown men found throughout the world."

Kehinde Wiley in his Beijing studio in 2012. http://nymag.com/arts/art/rules/kehinde-wiley-2012-4/

Kehinde Wiley's collections are separated into places around the world. He finds his models on the streets of New York. Because his models are always African American, Wiley will use his models to express whatever he has been influenced from travelling ie. when Wiley went to China and was researching historic propaganda posters from China's Cultural Revolution he will use what he has learned and combine it with African American Identity.

Kehinde Wiley, Two Heroic Sisters of the Grassland, 2007, oil and enamel on canvas, 96x72 inches.

A lot of the time he will copy images from history and reenact in his style what is going on. For instance with the painting above he is copying a Chinese propaganda poster printed in 1965.

http://www.maopost.com:8000/wcat=mao&wlan=en&wreq=posterpage&posterid=1239-001M&srcname=c_child&selected=161&total=216&srcreq=http:%2F%2Fwww.maopost.com:8000%2Fwcat=mao%26wlan=en%26wreq=postercat%26catref=c_child%26displistindex=9

His continuing combination of History and Style has made him a truly unique and magnificent artist who should be known and studied by all. Below is more of his work with the pieces they are inspired by.

Kehinde Wiley, The Three Graces, 2012, oil on canvas, 84x111 inches

Raphael, Les Trois Graces, 1504, oil on panel, 6.7x6.7 inches

Kehinde Wiley, Naomi and her Daughters, 2013, oil on canvas, 108x90 inches

George Dawe, Naomi and her Daughters, 1804, oil paint on canvas, Tate Museum

All Kehinde's work and information can be found at kehindewiley.com

CALLIGRAPHY IN ART

Calligraphy and Typography were used in art forms dating back to around 600 BC. Many different areas of the world used Calligraphy as not only forms of writing but as artwork as well. Depending upon the region, different styles were also used.

Originated as a visual art form of writing and eventually some artists even used it strictly as an art form, leaving the words left behind and just using the strokes and linework. Now, I could go on and on about the origins of Calligraphy all around the world but here is the generic breakdown: Each general region (Western, East Asia, South Asia, Islamic) had a set of rules and shapes to be used while writing calligraphy. Calligraphy included a set rhythm and a geometrical order to the lines on the page even down to each character having a set order in which the strokes must be made to make each letter/symbol. Often a "carpet" page would be used as well within books, a carpet page being a page with not only the words but also a fully decorated colored shapes as well. Any irregularity of style, size or color increases the value even if it is considered illegible.

Calligraphy from each general region has endless different branches and styles. Even without having to study years and years of Calligraphy history, everyone can admire the amazing and technical flow of historic and modern calligraphy (and I'm not just talking about wedding invitations).

I'll show you some of my favorites:

Page from The Book of Kells, Western Calligraphy, Ireland

Islamic Calligraphy Art

Islamic Calligraphy Art even create pictures strictly from the brushstrokes used in Calligraphy

Calligraphy in Oriya font

Then there are Contemporary styles used today.

Contemporary Asian Calligraphy found in the Suzhou Museum

As a newcomer to the ways of Calligraphy, I have found that following the specific brushstrokes is both a challenge and dependent on focus but also quite relaxing. It is easy to pick up and good for the everyone to attempt and easy to add your own personal touch. It's a great skill to acquire even if you only use it for your wedding invitations (but they can be the most uniquely beautiful and artistic wedding invitations!)

CUTTING PAPER IS AN ART

There have been times where I've seen something posted on Tumblr of gorgeously intricate hand cut paper. And I think "Oh that's pretty cool, I bet it takes a lot of time" and that is it. I never really think about it again. Well, more recently I keep coming across these artists who cut paper and create these incredible and I mean INCREDIBLE pieces of art out of the shadows and the holes and it blows my mind. So naturally I looked more into it...

So Paper Art or Papercutting originated in China from the 6th Century Six Dynasties period called Jianzhi. They would be used as health, prosperity, or decorative purposes and would often include symbols from the color red to the Chinese Zodiac. 

Example of Jianzhi

A lot of the more notable artists to come out of the Papercutting scene were more Dutch and American artists. One you probably have heard of is Kara Walker, who creates these wondrous silhouettes confronting many issues such as race, gender, sexuality, and violence . But they don't always have to be just 2D designs, many artists in contemporary art have voyaged into 3D sculptures of paper such as artist Nahoko Kojima.

Kara Walker, Grub for Sharks: A Concession to the Negro Populace, black paper, 2004

Nahoko Kojima, Jerwood, Byako, paper, 2013

Many other artists have been working with this technique but are still trying to get their name out there are artists like Rogan Brown and Kuin Heuff. Rogan Brown is inspired by natural and minerals for his very intricate forms and Kuin starts by painting her faces and then cutting them.

Rogan Brown, Spore, paper, 2013

Kuin Heuff, Greta Heuff-Heg, acyrlic and paper, 2011

I think the whole technique and design aspects are very interesting and inspiring. The amount of effort plus a steady hand really is hard to come by today so I find it very exciting. If anyone knows of any other artists that do Papercutting then please share!! Otherwise, we can just sit and stare at these amazing works for another few hours (which I'm totally okay with).

Artist Websites:
Kara Walker: http://learn.walkerart.org/karawalker
Nahoko Kojima:  http://www.nahokokojima.com/
Kuin Heuff: http://www.kuinheuff.nl/index.php
Rogan Brown: http://roganbrown.com/home.html
Other Websites with cool Papercutting articles: 
http://www.mymodernmet.com/profiles/blogs/rogan-brown-paper-sculptures

GLITCH ART

Some of you may have heard about Glitch Art, others might not. Most of the time Glitch Art is referring to a part of the digital photographic process where the artist would edit the data/code in certain ways to create certain effects to the pixels of the image. Artists have used Glitch Art in video form and photographs. These forms then have inspired other artists of other mediums to create a similar pattern but with drawing or painting. 

So far this movement is not a major part of Contemporary Art but it has made its way into other movements. Artists like Nam June Paik have experimented with Glitch Art and similar techniques where it is nothing new. For instance in Nam June Paik's Magnet TV he places a magnet on top of an old CRT TV and gets a bend in the data. 

Nam June Paik, MagnetTV, crt tv and magnet, 1965

Currently there are conferences and groups of tech-art aficionados that get together with workshops, lectures, performances, and screenings. One is called GLI.TC/H. 

Andy Denzler is another artist who uses glitching techniques to get their unique look, except this time it's with paint. He has been working with his specific technique since 2004 and has really come a long way since then creating beautiful dreamlike paintings without getting too muddy.

Andy Denzler, Just Antother Day in Paradise III, oil on canvas, 140 x 120 cm, 2014

I know there is a lot of Glitch Art haters out there because it is such a easy process to do to photography in today's world, but there is a specific art form to it. Just like Modern are and Minimalism it has to be done correctly and with the placement and precise end product it can be something magical. But it is a process based art form where you have to experiment. I love it's end product especially when used with painting and drawing, it can become something new and exciting for the art world to move into.

SELFIES VS SELF PORTRAITS

Now that I'm back, at least for a little, let's talk about something very prominent in conversations today: selfies.

The idea of a selfie isn't exactly new, it's just mainstreamed so much recently that we feel like it is new. Technology today is literally programmed to take selfies, I mean what else would a front facing camera on your phone do besides take pictures of yourself? But before we had cameras selfies were still relevant. A self portrait is the artistic term for selfie, so let's think back to some of the more aesthetically pleasing selfies...

Even though self portraits date back to some of the earliest pieces of art, they became more prominent during the Early Renaissance. This was during the mid-15th century, when mirrors became cheap enough for most people to buy. One of the earliest self portraits is thought to be by Jan Van Eyck's Portrait of a Man in a Turban painted in 1433. Even though it cannot be proven that it is a self portrait.

Jan Van Eyck, Portrait of a Man in a Turban, 1433, oil on panel, National Gallery, London

Sometimes artists when they would paint mythical or religious scenes would put commoners' faces or their own in as some of the many background people. If you think about this in a Contemporary manner, they are in a way Photoshopping a selfie of themselves into an image of their favorite story, which is really quite humorous.

The first prolific self-portraitist, or selfie obsessed artist was Albrecht Durer. His most well known self portrait being his Christ-like selfie when he was 28.

Albrecht Durer, Self Portrait in a Fur-Collared Robe, 1500, oil on linden wood, Alte Pinakothek

However one of the most well known artists to create numerous self portraits was Vincent van Gogh. Vincent created over 35 self portraits in his time, many after he cut off his ear. One of my personal favorites it this self portrait:

Vincent van Gogh, Self-Portrait, 1890, oil on canvas, Musee D'Orsay, Paris

In a way these self portraits/selfies are very important in the development of artists over time not only because it is a way to work with a cheaper model but also because it shows their specific style as well as show their face (when most people are generally not aware of what artists actually look like but just know them by their name and most famous works). Artists can go on without anyone knowing who they are, which is good and bad. They should be recognized for their beautiful pieces and the viewers should be aware that a person did it instead of some anonymous artistic machine.

I've always had a personal interest in self portraits and find it very intriguing how artists portray themselves.  I suggest looking up artists and seeing if they have self-portraits, most Contemporary artists don't seem to do selfies (which is ironic) but many 18th Century and the centuries preceding have many artists that do.

I'm curious as to what other people think and why Contemporary artists don't create as many selfies as before, let me know by leaving a comment or tweeting at me!!

WOMEN IN ART: JENNY SAVILLE

One artist that many painters seem to find very influential is Jenny Saville. Her work is very grotesque and unique making her opinions heard. For this post I will briefly discuss what I know about her and show you her work. 

Saville became quite famous at a young age while finishing up college. In her 20s she was creating huge pieces of the human figure. "(Flesh) is all things. Ugly, beautiful, repulsive, compelling, anxious, neurotic, dead, alive." which I feel perfectly sums up her work. Her pieces mainly show flesh and she has perfected an active way to paint it. 

Jenny Saville, Red Stare Head IV, 2006-11, oil on canvas, 99"x73"

"Fascinated by the endless aesthetic and formal possibilities that the materiality of the human body offers, Saville remits a highly sensuous and tactile impression of surface and mass in her monumental oil paintings. In the compelling Stare paintings she renders the contours and features of the face and the nuances of skin texture and color in strokes both bold and meticulous. Enlarging the facial features of her human subjects to a vast scale and rendering them in layer upon layer of paint, she imbues in them with a sense of mass and weight that is almost sculptural and at times wholly abstract. Intense pinks, reds, and blues erupt through pale skin tones, disclosing the internal workings of the painting like the flesh and blood of a living organism."

While Red Stare Head IV relates to her older paintings of hanging meat, she always painted figures in hopes to show how foreign and uncomfortable bodies can feel.

Jenny Saville, Propped, 1992, oil on canvas, 213cmx183cm

Her use of text and linework in throughout most of that certain collection in subtlety. But the underlying tones really brings almost a feminist feel to her pieces. There are tons of impressive pieces in this collection I highly suggest looking into because I can't even begin to put them all in here. Because of her interest in bodies and modifying she took some time and just observed plastic surgeons. This helped her to understand the mindset of the person getting something done and also why and how they went about it.

Her newer pieces were all based around Motherhood and she portrayed herself with her child. These newer pieces still have the same fantastic Saville skin tones and brushwork but also included more drawing and line work. The line work really pushes the idea of movement and how children are constantly wiggling and growing.

Jenny Saville, The Mothers, 2011, oil on canvas, 106"x86"

Ever since this collection we haven't seen much work out of Jenny Saville, but hopefully she is continuing working and creating these beautiful contemporary masterpieces.

Citations:
Red Stare Head IV and quotes: © Jenny Saville 2011. Courtesy of Gagosian Gallery http://www.gagosian.com/artists/jenny-saville
Propped: http://www.saatchigallery.com/aipe/jenny_saville.htm

AMERICAN PORTRAITURE: PRESIDENTS

(continued from last post)
Later on in my project I was able to visit the National Portrait Gallery and see many different collections. But I’ll just start with the Presidents Collection so we can compare. When you think of all of the Portraits of Presidents, especially the official ones, you think of strength and power. Which is exactly what you get in the first few Presidents portraits, like George Washington’s:

George Washington (Lansdowne portrait) by Gilbert Stuart, oil on canvas, 1796

National Portrait Gallery, Smithsonian Institution. 

(http://face2face.si.edu/my_weblog/2013/02/george-washington-the-first-face-of-america.html) 

In comparison, Lincoln’s portrait shows him sitting in a chair, ready to jump up at any moment and also with a pondering expression. This posture alone shows how he thinks before jumping into action, but also is ready to go and help out our country. There is still a great amount of power shown in this painting, because of the detail in the chair and the very perfect lighting (This portrait is in the White House)

Abraham Lincoln by George Peter Alexander Healy, oil on canvas, 1869, State Dining Room in the White House

 (http://en.wikipedia.org/wiki/Abraham_Lincoln_%28Healy%29)

Now compare this portraits to the ones done by Thomas Eakins. See how humble they look? No wonder no one wanted a commission from him when you could be painted like a President!

Moving into the more current Presidents I again noticed a shift. Presidents began to look more like ordinary men. For instance, the portrait of George W. Bush: 

George W. Bush by Robert Anderson, oil on canvas, 2009

 (http://www.smithsonianmag.com/smithsonian-institution/george-w-bushs-portrait-at-national-portrait-gallery-34317269/)

In this portrait he is not wearing a jacket AND he’s sitting on a couch (and not a fancy couch) looking at you like you just said your daughter just got accepted to go to college. This is a more casual, reach out to the people, I’m one of you moves. Presidents now are trying to not be as high and mighty but relatable. This pose is very comfortable, but it shows off his nice watch, and it shows off his hands (which generally means hard working). Now we see pictures all the time, so we’ve seen tons of pictures and videos of George W. Bush. Back when George Washington and Lincoln got their portraits done, people across the country didn’t see them as often so the impact of their pose and power was awe-worthy.

These are just some of the things I learned. There is definitely more to come with portraiture.