Month: August 2023

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Marcel Duchamp and the contribution to Conceptual Art

Marcel Duchamp Fountain, 1917, photograph by Alfred Stieglitz at 291 art gallery following the 1917 Society of Independent Artists exhibit, with entry tag visible. The backdrop is The Warriors by Marsden Hartley.[1]

Marcel Duchamp’s “Fountain” is one of the most iconic and controversial works in modern art history. Created in 1917, it consists of a urinal turned on its back and signed with the pseudonym “R. Mutt.” Duchamp submitted “Fountain” to the Society of Independent Artists’ exhibition in New York, which he was part of. However, the piece was rejected by the committee, sparking debates about the nature of art and challenging traditional notions of artistic value.

“Fountain” marked a turning point in the concept of art, as Duchamp questioned the role of the artist’s hand in creation and the importance of aesthetics. By presenting a mass-produced, everyday object as art, he challenged the idea that artistic skill and craftsmanship were the primary criteria for defining art. Instead, he emphasized the intellectual and conceptual aspects of art-making.

The history of “Fountain” is intertwined with the birth of the Dada movement, a precursor to Surrealism, which rejected societal norms, often using absurdity and anti-art as its tools. Duchamp’s piece became a symbol of Dada’s iconoclastic stance and its critique of bourgeois values.

While “Fountain” initially caused controversy and was met with mixed reactions, it has since become an influential and enduring work, fundamentally changing how art is understood. Duchamp’s concept of the “ready-made” directly impacted the trajectory of modern art, paving the way for conceptual art and challenging the very depfinition of artistic creation.

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Painters to the Royal Court of England

The painters to the Royal Court in London have played a significant role in creating and preserving the visual history of the British monarchy. These painters were appointed to capture important events, portraits of monarchs, and other members of the royal family. Some notable painters to the Royal Court include:

Charles I with M. de St Antoine, Oil on canvas, Royal Collection, Buckingham Palace, London

  1. Sir Anthony van Dyck: A Flemish Baroque painter, van Dyck was a prominent portraitist during the 17th century. He was the leading court painter to King Charles I of England and is known for his elegant and expressive portraits of the royal family.

The Two Sons of the Earl of Talbot, 1793, Neue Pinakothek

Sir Thomas Lawrence: Active in the late 18th and early 19th centuries, Lawrence was appointed as the official portraitist to King George III. He painted numerous portraits of the British royal family, including King George IV and Queen Victoria.

A Favourite Greyhound of Prince Albert, 1841

Sir Edwin Landseer: An English painter, Landseer was known for his animal paintings. He often depicted animals in human-like poses and settings, and he gained royal favor during the 19th century for his ability to capture the personalities of pets belonging to Queen Victoria.

Lady Agnew of Lochnaw, National Galleries of Scotland

John Singer Sargent: Although an American artist, Sargent was a renowned portrait painter who had strong ties to the British aristocracy. He painted portraits of various members of the British royal family, including Edward VII and George V.

These painters have left behind a visual legacy that provides insights into the lives, appearances, and personalities of British monarchs and their families throughout different historical periods.

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The Girl with a Pearl Earring by Vermeer

ArtistJohannes Vermeer
Yearc. 1665
TypeTronie
MediumOil on canvas
MovementDutch Golden Age painting
Dimensions44.5 cm × 39 cm (17.5 in × 15 in)
LocationMauritshuis, The Hague, Netherlands

“The Girl with a Pearl Earring” is one of Johannes Vermeer’s most iconic paintings. Created around 1665, it’s a prime example of his mastery in capturing light and intricate details. The painting features a young woman turned slightly toward the viewer, wearing a turban and a large pearl earring. The vibrant contrast between the dark background and the girl’s face, along with the subtle play of light on her features, is a hallmark of Vermeer’s style.

The subject’s identity remains a mystery, adding to the painting’s allure. Some speculate she might have been a fictional character, while others suggest she could have been a model or someone close to Vermeer. The girl’s enigmatic expression and the intimate atmosphere of the painting contribute to the viewer’s sense of curiosity.

“Girl with a Pearl Earring” showcases Vermeer’s meticulous attention to detail, particularly evident in the rendering of the pearl earring and the fabric of the turban. The pearly luminosity of the earring is a testament to Vermeer’s skill in capturing the play of light on different textures.

The painting’s enduring appeal lies in its ability to evoke a sense of wonder and curiosity about the subject, as well as its masterful use of light and composition to create a captivating and intimate portrayal.

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Awards for services to the restitution of Nazi looted art

On 17 June 2023 David Lewis and Anne Webber, the co-founders and co-chairs of the Commission for Looted Art in Europe, were each awarded a CBE in King Charles’s first Birthday Honours List for ‘services to the Return of Looted Art’. In a short statement, they said how much they appreciated the great honour and recognition of their work, and in particular the acknowledgement of the importance of restitution. One of the United Kingdom’s highest honours, the CBE – Commander of the Order of the British Empire – is awarded to individuals with a prominent role who have made a distinguished and innovative contribution.

Note:

I had the privilege to work alongside the recipients for about 12 months. I appreciate more than most, how painstakingly difficult it is to return looted artworks. Many are in full view of the public in museums and art galleries. It takes great patience and determination to deal with current owners, public officials and the descendents of former owners of stolen artworks. Congratulations to the recipients of these prestigious awards.

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Constable’s The Haywain in terms of Geogics Philosophy

The Haywain, John Constable, Oil on canvas, 1821, National Gallery, London

Constable’s “The Hay Wain” is a renowned landscape painting that reflects elements of Georgics philosophy, an ancient Roman literary work by Virgil that focuses on agricultural life and the harmony between humans and nature.

In the painting, Constable depicts a rural scene with a hay wain (a horse-drawn cart) crossing a river. The composition highlights the beauty and tranquility of the countryside, emphasizing the importance of agrarian life and the connection between humans and the land they cultivate.

Georgics philosophy celebrates the virtues of rural life, promoting a deep appreciation for the natural world and its cycles. Constable’s painting captures this sentiment through the idyllic depiction of the landscape and the working-class farmers tending to their land. The careful attention to detail and the serene atmosphere evoke a sense of harmony with nature, reminiscent of the Georgics’ emphasis on the unity between humanity and the environment.

By portraying the hay wain as a central motif, Constable symbolizes the cycle of agricultural activities and the timeless relationship between humans and the land. This aligns with the Georgics’ themes of agricultural labor, the rhythms of the seasons, and the importance of respecting and working in harmony with nature.

Overall, Constable’s “The Hay Wain” aligns with Georgics philosophy by celebrating the beauty of rural life, emphasizing the significance of agriculture, and conveying the idea of humans as coexisting with and respecting the natural world.