Art

cross-posted from: https://lemmy.dbzer0.com/post/54763105

Oil on board.

cross-posted from: https://lemmy.dbzer0.com/post/54763039

Great eye for shapes and composition.

Oil on canvas. Painted: 1937/1938

Charpai is the bed she's laying on. Char meaning 4 and pai meaning foot.

cross-posted from: https://lemmy.dbzer0.com/post/54731748

Watercolour.

I hope ive introduced a few people to jamil naqsh today. I love his style.

I love the composition and use of color in this image.

Also the distinct portioning within the image. Not sure how to express myself here.

This is one of my favourite paintings ever. I know its very very niche lol. To the point that I could proooobably afford the original as an investment. Will need to check sometime.

cross-posted from: https://lemmy.dbzer0.com/post/54725292

Painted in 1932 by Indian/Pakistani-Hungarian artist Amrita Sher Gil. Oil on canvas.

Very influential and has a lot of beautiful stuff

cross-posted from: https://lemmy.dbzer0.com/post/54724713

Naqsh's highly prized paintings of women, pigeons, and horses gave Pakistan's arts industry an identity of its own. Naqsh's entire life was devoted to art and painting.

Much of his work revolves around the female form that he had perfected over the years and pigeons. He painted women, often integrating it with the elements of horses, pigeons or children.

cross-posted from: https://lemmy.dbzer0.com/post/54725547

cross-posted from: https://lemmy.dbzer0.com/post/54724640

An oil painting showing the sad condition of a mother and child during the 1960 famine in Pakistan.

This has been my phone wallpaper for a few months now.

cross-posted from: https://lemmy.dbzer0.com/post/54692889

Painting, the emperor 'Alamgir with a halo, standing facing left, holding a long straight-bladed sword. Opaque watercolour and gold on paper, Mughal, ca. 1700

cross-posted from: https://lemmy.dbzer0.com/post/13927401

cross-posted from: https://lemmy.dbzer0.com/post/13923304

Flavitsky's most famous painting is Princess Tarakanova, in the Peter and Paul Fortress at the Time of the Flood. "The work is based on a legend from Russian history according to which Princess Tarakanova, who said she was the daughter of Empress Alexei Razumovsky and laid claim to the Russian throne in Catherine the Great's reign, died in the Peter and Paul Fortress during the flood of 1777. Flavitsky depicts with great tragic power the suffering of this young woman facing certain death in a gloomy dungeon flooded with water, depicting her helplessness and despair most expressively."

As the first of his twelve labors, the Greek mythic hero Herakles was ordered to slay the monstrous Nemean lion. Since the beast's skin was impervious to spears and arrows, Herakles strangled him. He then skinned the lion, taking the pelt as a cloak and the head as a helmet. The lion skin slung over his left arm suggest that the figure on this weight is Herakles, although there is no obvious explanation for the charmingly tame lion that accompanies him. Two half-moon shaped indentations for gripping at the back (not visible) indicate that this object is an athlete's weight. Wrestler's Weight with Hercules and the Nemean Lion; Wrestling Scene (reverse).

I know I post a lot from Gandahara, but in my defense I have no defense

Female attendants and guards, one of whom holds a sword, surround Maya, who is sleeping on a bed that has turned legs and is covered with an elegant floral textile. Maya dreams of a six-tusked elephant that descends from heaven to enter her womb through her right side; originally a small elephant would have been depicted in the broken central disk. This miraculous conception marks the Buddha Shakyamuni's final rebirth and physical entrance into this world.

Permeated by anguished visions of humanity, Francis Bacon’s paintings embody the existential ethos of the postwar era. In his powerful, nihilistic works, tormented and deformed figures become players in dark, unresolved dramas. Bacon often referred in his paintings to the history of art, interpreting borrowed images through his own bleak mentality. Figure with Meat is part of a now-famous series he devoted to Diego Velázquez’s Portrait of Pope Innocent X (c. 1650; Galleria Doria-Pamphilj, Rome). Here he transformed the Spanish Baroque artist’s iconic portrayal of papal authority into a nightmarish image, in which the blurred figure of the pope, seen as if through a veil, seems trapped in a glass-box torture chamber, his mouth open in a silent scream. Instead of the noble drapery that frames Velázquez’s pope, Bacon is flanked by two sides of beef, quoting the work of seventeenth-century Dutch artist Rembrandt van Rijn and twentieth-century Russian artist Chaim Soutine, both of whom painted brutal and haunting images of raw meat. Framed by the carcass, Bacon’s pope can be seen alternately as a depraved butcher, or as much a victim as the slaughtered animal hanging behind him.

Pablo Picasso made The Old Guitarist while working in Barcelona. In the paintings of his Blue Period (1901-04), the artist restricted himself to a cold, monochromatic blue palette, flattened forms, and emotional, psychological themes of human misery and alienation related to the work of such artists as Edvard Munch and Paul Gauguin. The elongated, angular figure of the blind musician also relates to Picasso’s interest in Spanish art and, in particular, the great 16th-century artist El Greco. The image reflects the twenty-two-year-old Picasso’s personal struggle and sympathy for the plight of the downtrodden; he knew what it was like to be poor, having been nearly penniless during all of 1902.

Symbolism is among the most complex art movements to define. Although it followed on the heels of Impressionism, whose imagery was accessible and bright, Symbolism’s dark and mysterious vocabulary is far less known.

Sita, c. 1893 Odilon Redon

While Symbolist artists were aligned in their embrace of the creative imagination, they used diverse styles and drew inspiration from the past, the future, and the interior self. Complicating the movement further was its lack of a single central hub; instead Symbolism was a loosely connected trend across Europe.

The Scream, 1895 Edvard Munch

Symbolism, in fact, began as a literary movement in France in the 1880s and later expanded to visual art in Belgium, Germany, Norway, and elsewhere. Reacting against rationalism, materialism, and Impressionism’s focus on the external world, Symbolist artists sought instead to represent the unseeable—ideas and emotions. These artists shared a general cynicism about the late 19th century’s moral decline, technological advancements brought about by rapid industrialization, and the rural flight to urban centers.

Medusa, 1893 Jean Delville

In response they made art that invented alternate realities. Some artists t urned to the past, transposing mythological and religious subjects onto the present moment; others turned to the future, imagining anarchist or idyllic worlds; while still others sought meaning by examining and excavating the self.

Moonlight, Örebro, 1897 Gustaf Fjaestad

This exhibition features works on paper by iconic Symbolist artists such as Norwegian Edvard Munch, as well as lesser-known figures like the Austrian Emilie Mediz-Pelikan, the Belgian Léon Spilliaert, and the French Gustav Adolf Mossa. Drawn from the Art Institute of Chicago’s rich and historic collection of drawings and prints, including the largest collection in America of the French Odilon Redon and Paul Gauguin, this display features over 85 works that capture the beauty and strangeness of a mysterious generation of artists.

This is an exhibition at the art institute Chicago till the 5th Jan.

About Nighthawks Edward Hopper recollected, “unconsciously, probably, I was painting the loneliness of a large city.” In an all-night diner, three customers sit at the counter opposite a server, each appear to be lost in thought and disengaged from one another. The composition is tightly organized and spare in details: there is no entrance to the establishment, no debris on the streets. Through harmonious geometric forms and the glow of the diner’s electric lighting, Hopper created a serene, beautiful, yet enigmatic scene. Although inspired by a restaurant Hopper had seen on Greenwich Avenue in New York, the painting is not a realistic transcription of an actual place. As viewers, we are left to wonder about the figures, their relationships, and this imagined world.

-art institute Chicago.

source https://fr.wikipedia.org/wiki/Le_Chat_noir

This pair of screens portraying the Thirty-Six Poetic Immortals is one of the earliest and finest surviving examples of the subject in the full-size folding-screen format. In compiling his roster of thirty-six eminent Japanese poets, the courtier-poet Fujiwara no Kintō (966–1041) sought to identify those who had been the most esteemed in the composition of waka, or court poetry. Two were famous monks, five were court ladies, and the rest were men of the court.

The leftmost poem on the right-hand screen is by Kakinomoto no Hitomaro (ca. 660–724): ほのぼのと　あかしのうらの　 朝霧に しまがくれゆく　 船をしぞおもふ

Dimly, dimly through the morning mist across the bay of Akashi, my thoughts follow the boat now hidden beyond the islands.

The rightmost poem on the left-hand screen is by Ki no Tsurayuki (872–945): 桜ちる　木のしたかせは　寒からて　 空にしられぬ　雪ぞふりけり

Cherry blossoms scatter in the breezes not chilly, a type of snow flurries unknown to the heavens continue to fall.

This double-sided strut from a stupa gateway at Mathura is adorned on both faces with a tree spirit (vrksadevata), a bountiful female nature-spirit (yakshi) who grasps the flowering branch of a sala tree. Her pose invokes the power of nature; in other versions she kicks the trunk, causing the tree to flower and bear fruit. Yakshis embodied notions of feminine beauty and fertility in early India, and the prevalence of their cult is suggested by references in Vedic as well as early Jain and Buddhist sources, all of which name them as the presiding deities of specific locations. These yakshis belong to a relatively short-lived tradition of stupa gateway building.

This tranquil portrait of the artist’s mother, Ernestine Faivre, is a tour de force of modeling in Conté crayon, Seurat’s favorite graphic medium. The work is drawn entirely without line in tonal passages of velvety black. Scarce atmospheric light, subtly evoked by lessening pressure on the crayon, illuminates the interior where the woman sews, creating a serene ambiance of quiet domesticity. The abstract beauty achieved in such works earned the praise of fellow artist Paul Signac, who called them "the most beautiful painter’s drawings that ever existed."

This landscape is based on one of Kiefer’s photographs of northernmost Norway, which the artist visited in 1974. Referencing historical landscape painting, the work presents a panoramic view onto which are inscribed two lineages of German-language thinkers: ascending the rainbow are G. W. F. Hegel, Ludwig Feuerbach, and Karl Marx; and running through the murky river are Arthur Schopenhauer, Richard Wagner, Friedrich Nietzsche, Carl Jung, and Martin Heidegger. Both lines of thinkers believed in the idea of redemption, the former through the emergence of an extraordinary leader and the latter through individual recognition of one’s being.

In his influential treatise Concerning the Spiritual in Art, Kandinsky theorized a new form of artistic expression that would reject the materialist world in favor of emotional and spiritual ideals. Abstract forms and color symbolism would be used to evoke an inner, preconscious realm. Improvisation 27, composed of dark lines and colorful abstract masses, features three iterations of an embracing couple surrounded by serpentine forms. Kandinsky hints at the painting’s possible subject in the subtitle, Garden of Love II, likely a reference to biblical Eden.

If you have little experience of Kandinsky, atleast watch a yt video first that'll explain his relationship bw music, color, forms, shapes and abstraction.

You'll see a lotta cubism on this community. I'm to blame lol.