In View

Of The Humanities - A Visual Arts Site - 2000-2016 - On Painting / Archive

In View

Cézanne & Pissarro - "They met in Paris in 1861 and developed a personal and professional relationship that lasted almost a quarter of a century . . . ." (MOMA, NYC)

Museums and Collections - [International Council of Museums, The World Museum Community]

Essental Vermeer

Van Gogh / Gauguin - "Van Gogh came up with the idea of traveling to sunny southern France in February 1888. He hoped to find landscapes that would resemble his favorite Japanese prints. He planned to found an artists' colony in Arles, the Studio of the South, which would revitalize French art. Underrated artists, such as himself, Bernard and Gauguin, were to combine forces and form an association. Since Theo was an art dealer, he would promote their interests in Paris . . . . Vincent van Gogh and Paul Gauguin's meeting in Paris marked the beginning of one of the most talked about artistic friendships in the history of art. It was a relationship in which hope and disappointment, camaraderie and rivalry, admiration and jealousy constantly alternated, and which captivate both artists emotionally and artistically until their death." (Organized by The Art Institute of Chicago and the Van Gogh Museum, Amsterdam)

NOTES: Color . . . . substance . . . . blend . . . . Painted forms and tones inspire considerations which exceed or transform details or the exact . . . . Tone, Atmosphere, Depth . . . . The definition of forms in space lie within nuance and qualities in relationship . . . . To imagine . . . .

QUOTES: "It is a widely accepted notion among painters that it does not matter what one paints as long as it is well painted. This is the essence of academicism. There is no such thing as good painting about nothing." - Mark Rothko (NGA)

"Hodgkin's paintings . . . . are intelligent not in the way argument can be but in the way painting is . . . . " (Robert Hughes, Time Magazine, 1/22/96]

"There is a sophisticated tension between bravado expression and a tender, though not timid, restraint. Indeed, as the works in the show progress chronologically--from the mid-sixties to the early 1980s--they appear to grow in intensity. The point is implied that maturity--spiritual maturity--demands an augmented capacity to juggle and reconcile increasing degrees of complexity, a matter that is, at least in part, a by-product of time." - Andy Brumer In regard to the work of Sam Francis, ArtScene, the Guide to Art Galleries and Museums in Southern California (Search the Images and Articles).

The Work Featured Above: "Through his pursuit of a deeply original pictorial language, Rothko maintained a commitment to profound content. Although he rarely specified a precise interpretation for these works, he believed in their potential for metaphysical or symbolic meaning. In a lecture at the Pratt Institute, Rothko told the audience that 'small pictures since the Renaissance are like novels; large pictures are like dramas in which one participates in a direct way.'" - The work here is 'Untitled', 1953 - National Gallery of Art, Gift of The Mark Rothko Foundation, Inc. - [Mark Rothko - National Gallery of Art, Washington, DC].


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