alles soep

door Jan Willem van Welzenis


Hilary White, WE BEGAN

Aquamanile in the Form of Aristotle and Phyllis [unknown artist], late 14th/early 15th century, Netherlands, bronze, 32.5 x 17.9 x 39.3 cm, The Metropolitan Museum of Art, New York.
An aquamanile is a type of vessel used for pouring water onto the hands before a meal - or before Mass in a religious context. I’m not totally sure where exactly the water flows from, but I’m guessing it has something to do with Aristotle’s head or neck. Phyllis, the daughter of a Thracian king in Greek mythology, is perched on the back of the philosopher. The story goes that Aristotle wanted to prove to young men that a seductive woman will even work her magic on the elderly. Here, he is shown in a humiliating pose that would have been highly amusing to guests observing the object at a dinner table.

Study after Velazquez Portrait of Pope Innocent X, 1953
Francis Bacon, Oil on canvas

(via A View from the Easel)
CHICAGO — The 74th installment of a series in which artists send in a photo and a description of their workspace. Want to take part? Submit your studio — just check out the submission guidelines.

On the easel!


Willem de Kooning - The Privileged (Untitled XX), 1985 oil on canvas 70 x 80 inches

Willem de Kooning (April 24, 1904 – March 19, 1997) was a Dutch American abstract expressionist artist who was born in Rotterdam, the Netherlands.

Woman in a White Shirt, 1957
Lucian Freud, Oil on canvas

Cy Twombly (Americain, 1928-2011)
Silex scintillans, N/D
Courtesy Galerie Karsten Greve Köln, Paris, France

Arnulf Rainer, Insektenmännchen, undated, Black pencil on Ultraphan (graph paper)

Press Release - Helen Frankenthaler at Gagosian Madison Avenue, NYC



HELEN FRANKENTHALER: Composing with Color: Paintings 1962–1963

Thursday, September 11–Saturday, October 18, 2014

Opening reception: Thursday, September 11th, from 6:00 to 8:00pm

Gagosian Gallery is pleased to announce the first exhibition of Helen Frankenthaler’s work organized in collaboration with the newly established Helen Frankenthaler Foundation. This follows the gallery’s critically acclaimed 2013 exhibition, “Painted on 21st Street: Helen Frankenthaler from 1950 to 1959,” which was organized with the artist’s estate.

The exhibition focuses on a brief but critical period in Frankenthaler’s career during 1962–63, when she “composed with color” rather than with line, resulting in the freer compositions that came to exemplify her long and prolific career. Transitioning from the sparer, more graphic works of 1960–61, Frankenthaler made paintings that more readily filled the space of the canvas, moving toward what critic B. H. Friedman described as the “total color image” that would become a hallmark of her later work. Included in the exhibition are Cloud Bank, Hommage à M.L., and Cool Summer (all 1962), in which she employed a limited number of linear elements, linking them to her innovative stain paintings of the 1950s while marking a new direction with the use of spreading areas of color and a reassessment of the properties of painting materials.

Three paintings in the exhibition, Filter, Gulf Stream, and Moat (all 1963), belong to a series of works that include imprints of the floorboards of Frankenthaler’s studio. As she recalled of this technique, “I did a whole series of pictures… that I reversed; in other words they stained through and then I worked on them again from the other side.” During this period, Frankenthaler also began experimenting with acrylic paint, sometimes employing both acrylic and oil in a single canvas. Gulf Stream, one example of this method, features delicately layered passages of oil paint surrounded by denser expanses of vivid acrylic paint, a framing device that she would continue to explore the following year.

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