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(via photosick)

sheshallbleed:

nevver:
Worm eating worm
ladiesupfront:

Crying in Art, Part 7
Botero, Fernando (1932-) Woman Crying II. Date: 1998 Movement: New Image Painting Theme: Portrait Technique: Oil on canvas Museum: Private collection Location: Colombia

ladiesupfront:

Crying in Art, Part 7

Botero, Fernando (1932-)
Woman Crying II.
Date: 1998
Movement: New Image Painting
Theme: Portrait
Technique: Oil on canvas
Museum: Private collection
Location: Colombia

ladiesupfront:

Crying in Art, Part 63
Sir John Everett Millais, The Artist Attending the Mourning of a Young Girl c.1847
This early work, painted when Millais had just finished his training at the Royal Academy Schools, records a strange incident from Millais’s early career, of which there is no record in any of the published biographies or catalogues of the artist and his work. However, an unattributed inscription on the original backing to the picture (now lost) described the occasion which Millais depicted here as follows: ‘The painting represents an incident in Millais’s own life when he was sent for by people unknown to him, but who knew him to be a young artist, to draw a portrait of a girl in her coffin before her burial. The scene moved him so much that when he got home he made this sketch showing himself being asked to draw the girl’s portrait’. The composition is arranged so that the spectator of the painting becomes a witness to Millais’s visit to the dead girl. The artist is seen from behind, hat in hand as a mark of respect and apparently communicating with a woman whom, it is to be assumed, is the mother of the dead girl. The coffin is pushed into the foreground, inviting the spectator to look from the same angle which Millais himself adopted in order to draw the girl. The motif of a dead girl laid out on an oblique, horizontal plane is comparable with Millais’s later treatment of female death in Ophelia (Tate N01506). Millais’s painting also serves as a visual record of the social rituals of death in early-Victorian England ; the white cloth covering the coffin is suggestive of innocence and was the colour traditionally used at the burials of children. Artists were often called upon to record the likeness of babies and children who had died prematurely through illness. The Liverpool Pre-Raphaelite artist, William Windus painted a portrait of his first son after he died aged seven months (Tate N04885). The loose handling of the paint in The Artist Attending the Mourning of a Young Girl can be attributed to the fact that it is apparently a ‘sketch’ from memory, but it may also be compared with the freer brushwork which characterises Millais’s early paintings before he came under the influence of Pre-Raphaelitism. An early self-portrait by Millais, also painted on board and dated 1847 (Walker Art Gallery, Liverpool), is comparable to the manner in which Millais has represented himself in this work. Millais later gave this painting to his friend and fellow Pre-Raphaelite, Charles Allston Collins (1828-1973), whom he had met in the mid-1840s when they were both students at the Royal Academy Schools.
Further reading: Peter Funnell, Malcolm Warner, Millais: Portraits, exhibition catalogue, National Portrait Gallery, London 1999, self-portrait reproduced in colour p.43. Peter C. Jupp and Clare Gittings (eds), Death in England: An Illustrated History, Manchester 1999.
Rebecca Virag March 2001

ladiesupfront:

Crying in Art, Part 63

Sir John Everett Millais, The Artist Attending the Mourning of a Young Girl c.1847

This early work, painted when Millais had just finished his training at the Royal Academy Schools, records a strange incident from Millais’s early career, of which there is no record in any of the published biographies or catalogues of the artist and his work. However, an unattributed inscription on the original backing to the picture (now lost) described the occasion which Millais depicted here as follows: ‘The painting represents an incident in Millais’s own life when he was sent for by people unknown to him, but who knew him to be a young artist, to draw a portrait of a girl in her coffin before her burial. The scene moved him so much that when he got home he made this sketch showing himself being asked to draw the girl’s portrait’.
The composition is arranged so that the spectator of the painting becomes a witness to Millais’s visit to the dead girl. The artist is seen from behind, hat in hand as a mark of respect and apparently communicating with a woman whom, it is to be assumed, is the mother of the dead girl. The coffin is pushed into the foreground, inviting the spectator to look from the same angle which Millais himself adopted in order to draw the girl. The motif of a dead girl laid out on an oblique, horizontal plane is comparable with Millais’s later treatment of female death in Ophelia (Tate N01506). Millais’s painting also serves as a visual record of the social rituals of death in early-Victorian England ; the white cloth covering the coffin is suggestive of innocence and was the colour traditionally used at the burials of children. Artists were often called upon to record the likeness of babies and children who had died prematurely through illness. The Liverpool Pre-Raphaelite artist, William Windus painted a portrait of his first son after he died aged seven months (Tate N04885). The loose handling of the paint in The Artist Attending the Mourning of a Young Girl can be attributed to the fact that it is apparently a ‘sketch’ from memory, but it may also be compared with the freer brushwork which characterises Millais’s early paintings before he came under the influence of Pre-Raphaelitism. An early self-portrait by Millais, also painted on board and dated 1847 (Walker Art Gallery, Liverpool), is comparable to the manner in which Millais has represented himself in this work. Millais later gave this painting to his friend and fellow Pre-Raphaelite, Charles Allston Collins (1828-1973), whom he had met in the mid-1840s when they were both students at the Royal Academy Schools.

Further reading:
Peter Funnell, Malcolm Warner, Millais: Portraits, exhibition catalogue, National Portrait Gallery, London 1999, self-portrait reproduced in colour p.43.
Peter C. Jupp and Clare Gittings (eds), Death in England: An Illustrated History, Manchester 1999.

Rebecca Virag
March 2001

camilledejerphanion:

francis alÿs, paradox of praxis 1,

mexico city, 1997

sixpenceee:

MRI scan of a human head

sixpenceee:

MRI scan of a human head

(via impending-singularity)

at a pool party

vayena:

"hey bukowski no offense but why dont you take your shirt off in the pool"
"why do we run from the rain but soak in tubs full of water"
"aight take it easy man"

(via saturniine)

an-overwhelming-question:

Anna Atkins - Helminthocladia Griffithsiana (1853)

an-overwhelming-question:

Anna Atkins - Helminthocladia Griffithsiana (1853)

(via w45ted)

fletchingarrows:

otherarchitecture:

Louis Kahn
http://www.design-museum.de

into the catacombs

When my daughter was about seven years old, she asked me one day what I did at work. I told her I worked at the college — that my job was to teach people how to draw. She stared at me, incredulous, and said, “You mean they forget?”

Howard Ikemoto (via huariqueje)

(via an-itinerant-poet)