François Jourdain ‘The White Cat’, 1900.
Claude Monet - The Seine at Vétheuil, 1880. Oil on canvas
![theearofvangogh:
The Beach at Trouville at Low Tide [1865]
Gustave Courbet [1819 - 1877]](http://25.media.tumblr.com/cc3a6b94e4dc30f6825658e54a17ac16/tumblr_mgptycneAT1qiy50po1_1280.jpg)
The Beach at Trouville at Low Tide [1865]
Gustave Courbet [1819 - 1877]
Freeze Frame, 2011, digital photograph
From Great Lengths 2012:
Based on the Bathers at Asnières by Seurat, Neville Gabie has created a photograph evoking the spirit of the painting. The characters inhabiting the image are taken from the teams of specialist landscape gardeners, security staff, engineers and designers working on the Olympic Park in London and reflect the range of tasks, diversity and skills of the people who currently occupy the site.
There is an obvious and surprising physical connection between the two landscapes, but the concept for the work explores the more striking similarities between the social and political contexts of the two. When Seurat painted the Bathers at Asnières in 1883-4 it was seen as a radical image, based as it was on working class people in an urban park, in an industrial landscape. Seurat was one of the first artists to celebrate the ordinary working man in the places they inhabited.
In the distance factories and chimneys are the backdrop for Seurat’s painting. The Olympic Park, built in a post-industrial urban landscape, will be the first new public park to be created in the UK for perhaps 150 years; regeneration built around sport and leisure with the Velodrome as the backdrop to the photograph.
The first public parks in working class urban environments were built in the 1850’s in the UK (Salford, Birkenhead and Derby) just 30 years before Seurat painted the Bathers at Asnières.
Taking the photograph on an extremely busy building site required careful choreography to get everyone at the location and in their right positions for that split-second of a camera click. It is a frozen moment in time 12.50pm, 2nd June 2011.
This photograph, its associated videos and the Metro newspaper feature on Thursday 25 January are a way of revealing the stories of some of the many people that have built and maintain the Olympic park.
Atalier Morandi, Grizzana, 1989/90
chromogenic color print, 8” x 10”
Red and Blue on Gold
(acrylic on canvas)
Take a moment to read the whole of Julia Gfrörer’s BLACK IS THE COLOR, now that it’s finished in today’s triple sized update!
(via Study Group Comic Books » Black Is the Color – by Julia Gfrörer)
Crosshatching like a motherfucker.
(via othermike)
Artwork by Jaime Hernandez, from Love & Rockets vol. 1 #30, published by Fantagraphics Books, Inc.
(via othermike)
Thomas Wilmer Dewing, Woman in a Blue Dress, c. 1890-1909
From the Metropolitan Museum of Art:
Trained in Boston and Paris, Dewing preferred as his subjects idealized patrician women in attitudes inspired by the figural Symphonies, Arrangements, Harmonies, and Notes by the American expatriate painter James Abbott McNeill Whistler. Indeed, such exquisite studies as “Woman in a Blue Dress” descend directly from Whistler’s subtle pastels, right down to Dewing’s use of light brown “Whistler” paper, originally supplied to him by a patron of both artists. Dewing emulated Whistler’s discreet, often minimal, touch with pastel crayons, typically exploiting the paper color, as here, to model form in light and dark. Unlike Whistler, he did not generally accent contours in black line but revealed the figure—particularly the flesh—with concentrations of pale pigment to realize a haunting, weightless yet sensuous appartition
