#VanGogh of the Day: Entrance to the Public Gardens in Arles, September 1888. Oil on canvas, 72.4 x 90.8 cm. The Phillips Collection, Washington DC.
4,2002421 September, 2019
_______________________________________________ “Plum And The Moon” | By: Shoda Koho (1871?-1946?)
Created in the 1930s, this majestic shin-hanga kacho-e “bird and flower” print depicts the branch of a Prunus mume - an East Asian tree species classified in the Armeniaca section of the genus Prunus subgenus Prunus. Its common names include Chinese plum and Japanese apricot. The flower is usually called a plum blossom. Behind the tree sits the large and majestic moon on top of a very fine bokashi gradation of colour.
This distinct tree species is related to both the plum and apricot trees. Although generally referred to as a plum in English, it is more closely related to the apricot. In Chinese, Japanese, Korean and Vietnamese cooking, the fruit of the tree is used in juices, as a flavouring for alcohol, as a pickle and in sauces. It is also used in traditional medicine.
Shoda Koho is one of the shin hanga artists - and he is not the only one - of whom the art scene has hardly any information. There is practically nothing known about him. For someone who has just started to get acquainted with Japanese art prints, this is something hard to believe and to understand. Experienced collectors of Japanese prints are used to it, and may have accepted that the Japanese created great art prints, but sometimes do not even know the life data of an artist of the 20th century.
______________________________________________ #picturesofthefloatingworld#ukiyoe#浮世絵#art#artist#artwork#fineart#japaneseart#japanesehistory#arthistory#arteducation#artmuseum#drawing#painting#woodblockprint#japaneseprint #printmaking#reliefprinting #japanesetattoo#shodakoho#plumblossomtree#shinhanga
_______________________________________________”Watanabe no Tsuna Fighting With Ibaraki at the Rashomon Gate” | By: Utagawa Kuniyoshi (1798-1861)
Created in 1855, this impressive print depicts
Watanabe no Tsuna (953-1025), who was a Japanese samurai and a retainer of Minamoto no Yorimitsu (948-1021), one of the earliest samurai to be famed for his military exploits.
Watanabe features in many of Yorimitsu's legendary adventures, and aids him in fighting many monsters, beasts and demons.
Depicted in this print is his most famous feat; the defeat of the demon Ibaraki-doji, the principal follower of Shuten-doji. He fought Ibaraki-doji single-handedly at the Rashomon gate at the southern end of Suzaku-oji, the central North-South street in the old capital Heian-kyo (now Kyoto). According to legend Ibaraki-doji, a notorious Oni who resided at Rashomon Gate, harassed people who tried to pass through the gate until the heroic samurai Watanabe no Tsuna went to subdue the creature.
_______________________________________________ #picturesofthefloatingworld#ukiyoe#浮世絵#art#artist#artwork#fineart#japaneseart#japanesehistory#arthistory#arteducation#artmuseum#drawing#painting#woodblockprint#japaneseprint #printmaking#reliefprinting #japanesetattoo#ibaraki#kuniyoshi
Oil on Canvas
Not on View
Philadelphia Museum of Art @philamuseum
“Everyone discusses my art and pretends to understand, as if it were necessary to understand, when it is simply necessary to love.” -Claude Monet
“Behind the Mask: Rose of Modernity”, co-organized by National Taiwan Museum of Fine Arts and Krasnoyarsk Museum Center (Ploshchad Mira), is currently on display in Russia, featuring photography works by 35 Taiwanese artists who explored the modernization of Taiwan from the early 20th century until today. The changes of natural and humanistic landscapes, the struggle of identity-building under the turbulence of global politics, the oppression, restlessness, liberation, and courage before and after the martial law were all examined in the artworks.
Behind the Mask: Rose of Modernity
Под маской: Сущность современности
2019.9.18 - 11.18
Museum Centre «Ploschad' Mira»
Музейный центр «Площадь Мира»
圖: 吳天章〈永協同心文字篇〉2001 雷射輸出於相紙、亮片布邊、不鏽鋼框 135.5 × 189 cm 國立臺灣美術館典藏; 袁廣鳴〈棲居如詩〉2014 單頻道錄像、彩色有聲 5分鐘循環撥放 藝術家提供; 吳政璋〈台灣「美景」系列之「漂流木」〉2009 噴墨列印 100 × 150 cm 國立臺灣美術館典藏（展示輸出版本由藝術家提供); 許哲瑜〈所在－Stall〉2003 數位影像輸出 60 × 60 cm 藝術家提供
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We started with the construction of our next exhibition: »Tiepolo - The Best Painter of Venice«. From wall to ceiling - everything will be dedicated to this remarkable artist.
From October 11 until February 2 we present you the outstanding Tiepolo holdings of our collection in the context of international loans of paintings, prints and drawings.
Get in the mood of our exhibition by watching last weeks #askacurator Q&A in our highlights!
Ruby City! Megan and I in front of San Antonio's newest contemporary art museum. We got to a sneak peek inside but it opens up to everyone on October 13! Another great reason to visit San Antonio. The curation of art is really well done and the building by famed architect Sir David Adjaye is one to see. I really like the secret peek-a-boo triangle skylight right before you enter the building. Also the long overhang helps you adjust from the bright Texas sun into the space or vice versa. Well DONE San Antonio! Also this museum is always free so everyone can enjoy it as well as the Chris Park and studio exhibit space across the street. I think eventually the San Pedro Creek linear park come to this museum from downtown. I sure hope so anyway.
Some parts of the #teamLab#Borderless#artmuseum feel like a daycare; other parts feel wasted in hourlong lines; nearly all parts feel like Instagram bait. The incredible #CrystalRoom part, though, feels like a cathedral from the future—an #InfinityRoom for those whom infinity wasn’t enough
Längst in i vår utställning: Väva fläta fästa – Textila pionjärer och samtida uttryck, hittar du ett helt rum tillägnat Sten Kauppi.
Kauppi växte upp i Jukkasjärvi, Kiruna. Genom modern, som är sömmerska, kommer Kauppi tidigt i kontakt med textilt hantverk. Men när han ska påbörja en konstnärlig utbildning blir det på avdelningen för reklam på Konstfackskolan i Stockholm och därefter en utbildning i måleri på Konsthögskolan i Stockholm. Han har dock kvar sitt textila intresse och börjar brodera under studietiden. 1951 kommer han i kontakt med Edna Martin, chef på Handarbetets Vänner som inkluderar Kauppi i en grupputställning i Stockholm 1953. Utställningen blir Kauppis genombrott och han får därefter många offentliga uppdrag nationellt. Kauppis hemort Kiruna förblir nära hans hjärta och det norrländska landskapet kan ses i flera av hans verk.
Syntolkat: Bild på två kvinnor som står framför tre upplysta tavlor av Sten Kauppi. Omgivningen är mörklagd vilket får tavlorna att lysa upp.
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Vincent van Gogh, The lover (portrait of Lieutenant Milliet), Late September - early October 1888, Oil on canvas, 60 x 50 cm, Kröller-Müller Museum, Otterlo.
Vincent van Gogh, 1853-1890, arrived in Arles on 20 February 1888. After two years in Paris, he was tired of the demands of life in the city and longed for the sunshine and vibrant colors of the south. In Arles, he met other artists and befriended several locals. This portrait of Lieutenant Paul-Eugène Milliet has been dated late September - early October 1888. Milliet was second lieutenant in the third regiment of the Zouaves, a class of light infantry regiments of the French Army linked to French North Africa. The regiment was stationed at the Caserne Calvin barracks in Arles. Milliet had a keen interest in art and was enthusiastic about painting and drawing. He became friends with van Gogh who decided to give him lessons. He wrote to Emile Bernard: “I know a second lieutenant in the Zouaves here; his name is Milliet. I give him drawing lessons--with my perspective frame--and he is beginning to do some drawings and, honestly, I've seen far worse. He is keen to learn.” Van Gogh painted Milliet in his military uniform. He wears a commemorative medal from his expedition to Tonkin. The star and crescent moon symbol, seen in the upper right hand corner, was the coat of arms for Milliet's Zouave regiment. Vincent subtitled the portrait of Milliet ’The Lover’, in reference to his friend’s success with the local women. He wrote: “Milliet’s lucky, he has all the Arlésiennes he wants, but there you are, he can’t paint them, and if he was a painter he wouldn’t have any” Milliet left on 1 November 1888 for Guelma, Algeria. Vincent hung the painting of his friend in his bedroom at the Yellow House.