dbourn + painting   69

Bill Weber, Bay Area Muralist
I am an established Bay Area muralist and painter and have been creating murals nationwide since 1974. I am quite versatile, my style ranging from surreal to Trompe l’Oeil, whimsical to realistic and can be adapted to any project requirements. My personal surrealist work (available to view at elgallosurrealist.com), as well as my mural projects, reflects my ability to produce innovative and unique imagery and concepts.

My work has appeared in many publications, including books (including “Painted Ladies Revisited,” “San Francisco in Photographs,” “Grand Entrances”), magazine and newspaper articles, and has also been featured on television news. My experience is wide, ranging from large public pieces, such as the “Jazz” Mural in North Beach, San Francisco, to smaller pieces in museums (such as the Maxfield Parrish Museum in Vermont), businesses and private homes.
Murals  Bay  Area  Arts  Painting 
15 days ago by dbourn
Deceptions in Art, Nature, and Play
Exhibit in 1977 at the Ontario Science Center, showing examples of anamorphic art. Overed in the February 1978 issue of "World"
Art  Painting  Optical  Illusions  Toronto  Canada  Science  Anamorphic 
16 days ago by dbourn
Bartholomeus Anglicus, ‘Livre des propriétés des choses’
astronomers

Bartholomeus Anglicus, ‘Livre des propriétés des choses’ (‘De proprietatibus rerum’, French translation of Jean Corbechon), Bruges ca. 1470

BnF, Français 134, fol. 169r
Books  Art  Painting  Illuminated  Manuscripts  Astronomy  Fantasy  Medieval 
22 days ago by dbourn
Cornelis Bega - The Alchemist (1663)
Oblivious to his cluttered surroundings, the unkempt figure of an alchemist sits among a chaotic jumble of paraphernalia. He holds a scale while weighing out a substance for one of his experiments in making gold. By the seventeenth century, alchemy was no longer considered to be a respectable science, and its practitioners were often the subject of ridicule.

In this genre scene, Cornelis Bega commented on time wasted on materialistic and futile pursuits. Like other Dutch artists of his time, Bega was a close observer of natural appearances. Textures and surfaces of the assorted cracked clay and glass vessels are accurately described. Light pouring in through the open window and the harmonious tones of brown, gray, and blue give the painting a cozy warmth.
Alchemy  Magic  17th  Century  Bears  White  Painting 
7 weeks ago by dbourn
JG Brown - Scraping a Deerskin (1904)
Experts believe Brown was motivated to depict rustic septuagenarians not only to secure his own legacy, but also out of concern for the way the U.S. was changing. The 19th century was a time of industrialization and urbanization throughout the nation. The Ashcan School (also represented in the Scott Galleries), and other American artists, captured the excitement and anxieties of modern life in their pictures. Brown, conversely, sought to preserve the figure of the hunter-farmer-craftsman, whose “self-reliant,” agrarian ways appeared to be headed for extinction.
Brown evidently felt no responsibility for the disagreeable social, economic, and environmental changes that, in his opinion, were spoiling the pastoral republic—though he was an urbanite who skillfully interpreted the tastes of fellow New Yorkers, most of whom made their money through the new mechanisms of industrialization. Indeed, the artist adopted these strategies himself, increasing his sales through patenting, mass-production, and investment. In Scraping, however, Brown cast himself as a rural hunter, preserving “traditional” America in his own image—an ironic act considering he was a new arrival to the country.

Art historian Kathleen Placidi has noted that Brown was able to claim this heritage without criticism because he came from Britain, like the predecessors of most New Englanders who made up the art-viewing public of the day. She further observes that, among this public, such nostalgic images as Scraping bolstered convictions that the nation was composed of two groups: those originating from Anglo settlers and embodying “true” American values; and those newly arrived Irish, Italian, Chinese and Eastern-European immigrants—frequently blamed, at the time, for the country’s ills.
John  George  Brown  Bears  Painting  Huntington  Los  Angeles  Whites 
7 weeks ago by dbourn
Luca Longhi (1507 - 1580) - Portrait of Girolamo Rossi
Portrait of Girolamo Rossi, Italian doctor, philosopher and historian (died 1607), by Luca Longhi (1507-1580), painting. Ravenna, Pinacoteca Comunale
Bears  Cranky  Professor  Arts  Art  Painting  Momento  Mori  16th  Century  Historians 
may 2018 by dbourn
Porträttkarikatyren "Bibliotekarien" troligen på forskaren Wolfgang Lazius (1514-1565)
In 1566 Italian painter Giuseppe ArcimboldoOffsite Link, court portraitist to Holy Roman Emperor Ferdinand IOffsite Link at the Habsburg court in Vienna, and later, to Maximilian IIOffsite Link and his son Rudolf IIOffsite Link at the court in Prague, painted The LibrarianOffsite Link as part of a series of portraits in which a collection of objects—in this instance books—form a recognizable likeness in semi-human form of the portrait subject. In The Librarian, Arcimboldo used objects that signified the book culture at that time. Animal tails, which became the beard of the portrait, were used as dusters.

This painting, preserved at Skokloster CastleOffsite Link, Sweden, is, like others from Arcimbaldo's series, often interpretted as an expression of the Renaissance fascination with riddles, puzzles, and the bizarre.

"The bizarre works of Arcimboldo, especially his multiple images, were rediscovered in the early 20th century by Surrealist artists like Salvador Dalí. The exhibition entitled “The Arcimboldo Effect” at the Palazzo Grassi in Venice (1987) included numerous 'double meaning' paintings. Arcimboldo's influence can also be seen in the work of Shigeo Fukuda, István Orosz, Octavio Ocampo, and Sandro del Prete, as well as the films of Jan Švankmajer" (Wikipedia article on Giuseppe Arcimboldo, accessed 01-02-2011). http://www.historyofinformation.com/expanded.php?id=3183
See : K. C. Elhard, Reopening the Book on Arcimboldo's "Librarian" , Libraries & Culture , Vol. 40, No. 2 (Spring, 2005), pp. 115-127: "The pile of books depicted by Arcimboldo provides typical examples of contemporary book culture and binding practice. The prominent sweeping curtain, serving both as a backdrop and as a transformative device, is like the curtain depicted in renderings of private studies, where it was hung in front of bookshelves to protect them from light and dust. The aspect of protection is also indicated by The Librarian's spectacles, which are book chest keys. The beard is another artifact related to the care of books - a furry duster made of animal tails attached to a handle, shown propped up against the book pile. The pile itself is indicative of the way books were stored; the majority are positioned horizontally, with their fore edges visible. The books have soft vellum bindings or are hardbound, covered with red or white leather. Most are secured with ties or clasps. The gold tooling is characteristic of quality bindings of the time, featuring centerpieces and other decorations. Similar examples of these motifs are common, so the designs do not seem to point to a particular owner. The books are not specified by titles on their spines or fore edges, and they are not arranged in a way that would indicate bibliography, classification, or the profession of librarianship per se. The Librarian could be suggestive of anyone associated with book ownership, anyone with a personal collection."
Books  Libraries  Librarians  Art  Arts  Portraits  Humor  Painting  Arcimboldo 
may 2018 by dbourn
Discovery Of 1st New Blue Pigment In 200 Years Leads To Quest For Elusive Red
We see colors in nature: a blue sky, a red frog, a peacock's feathers. But those colors are created by the reflection of light off atoms. To reproduce color for paints, cosmetics or dyes, we need pigment. Finding natural ones or creating them synthetically is as complicated as it is elusive.

The pigments need to be stable — not fading in light, or disintegrating with heat. And they need to be nontoxic. So when scientist Mas Subramanian accidentally discovered a new blue — meeting all those criteria — a few years back, he was hailed as a rock star in the world of colors. Now, he's on a quest for red.
Blue  Colors  Arts  Painting  Chemistry 
may 2018 by dbourn
Caillebotte's view of men
Gustave Caillebotte (1848-1894)'s wealth and youthfulness (he was 14 years younger than Degas) set him apart from the other French impressionists. His father, a successful judge, died in 1873 and left his heirs very rich. Caillebotte lived his life as a characteristic flâneur : socially observant, well-dressed and wealthy. Trained as a lawyer, he was also a naval architect, a sailor, a philatelist and a horticulturist. After serving in the Franco-Prussian war of 1870-1871, Caillebotte decided he would pursue painting and studied under Léon Bonnat, who eventually sponsored Caillebotte's entrance into the Ecole des Beaux-Arts in 1873. In addition to being known as a generous benefactor to his fellow painters he was an important collector whose Cezannes, Degas, Manets, Monets, Pissarros, Renoirs (whose Bal du Moulin de la Galette is a cameo in Caillebotte's Self-Portrait at the Easel), and Sisleys he left to France upon his death - the bequest was initially rejected but with some reluctance was finally accepted.
Gustave  Caillebotte  Painting  Arts  Paris  France  Queer  Bears 
april 2018 by dbourn
La rencontre ou Bonjour Monsieur Courbet
One of Gustave Courbet’s most significant canvases, Good Day, Monsieur Courbet depicts a chance meeting of the painter, his patron Alfred Bruyas and Bruyas’s servant Calas, on a road outside Montpellier.
Bears  Painting  19th  Century  MA  Honeymoon  France 
april 2018 by dbourn
Hans Von Staschiripka Canon - Male Nudes
Hans Canon was the pseudonym of Johann Baptist Strašiřipka (also rendered as Johann Baptist Straschiripka or Hans Purschka-Straschiripka[1] (15 March 1829, Vienna – 12 September 1885, Vienna) an Austrian history and portrait painter.
https://en.wikipedia.org/wiki/Hans_Canon
Hans  Von  Staschiripka  Painting  Bears  Arts  Vienna  Austria 
april 2018 by dbourn
John Singer Sargent - Reconnoitering (Ambrogio Raffele)
Sargent painted this portrait of Ambrogio Raffele (1845–1928) at the Simplon Pass in Switzerland. As the title suggests, Raffele, keen-sighted and inwardly ruminating, is selecting a vista to paint from the splendid alpine panorama. The picture is a tribute to an artist whom Sargent admired and whose friendship he valued. Raffele was somewhat in awe of Sargent’s celebrity, but the two became devoted companions, sharing a love of the mountains and an enthusiasm for painting outdoors. Raffele was a frequent model and also appears in An Artist in His Studio.
Here, Raffele clasps his painting box to his chest, as if he is about to open it up and set to work. He is poised on the edge of a plunging descent to a valley below. Pyramid shaped and massive, he echoes the form of the mountains behind him, the very emblem of creative force and energy of purpose.
Bears  Painting  Arts  Switzerland  1910 
april 2018 by dbourn
Frans Francken the Younger - The Witches' Kitchen
Francken made a series of paintings depicting witches and witchcraft, including portrayals of witches' sabbats
Painting  Witches  Arts 
april 2018 by dbourn
Felix Kelly
Kelly's paintings were influenced by the Surrealists. His specialisation in domestic architecture and regular commissions saw him develop a romantic style that found more favour with his clientele and often included a number of recurring motifs such as red and white striped deckchairs, and items of mechanical engineering such as hot air balloons, paddle steamers, railways, trains, trams, and lighting fixtures. His paintings were meticulously executed. Houses were painted to an architecturally accurate standard but often contrasted with an untamed, almost sinister landscape.
Queer  New  Zealand  Painting  Arts 
april 2018 by dbourn
Hector de Gregorio
I always find it rather difficult to describe my own work because it combines a barrage of styles both technically and stylistically. Photography, painting, digital imaging, and craft are riddled together to produce images the are at once approachable and cryptic, alluring and unsettling, antique and contemporary.

The inspiration feeds from visual popular languages such as medieval market storytellers, tarot cards, illustration, cartoon strips, devotional art, or advertising — for they contain a synthesis of narrative and visual impact.

I like to create a visually simple and attractive composition to draw the viewer in at first glance and then introduce a character or narrative. The characters I present are embodiments of their own mythology, baring the attributes or immersed in a fragment of their own story. They are, so to speak, "mythological portraits" of the sitter, as the work is — sometimes literally — tailored to the person am working with. I also make the costumes for the image when required, for they are visualizations of aspects of the sitters themselves that get represented but NOT exposed.

I was raised in a family of tailors and often babysat in a nunnery. Being a custodian of the relics and "wardrobe" (antique handmade attire) for the saints' sculptures, I soon picked up a sense of awe and fetish towards theater, costume, and mythology. I immersed myself in an imaginary world, both real and fantastical.

This bewildering and exquisite combination of materially representing abstract expressions of the "soul" led me to explore the idea of mythological experience as a real thing, a way to represent figuratively abstract but felt-experienced concepts like impermanence, eternity, love's energy, the space behind a mask…
https://www.advocate.com/arts-entertainment/art/artist-spotlight/2014/02/05/artist-spotlight-hector-de-gregorio?pg=1#article-content
On Facebook: https://www.facebook.com/profile.php?id=636370607&lst=664372208%3A636370607%3A1523809498
Hector  de  Gregorio  Queer  Bears  London  Painting  Arts  Photography 
april 2018 by dbourn
The Crucifixion of the Christ, 1993 by Becki Jayne Harrelson
“Queer Christ images are emerging now in theology books, at art galleries, on stage, in churches, and across the World Wide Web.

Perhaps the single most powerful queer Christian image is still “The Crucifixion of the Christ”, known informally as the “faggot crucifixion.” Atlanta artist Becki Jayne Harrelson painted it 19 years ago in 1993. The sign on the cross usually reads “king of the Jews,” a phrase used to mock Jesus in the Gospels. In Harrelson’s crucifixion the sign screams “faggot.

She painted the stunning, life-sized crucifixion through a steady stream of tears over human cruelty. “Look at the word ‘faggot’ on the cross. You could substitute the word ‘nigger,’ ‘Jew boy,’ ‘honkie,’ ‘redneck’ or ‘bitch’ — it all means the same,” she explained.

Whenever anyone commits violence against another, Christ is crucified — including when LGBT people are attacked or killed for loving someone of the same sex. The crucifixion remains the most common queer Christian theme. Many LGBT people can relate to the hurt and humiliation that Jesus experienced on the cross. Traditional iconography such as the Passion and the Stations of the Cross has been adapted to address queer suffering.”
http://www.beckijayne.com
Religion  Arts  Painting  Queer  Becki  Jayne  Harrelson  Atlanta 
april 2018 by dbourn
Painter Artemisia Gentileschi
Gentileschi was a female painter in a time when it was very largely unheard of for a woman to be an artist. She managed to get the opportunity for training and eventual employment because her father, Orazio, was already a well established master painter who was very adamant that she get artistic training. He apparently saw a high degree of skill in some artwork she did as a hobby in childhood. He was very supportive of her and encouraged her to resist the “traditional attitude and psychological submission to brainwashing and the jealousy of her obvious talents.”

Gentileschi became extremely well known in her time for painting female figures from the Bible and their suffering. For example, the one seen above depicts the story from the Book of Daniel. Susanna is bathing in her garden when two elders began to spy on her in the nude. As she finishes they stop her and tell her that they will tell everyone that they saw her have an affair with a young man (she’s married so this is an offense punishable by death) unless she has sex with them. She refuses, they tell their tale, and she is going to be put to death when the protagonist of the book (Daniel) stops them.

So that painting above? That was her first major painting. She was SEVENTEEN-YEARS-OLD. For context, here is a painting of the same story by Alessandro Allori made just four years earlier in 1606: Wowwwww. That does not look like a woman being threatened with a choice between death or rape. So imagine 17 year old Artemisia trying to approach painting the scene of a woman being assaulted. And she paints what is seen in the x-ray above. A woman in horrifying, grotesque anguish with what appears to be a knife poised in her clenched hand. Damn that shit is real. Who wants to guess that she was advised by, perhaps her father or others, to tone it down. Women can’t look that grotesque. Sexual assault can’t be depicted as that horrifying. And women definitely can’t be seen as having the potential to fight back. Certainly not in artwork. Women need to be soft. They need to wilt from their captors but still look pretty and be a damsel in distress. So she changed it.

What’s interesting to note is that she eventually painted and stuck with some of her own, less traditional depictions of women. However, that is more interesting with some context.

(Warning for reference to rape, torture, and images of paintings which show violence and blood.)

So, Gentileschi’s story continues in the very next year, 1611, when her father hires Agostino Tassi, an artist, to privately tutor her. It was in this time when Tassi raped her. He then proceeded to promise that he would marry her. He pointed out that if it got out that she had lost her virginity to a man she wasn’t going to marry then it would ruin her. Using this, he emotionally manipulated her into continuing a sexual relationship with him. However, he then proceeded to marry someone else. Horrified at this turn of events she went to her father. Orazio was having none of this shit and took Tassi to court. At that time, rape wasn’t technically an offense to warrant a trial, but the fact that he had taken her virginity (and therefore technically “damaged Orazio’s property”. ugh.) meant that the trial went along. It lasted for 7 months. During this time, to prove the truth of her words, Artemisia was given invasive gynecological examinations and was even questioned while being subjected to torture via thumb screws. It was also discovered during the trial that Tassi was planning to kill his current wife, have an affair with her sister, and steal a number of Orazio’s paintings. Tassi was found guilty and was given a prison sentence of…. ONE. YEAR……. Which he never even served because the verdict was annulled.

During this time and a bit after (1611-1612), Artemisia painted her most famous work of Judith Slaying Holofernes. This bible story involved Holofernes, an Assyrian general, leading troops to invade and destroy Bethulia, the home of Judith. Judith decides to deal with this issue by coming to him, flirting with him to get his guard down, and then plying him with food and lots of wine. When he passed out, Judith and her handmaiden took his sword and cut his head off. Issue averted. The subject was a very popular one for art at the time. Here is a version of the scene painted in 1598-99 by Carivaggio, whom was a great stylistic influence on Artemisia:
Artemisia  Gentileschi  Italy  Renaissance  Arts  Artists  Painting  Feminisms 
december 2017 by dbourn
The Eventuality of Destiny by Giorgio de Chirico (1927)
In the years following World War I, artists across Europe sought to put the disruptions of war behind them. Searching for a new artistic vocabulary, they moved away from the fragmented forms of prewar Cubism and looked to the classical tradition, forging what was known as the “return to order.” This new style had many sources of inspiration, including the art of ancient Greece and Rome, the Renaissance, and even later Neoclassical revivals. Giorgio de Chirico was likewise attracted to the idea of classicism; his The Eventuality of Destiny is in part the result of his study of the works and techniques of the Old Masters.
Giorgio  de  Chirico  Painting  Arts  Chicago  Italy  1920s  WWI  Cubism  Art 
december 2017 by dbourn
Interactive Garden of Earthly Delights
Il Noordbrabants Museum di ’s-Hertogenbosch, nei Paesi Bassi, ha creato un progetto altrettanto ambizioso intitolato Garden of Earthly Delights in onore del loro illustre concittadino Jheronimus Bosch, in occasione dei cinquecento anni della sua morte.

Zoom in on the Garden of Earthly Delights and discover the many stories hidden behind the images inside the painting. Click on the white text boxes to listen to and/or read the stories. Allow yourself to be guided by the sounds, the music – and the images of course! In this case we would strongly recommend you to wander around.
Take the audiovisual tour of the Garden of Earthly Delights narrated by Redmond o’Hanlon.
Jheronimus  Bosch  Arts  Painting 
november 2017 by dbourn
Lost Rubens portrait of George Villiers, James I's lover, is rediscovered in Glasgow
A long-lost portrait of perhaps one of the most famous gay men in history by the Flemish artist Peter Paul Rubens has been found in Glasgow. The portrait showing George Villiers, the first Duke of Buckingham, thought to have been James VI and I’s lover, had been hanging in a National Trust for Scotland property and was believed to be a copy of the lost original, which had been missing for almost 400 years.
George  Villiers  James  I  England  UK  Glasgow  Scotland  Queer  White  History  Painting  Arts 
september 2017 by dbourn
Endymion in the Arms of Morpheus, Hampton Court
Site: Hampton Court Palace Creator: Antonio Verrio (1636-1707). In the bedchamber of William III (William of Orange), The King's Great Bedchamber ceiling. Detail showing Endymion asleep in the arms of Morpheus, the Greek god of dreams
Endymion  Morpheus  Queer  England  UK  Hampton  Court  Painting  Arts  Antonio  Verrio  Italy  Italian 
september 2017 by dbourn
Arnold Böcklin, Swiss symbolist painter of "Isle of the Dead"
"Isle of the Dead" may have inspired the Palace of Fine Arts in San Francisco
Arnold  Böcklin  SF  Palace  of  Fine  Arts  Painting  Isle  of  the  Dead  Arts 
september 2013 by dbourn

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