jannon + paintings   46

Benjamin Cañas (Salvadorian 1933-1987) | Untitled | Latin American Art Auction</li> | 1970s, Paintings | Christie's
Benjamin Cañas (Salvadorian 1933-1987)
signed and dated '71' (lower right)
oil and goldleaf on panel
27¾ x 35 7/8 in. (70.5 x 91.
Painted in 1971.
art  artwork  painting  paintings  christie's  latin.america  1970s  1971  20th.century 
october 2011 by jannon
Walker Art Center | Collections and Resources
STILLNESSJIMMY ERNST1956oil on MasoniteWalker Art Center
1950s  1956  art  blackness  delicious-export  movement  painting  paintings 
july 2011 by jannon
THE SYDNEY BIRD PAINTER | (The white gallinule)
"THE SYDNEY BIRD PAINTER(The white gallinule) (c.1791-92) watercolour, brush and ink The first white settlers who followed Cook also documented the curious wildlife of their new home. This skilfully rendered drawing of a White Gallinule was probably painted by the Sydney Bird Painter, the name attributed to possibly three different unknown artists, who may have arrived with the First Fleet in 1788.  ‘A peculiar bird, the White Gallinule was one of a multitude of fauna first discovered on Lord Howe Island when Lieutenant Ball landed there in the Supply in March 1788. Like the unfortunate Mount Pitt bird of Norfolk Island that the Sydney Bird Painter also depicted, the White Gallinule was flightless and tragically hunted to extinction. The skin of only one White Gallinule has survived white settlement, enhancing the poignancy of this rare contemporary drawing.’"
1791  1792  18th.century  art  australia  australian  biology  birds  colonialism  delicious-export  discovery  drawing  drawings  extinction  flight  flightless  hunting  illustration  knowledge  lord.howe.island  lost  lost.animals  lost.beings  ornithology  painting  paintings  representation  science  watercolor  zoology 
june 2011 by jannon
Chancellor Leonhard von Eck (1480–1550) | Barthel Beham | European Paintings | Collection Database | Works of Art | The Metropolitan Museum of Art, New York
Artist: Barthel Beham (German, Nuremberg 1502–1540 Italy)Title: Chancellor Leonhard von Eck (1480–1550)Date: 1527Medium: Oil on woodDimensions: 22 1/8 x 14 7/8 in. (56.2 x 37.8 cm)Classification: PaintingsCredit Line: John Stewart Kennedy Fund, 1912Accession Number: 12.194Not On View Notes The subject of this portrait has been identified by an engraving bearing Barthel Beham's initials, the date 1527, the name of the sitter, "Leonhart von Eckh", and his age, 47. The print (MMA 1981.1087) is reversed from the painting, but otherwise agrees with it. A second state of the engraving (MMA 1981.90.2) reveals some alterations in costume. Von Eck was Chancellor to Beham's patron, Duke William IV of Bavaria, and a strong opponent of the Reformation. Our portrait figures as lot 50 in the 1897 sale of the dealer Louis Gottschalk in Berlin [see Ex coll.]. Lot 51 in this sale is a copy of our portrait that is otherwise unknown.
1527  15th.century  16th.century  anti-reformation  art  artwork  artworks  barthel.beham  bavaria  bayern  catholicism  delicious-export  hands  history  leonhard.von.eck  men  metropolitan  nuremberg  nürnberg  paintings  people  reformation 
march 2011 by jannon
CONSTABLE : impressions of land, sea and sky | John CONSTABLE | The Glebe Farm
"The glebe was traditionally land farmed to support the living of the church, but the farm in this picture was not in fact on glebe land. Michael Rosenthal has noted that in depicting a cottage landscape in a woodland Constable was working in the Picturesque tradition of Hobbema and Gainsborough (Rosenthal 1983, p. 180). He was moreover painting a ‘landscape of memory’ – the rural world he depicted had since changed as a result of reforms, and had been replaced by something with which Constable was less comfortable (ibid., p. 213). However, the changes in agricultural approach, the division of the Common lands and other such ‘advances’ would have had little direct impact on this particular scene."
1830  1830s  19th.century  agriculture  anglican  art  british  change  christianity  church  church.of.england  delicious-export  enclosure  faith  farming  farms  gainsborough  glebe.land  history  hobbema  industrialization  john.constable  landscape  landscape.of.memory  langham  painting  paintings  picturesque  political.economy  reform  religion  rurality  tradition  uk  windmill 
september 2010 by jannon
k-punk: 'Everything is impossible now ...' (2009)
"In 'The Hay Wain,' English culture and history become a repeating labyrinth where the rebels are always on the run from the forces of power and privilege. Fleeing Peterloo, Jack Frake eventually stumbles into the Suffolk scene Constable is painting; meanwhile, in 1990, a Poll Tax rioter takes refuge in the National Gallery and 'notices what he has never noticed before on biscuit tins or calendars, or plastic trays on the walls of his aunt's flat in Bradford, those tiny figures bending in the field beyond.' Sharp replaces the dominant pastoral image of the English countryside, not with a deflated quotidian realism, but with a different kind of lyricism, one coloured by revolt: fields and ditches become hiding places or battlegrounds; landscapes that on the surface seem tranquil still reverberate with the unavenged spectral rage of murdered working class martyrs. It is not the sunlit English afternoon that is 'timeless,' but the ability of the agents of reaction to escape justice."
1989  1990  2009  a.span.of.twenty.years  another.world  another.world.is.necessary  another.world.is.possible  avatar  blood  change  colonialism  constable  country  countryside  delicious-export  eclipse  enclosure  escape  foreclosure  hauntology  historiography  history  images  imaginary  imagination  jameson  k-punk  martyrs  massacre  national.gallery.of.art  other  painting  paintings  pastoral  peterloo  picturesque  places  police  politics  poll.tax  poll.tax.riot  rurality  space  suffolk  the.hay.wain  the.picturesque  theory  time  times  utopia  violence 
february 2010 by jannon

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