A. Had a school project about evacuees in the second world war and had to make a gas mask and evacuation box... but he just looks like Edvard Munch's "The Scream" 😂😂😂 Bless him
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The Death of Cleopatra, c.1659-63. Oil on canvas, 1593 x 1400 cm. Kunsthistorisches Museum, Gemäldegalerie, Vienna. Guido Cagnacci (Santarcangelo di Romagna 1601–1663 Vienna). This Emilian painter was renowed by his carrying Italian art’s latest trend on classical painting to the Vienna where he was the court painter for Leopold I until his final days there. He had studied in Bologna, most probably under the orders of master Ludovico Caracci, and travelling to Rome to pursue his studies and technical artistry. In Rome he would discover Caravaggio’s works while adopting his practice of painting directly from live models.
Being influenced by Guido Reni, Raphael and, most importantly, by the immense pleasure he received from the Venetian school and its brilliant, splendid colour that will enhance his paintings afterwards. New painting that would see a new addition to his classical themes by depicting young, semi-nude women in his now sensual works with a type of erotic content not seen before in Italian art (at least for a long time!) and which was very much sought-after by collectors of his time. In fact, there was a long tradition of depicting nudes under the pretext of representing some well-known classical mythological-related themes (witness this painting with Cleopatra’s gently lit fleshy buttery torso exposing herself towards the astounding gaze of the spectators). A dying Cleopatra –head tilted back– after being bitten by an asp (Plutarch’s Lives) contrasts with the various descriptive realist faces and gestures of her entouragewhen discovering her nearly dead queen.
Erotically charged and a kind of frank, relaxed, naturalism in her face, Cleopatra raises our emotions when staring unabashedly at her half-nude body, set against the intensely rich red colorful of the throne she sat on. Masterful!
Jesús Lorenzo Vieites ⠀⠀⠀⠀⠀⠀⠀⠀⠀ 👉Tag someone you would go with!
🎥 @oldmasters_jlvieites✨ ⠀⠀⠀⠀⠀⠀⠀⠀
Our journey through eternity offers us experiences so we may remember who we are — God. To remember who we are, we must push beyond our comfort zone and break the barriers that lock us into the familiar, leaving us with a sense of false security. If we remain in our comfort zone, we become stagnant.
The only thing worth striving for is clarity. We don’t search for meaning because we understand that the majority of the universe is unknowable. Clarity pertains to our next step only as we seek to gather insights from our experiences.
We gain the pearls of wisdom from our uncomfortable human experiences, until we are able to pull free from the fear that causes the discomfort. We continue this inner cleansing until we have removed layer after layer of fear. In doing this, we push our perception until it moves beyond mortal boundaries. This desire to push the perimeter of the known is what is called living a path with heart or living on the crest of the wave.
Edvard Munch "Madonna" - 1892/1895 🇮🇹 - MADONNA è una famosa opera espressionista del norvegese Edvard Munch, il quale ne dipinse cinque versioni tra il 1892e 1895, in olio su tela. Il pittore realizzò quattro versioni a olio del soggetto oltre a numerose derivazioni grafiche. Queste gli permettevano maggiori libertà espressive che sarebbero state censurate in un dipinto: in alcune litografie inserisce ad esempio una cornice disegnata percorsa da spermatozoi; in un angolo inoltre compare un embrione, che leva occhi impauriti e già dolenti sulla madre; le fattezze dell'embrione ricordano quelle della figura protagonista de L' urlo (1893). L'artista attribuisce quindi ad ogni essere umano un destino di infelicità: «Il dipinto della donna che dona e possiede la tormentata bellezza di una Madonna.
Il Mistero risiede nell'evoluzione collettiva.
La donna, nella sua totale diversità, è un mistero per l'uomo - simultaneamente santa, puttana e servizievole creatura dedita, nell'infelicità, all'uomo.» (Edvard Munch, Frammenti sull'arte.) 🇬🇧 - Madonna is the usual title given to a composition by the Norwegian expressionist painter Edvard Munch. Munch painted several versions of the composition, showing a bare-breasted half-length female figure, between 1892 and 1895, using oils on canvas. He also produced versions in print form. The lithographic print of the composition is distinguished by a decorative border depicting wriggling sperm, with a fetus-like figure in its bottom left corner. The 1893 version of the painting had a frame with similar decoration, but it was later removed and lost. The print also exists in a number of different versions.
Lykke til med julebordsesongen, samme hvilken drikke du foretrekker 🤶🏻🤓 Edvard Munch: «Rundt drikkebordet» (1927-30). Foto: Rena Li. C: Munchmuseet.
Edvard Munch: «Around the Drinking Table» (1927-30). Photo: Rena Li. C: The Munch Museum.
😱’The Scream’ is an iconic image that has been haunting viewers for over 120 years.
We’re excited to announce it’s coming to the Museum later this year for our #MunchExhibition! The show will reveal more about the artist behind the world-famous artwork.
From his strict upbringing in Norway to his travels around the bohemian centres of Europe, the exhibition will follow Munch’s journeys and the people and places he encountered. It will be the biggest show of Munch prints in the UK for nearly 50 years, focusing on his dynamic and innovative printmaking.
Edvard Munch: love and angst opens 11 April 2019 – book tickets via the #linkinbio.
Supported by AKO Foundation.
In collaboration with the @MunchMuseum, Oslo, Norway.
Edvard Munch (1863 –1944), ‘The Scream’. Lithograph, 1895. Private collection, Norway. CC BY 4 The Munch Museum.
#MunchExhibition#Munch#EdvardMunch#prints#printmaking#Norway#Norwegian#art#Expressionism #😱 #TheScream#Scream#ModernArt#MunchMuseum
252 250193:00 PM Jan 8, 2019
Edvard Munch: «Sjalusi / Jealousy» (litograph on paper, 1896)
Happy Birthday Edvard Munch (1863-1944)! We are so proud to have one of the world´s most important collections of #Munch here at KODE. These are some of his many works on paper, including some of his most famous motifs from the series called the Frieze of Life. #kodebergen#edvardmunch
0 2224:39 PM Dec 12, 2018
Denne ukens #ønskebilde er «Selvportrett ved vinen» (1906), foto: Ove Kvavik, Munchmuseet.
Bildet er ønsket av @badeyelift
Har du et ønskebilde? Kommenter under!
Dette selvportrettet har en indre spenning som kommer av det komplekse samspillet mellom farge, figurer og rom. De rektangulære bordflatene skaper en dybde som trekker oss inn i scenen. Samtidig er store deler av restauranten eller kroen utydelige og abstrakte. Det oransje fargefeltet bak hodet til Munch er ikke gjenkjennelig som noe spesifikt objekt, men fungerer som et virkemiddel for å skyve ham mot oss. Slik skaper det et inntrykk av avstand mellom Munch og de andre figurene i rommet. Konturene i ansiktet fremstår som merkelige fordi de er fremhevet ved hjelp av skinnende linjer i grønt og blått, som om fargene på klærne hans flyter over i huden. Selvportrettet fremstiller Munch som en isolert person i konflikt både med seg selv og omverdenen. Selvportrett ved vinen gir et innblikk i skyggesidene ved Munchs økende suksess og produktivitet; et liv preget av rotløshet og fremmedgjøring.
This weeks painting is «Self-Portrait with a Bottle of Wine» (1906), photo: Ove Kvavik, The Munch Museum.
The inner tension of this self-portrait is based on its complex relations between colour, figures and space. The rectangular shapes of the tables viewed from above create enormous spatial depth that draws the observer in. However, the rest of the restaurant or bar space remains indistinct and abstract. The orange colour field behind Edvard Munch’s head cannot be identified as a specific object in the room. Its function in the picture is to push the artist’s head forward, thereby creating a pronounced distance between him and the figures in the background. The contours of Munch’s face become strange as they are accentuated by shimmering lines of green and blue, as if the colour of his jacket had bled into his body. Essentially, this self-portrait depicts an isolated man in conflict with himself and the world. This self-portrait gives us an insight into the downsides of Munch’s increasing success and productivity, namely a life affected by alienation and rootlessness.
19 12514:48 PM Dec 4, 2018
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