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[SIZE=+2]JASPER JOHNS PAINTING OWNED BY MICHAEL CRICHTON FETCHES £19.5 MILLION

A celebrated painting by Jasper Johns which hung for most of its life in the bedroom of writer Michael Crichton has fetched nearly $29 million (£19.5m) at auction, a record for the artist.[/size]

http://www.artdaily.com/imagenes/2010/05/12/Flag-2.jpg

Flag, a pop art depiction of the Stars and Stripes, was one of 31 pieces to be auctioned by Christie's in New York from the collection of the author of Jurassic Park, an avid art collector.

The previous auction record for a Johns work was $17.4 million in 2007 and the fact that Flag sold for almost three times its pre-sale estimate prompted further speculation about a resurging art market.

Crichton's collection sold for more than $93 million with many pieces fetching double their estimates amid fierce bidding, most of it by Americans

james r scouries
 
QUOTE miss ravenfox I really like this one for the blatant irreverence and nice backside on the model

Dear miss foxy one,

Welcome my dear. Seeing your beautiful face next to these sweet nuns only enhances the image. In fact your innocent nun like countenance is troublingly erotic.

I hope you’re planning on entering the upcoming contest – it’s been years since we’ve had an oral entry.

Perhaps you could use the picture as inspiration – a story whispered by a virginal young nun, a girl who’s decided to emulate the famed Sister Wendy. Who’s then thrust face to face with the reality of male nudity…


image.php

http://scienceblogs.com/gregladen/nuns_nude.jpg​

james r scouries
 
I'll be in Bilboa this summer!!!!

Senior curator of the Solomon R. Guggenheim Museum Susan Davidson points at Henri Rousseau's "The Football Players", during the presentation of the exhibition "Henri Rousseau" at the Guggenheim Museum in Bilbao May 24, 2010. The exhibition, coinciding with the centenary of the French artist's death in 1910 and showing Rousseau's influence on subsequent modernist and avant-garde movements begins on Monday and runs until September 12, 2010.


BILBAO.- One hundred years after the death of the French artist Henri Rousseau (1844–1910), the Guggenheim Museum Bilbao is devoting an exhibition to this pioneer of Modernism—the first occasion that Rousseau has been seen in depth in Spain.

Organized by the Guggenheim Museum Bilbao in co-operation with the Fondation Beyeler, Henri Rousseau presents a selection of approximately thirty masterpieces that provide a concise overview of the development and diversity of his oeuvre. From his famous jungle paintings in the later stages of his career, to the views of Paris and its environs, figures, portraits, allegories, and genre paintings, the exhibition gives a unique insight into the essential visual world of Rousseau.

A customs official by vocation, Rousseau initially took up painting in his free time and received no formal art training. Many years passed before his art, not academic and long considered naive, found recognition in the Paris art salons.

His importance within art history lies in his groundbreaking compositional mechanisms and painstaking technique, which greatly influenced younger generations of artists. Along with Claude Monet, Paul Cézanne, Vincent van Gogh, and Paul Gauguin, Rousseau’s visual inventions paved the way for the twentieth-century’s nascent Modernist movement.

A new visual idiom
For his works, which combined highly diverse themes of urbanity and the natural world adapted to his own visual conception, Rousseau mined resources beyond the academic tradition, relying heavily on postcards, photographs, and popular journals. His imaginary dreamlike jungle landscapes also took their inspiration directly from books on botany and his visits to gardens, woods and zoos.

The works included in the Guggenheim Museum Bilbao reveal his unique working method of transferring individual motifs such as leaves and trees, figures, and entire compositional schemes from picture to picture, and combining them to create new visual compositions, painted with a painstaking, naturally refined technique.

Rousseau redefined the picture space by staggering pictorial elements from background to foreground, a method that would later be adopted by the Cubists. This built-up pictorial structure, in the form of painted collage, anticipated the autonomy of the picture plane that would become characteristic of Modernism. Younger artists, such as Pablo Picasso and Fernand Léger, both of whom admired and collected his work, were captivated by his technique.

A tour of the exhibition
Initially, Rousseau painted mostly small-format pictures depicting the French suburbs and the surrounding countryside of his immediate environment. In these landscapes, wilderness is represented by dense wooded areas on the background that the artist used to separate the visual realm by means of either a fence or behind a fortification wall, as in House on the Outskirts of Paris (Maison de la banlieue de Paris, ca. 1905, Carnegie Museum of Art). Gradually, he moved away from this rationally organized civilization toward an unorganized, wild depiction of nature. This passage from the well ordered and familiar to the unknown and alien defined his later work as can be seen in Landscape (Paysage, 1905–10, Philadelphia Museum of Art).

In his famous jungle paintings, Rousseau, who never actually set foot in a jungle, finally succeeded in leaving the sphere of domestication behind for his imaginary wilderness. Now working in a significantly larger format, Rousseau lent these invented landscapes a compelling visual reality. The culmination of the exhibition is formed by a significant assembly of Rousseau’s famous jungle pictures. Of special mention is the monumental painting The Hungry Lion Throws Itself on the Antelope (Le lion, ayant faim, se jette sur l’antilope , 1895/1905, Fondation Beyeler) included on the occasion of Rousseau’s first appearance at the Salon d’Automne in Paris in 1905. In March 1906, art dealer and collector Ambroise Vollard acquired the sensational painting—the first Rousseau ever to enter the art trade—in which the artist’s talent for creating an imaginary new world comprised of various figures set against a stage like environment are shown.

In addition, the exhibition illustrates Rousseau’s well-documented interest in photography for source material. A few of his compositions, such as Old Junier’s cart (La carriole du père Junier , 1908, Musée l’Orangerie) were definitively based on photographs. In the course of transferring the photographic image to the canvas, he created an entirely new visual world, arranging its elements into another image layer by layer in front of his imaginary camera lens.

Yet for all his reliance on photographic realism, Rousseau always strove to keep the depicted world at a distance. This is especially seen in The Wedding (La noce, 1904–05, Musée l’Orangerie), a large-format painting whose distortions of scale and proportions with respect to the original model are immediately obvious. Indeed, the simultaneity of character and dream in Rousseau’s paintings, the flatness and lack of perspective, and his peculiar manner of lighting the picture plane, with both brilliant sun and shadowless figures, all combine to give his images a highly tuned Surrealist quality.

After the Impressionist painters and the succeeding generation created a new way to look at the visible, Rousseau introduced into his paintings a new approach to imaginative vision. His perception of reality was based primarily on observation, imitation and transformation of the visible. In this way, he taught modern artists how the unknown could be constructed using the building blocks of the known. He established a new logic and mechanics of compositional structure that profoundly affected subsequent generations of artists, most notably the Surrealists Max Ernst and René Magritte.

Many renowned museums and collections in Europe and America have contributed to the success of the exhibition by their generous provision of loans. These include the Musée national de l’Orangerie, the Musée d’Orsay, and the Musée national d’Art moderne, Centre Georges Pompidou, in Paris; The Mayor Gallery, London; Fondation Beyeler, Riehen/Basel; the Nahmad Collection, Switzerland; the Solomon R. Guggenheim Museum and the Metropolitan Museum of Art, in New York; the Smith College Museum of Art, Northampton, Massachusetts; the National Gallery of Art and the Phillips Collection, in Washington, D.C.; the Philadelphia Museum of Art; the Carnegie Museum of Art, Pittsburgh; the Kunsthaus Zürich; and a number of private collections. (ArtDaily

james r scouries
 
now just what was this female artist thinking?

http://www.imow.org/dynamic/user_images/user_images_file_name_3307.jpg

well:

Coup depicts a woman with a skirt made of penises. Looking at the penis as a symbol of power in society, it asks the question "do you need to have a penis to be politically successful?" I deliberately made the figure growing her own "symbols of power" as opposed to having chopped them off or wearing them as a trophy belt. She is owning her own power by accessing the assertive energy usually attributed to men, Yet she is also maintaining her own femininity (as represented by the skirt.) The paintings says that women can have it all.

http://http://www.youtube.com/watch?v=qtd1HH5ksKE

james r scouries
 
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from the artdaily...

Exhibition at Fondation Beyeler in Basel Explores Vienna: 1900, Klimt, Schiele and their Times

http://www.artdaily.com/imagenes/2010/09/25/Vienna-1.jpg

A journalist takes a picture of a painting, entitled Recling Woman, 1917, by Austrian artits Egon Schiele, on display in an exhibition, entitled Vienna 1900 - Klimt, Schiele And Their Times, at the Fondation Beyeler in Riehen, Basel, Switzerland, 24 September 2010. The Fondation Beyeler exhibition presents some 200 oil paintings, watercolors and drawings, supplemented by architectural models, furniture, textile designs, glass and silver objects, artists posters, and photographs. It opens to the public from 26 September 2010 to 16 January 2011.​

james r scouries esq.
 
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artdaily...

Almost Unknown Perspective of Pablo Picasso Explored in New Exhibition at Albertina

http://www.artdaily.com/imagenes/2010/09/26/Picasso-1.jpg
A man poses for a photograph in front of Pablo Picasso's painting "Reclining Nude with Necklace" at the Albertina Museum in Vienna September 21, 2010. The major exhibition "Picasso: Peace and Freedom" bringing together over 150 works by Picasso from across the world will be presented at the Albertina from September 22, 2010, to January 16, 2011. REUTERS/Herwig Prammer.​

james r scouries
 
Love, Death, the Terrifying and Beautiful World of Otto Dix in Montreal

http://www.artdaily.com/imagenes/2010/08/19/Love-2.jpg
Otto Dix, Group Portrait: Günther Franke, Paul Ferdinand Schmidt, and Karl Nierendorf, 1923. Oil on canvas. Staatliche Museen Preußischer Kulturbesitz, Nationalgalerie Berlin © Estate of Otto Dix / SODRAC (2010). Photo Jörg P. Anders/Bildarchiv Preussischer Kulturbesitz / Art Resource, NY.


MONTREAL.- From September 24, 2010, to January 2, 2011, the Montreal Museum of Fine Arts will be presenting ROUGE CABARET: The Terrifying and Beautiful World of otto dix, the first North American exhibition devoted to otto dix (1891-1969), one of the twentieth century’s most important German painters. A keen observer of the world, which he viewed as “terrifying and beautiful,” otto dix leaves no one indifferent. Some 220 works, including about forty rare and fragile paintings, many of them painted in tempera on wood panels, large watercolours and powerful prints, illustrate his acerbic yet moving vision of the eventful era in which he lived, from World War I to World War II, from the Germany of the Weimar Republic to the rise of the Third Reich. Several complete series of prints will also be on display, including the outstanding “War” series (1924).​

james r scouries
 
The Golden Age of Dutch and Flemish Painting from the Stadel Museum at the Guggenheim

http://www.artdaily.com/imagenes/2010/10/08/The-Golden-1.jpg

A man takes a picture of the painting 'The geographer' by Dutch artist Jan Vermeer van Delft that forms part of the exhibition 'The golden age' at the Guggenheim Museum in Bilbao, northern Spain. The exhibition shows part of the funds of Frankfurt's Staedel Museum, which is considered to be one of the more important collections of Dutch and Flemish painting of the 17th century of Europe. EPA/LUIS TEJIDO.

BILBAO.- From October 7, 2010 to January 23, 2011, the Guggenheim Museum Bilbao will present The Golden Age of Dutch and Flemish Painting from the Städel Museum, a splendid selection of masterpieces from the Städel Museum in Frankfurt, one of Europe’s most important institutions. The Museum owns a unique collection of seventeenth-century Dutch and Flemish paintings from the so-called Golden Age​

james r scouries
 
http://www.artdaily.com/imagenes/2012/01/21/bacon-2.jpg

Francis Bacon (1909-1992) Portrait of Henrietta Moraes inscribed, titled and dated `Portrait of HENRIETTA MORAES From Photograph by John Deakin 1963' (on the reverse) oil on canvas 65 x 56in. (165 x 142cm.) Painted in 1963

LONDON.- On February 14 Christie's will offer the extraordinary Portrait of Henrietta Moraes in their evening auction of Post-War & Contemporary Art in King Street, London. Having remained in the same private collection for almost thirty years, this rare painting depicts the artist’s close friend and model Henrietta Moraes and comes to auction for the first time (estimate upon request; 65 x 56in. / 165 x 142cm.).

​
 
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