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TASTE the palette.
Still Life - Clara Peeters
Clara exacted her paintings with a didactic attention, portraying her scenes with a delicate calculation while also providing a visceral, sensuous experience to the viewer. While at first glance the placement of the objects could seem random, they are arranged in a way that the viewer is awarded a full view of every single one of them - a glorious banquet for the eyes. At the same time, her paintings maintain an air of authenticity and natural composition through her intentional details. A half-eaten pretzel, sliced through cheese, insect bitten petals, and a knife hanging from the table all provide a sense to the viewer that this is a scene that have just simply walked upon.
Charlotte Salomon: Life? Or Theatre
Faced with the weight of this history of finality in her family, Charlotte found herself at a cross point: “The question: whether to take her own life or to undertake something eccentric and mad.” Choosing “eccentric and mad” she embarked on a journey to create her monumental work “Life? Or Theatre”, composed of nearly early eight hundred page-size gouaches and overlays with vignettes, playful commentaries, and choruses.
Alice Neel: People Come First
Painting from a female gaze, Alice never let herself be restrained by convention, even after achieving great success, still capturing the “diversity, resilience, and passion” of the human being.
Inventing Modern Art In Brazil
A pioneer of Brazilian modernism, Tarsila was born in a small countryside town in the state of Sao Paulo to a family of coffee plantation owners. Studying painting and sculpture in Brazil, she moved to Paris in 1920 to attend the Académie Julian. At the Academy, she would study under Cubist figures André Lhote, Albert Gleizes, and Fernand Léger, to undergo what she would call a “military service in Cubism”, a technique that would come to characterise her vibrant and “sensuous” landscapes.
Sarah Moon: About Colour
As portrayed in her About Colour’ Exhibition, Sarah seldom showed the entire figure in her work, leaving the face often hidden or cropped out, to portray a sense of mystery and ethereality, often photographing the models from the back, as if they belonged to some transitory, transitional place or a fragment of a memory. In these compositions, she aimed for the women to convey both strength and fragility. Blurring, unusual cropping, scratches and distortions gave them an almost painterly aspect, often taken using Polaroid positive/negative film
Cut with the Kitchen Knife Dada Through the Last Weimar Beer Belly Cultural Epoch of Germany
Born Anna Therese Johanne Höch in Gotha, Germany, Hannah first began taking glass design and graphic art classes at the college of Applied Arts in Berlin in 1912, before dropping out during the outbreak of WWI in 1914. She worked at Red Cross in her hometown before returning to study art in Berlin in 1915, where she met artist and writer Raoul Hausmann, a member of the Berlin Dada movement. The group was composed of mostly male artists, who satirized and critiqued German culture and society during the crumbling Weimar republic era after WWI.
the infinity mirror rooms
In honour of Yayoi Kusama’s birthday this week, our art piece for today is her Infinity Mirror Rooms!
Born in Matsumoto, rural Japan, Yayoi started drawing pumpkins in middle school and creating artwork from her hallucinations. Growing up in an abusive household, Yayoi would often experience intense visions of flowers, flashes of lights and dots. These would later influence her artwork where she channeled her traumatic childhood, and her experience growing up during war time.