Yayoi Kusama | Interminable Nets
acrylic on canvas 45 7/8 x 35 7/8in. (116.6 x 91cm.) painted in 1982

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Yayoi Kusama | Interminable Nets
acrylic on canvas 45 7/8 x 35 7/8in. (116.6 x 91cm.) painted in 1982
Bird Ornament, Metropolitan Museum of Art: Arts of Africa, Oceania, and the Americas
The Michael C. Rockefeller Memorial Collection, Bequest of Nelson A. Rockefeller, 1979 Metropolitan Museum of Art, New York, NY Medium: Gold
http://www.metmuseum.org/art/collection/search/312721
Nude Maja, 1800, Francisco Goya
Medium: oil,canvas
Spring Scattering Stars, 1927, by Edwin Blashfield (1848-1936)
Portrait, Konstantin Makovsky
Untitled, Metropolitan Museum of Art: Asian Art
Purchase, Lila Acheson Wallace Gift, 2001 Metropolitan Museum of Art, New York, NY Medium: Opaque watercolor on palm leaf
http://www.metmuseum.org/art/collection/search/74908
The dreamer, 1840, Caspar David Friedrich
Medium: oil
Birth of the Virgin, 1772, Francisco Goya
Medium: fresco
Retiring, 1883, Edgar Degas
Medium: pastel
Dead Birds, 1812, Francisco Goya
Medium: oil,canvas
Primitivism: a product of fetishization
Primitivism is an aesthetic that calls to the ‘primitive’ experience. Think tropical plant motifs, animal print, and tribal lifestyles. It “borrows” ideas from non-Western or indigenous people and relates it to modern Western life. Artists that use primitivism in their work often idealize a simple, tribal lifestyle.
The Unicorn in Captivity (The Unicorn Tapestries), 1495-1505. Wool warp with wool, silk, silver, and gilt wefts.
‘The Unicorn Tapestries’ are a series of tapestries considered masterpieces created during the late Middle Ages period. Within the series of seven, the tapestries weave a story in which a group of noblemen hunt a unicorn through beautifully arranged forests. Each segment depicts certain parts of the narrative; the hunt, the capture, the attack, the taming by a virgin and resurrection of the unicorn, to finally the unicorn’s captivity.
This image in particular shows the final stage in the narrative: ‘The Unicorn in Captivity.’ Housed by The Cloisters, The Metropolitan Museum of Art has described the work in detail:
“In this instance, the unicorn probably represents the beloved tamed. He is tethered to a tree and constrained by a fence, but the chain is not secure and the fence is low enough to leap over: The unicorn could escape if he wished. Clearly, however, his confinement is a happy one, to which the ripe, seed-laden pomegranates in the tree—a medieval symbol of fertility and marriage—testify. The red stains on his flank do not appear to be blood, as there are no visible wounds like those in the hunting series; rather, they represent juice dripping from bursting pomegranates above. Many of the other plants represented here, such as wild orchid, bistort, and thistle, echo this theme of marriage and procreation: they were acclaimed in the Middle Ages as fertility aids for both men and women. Even the little frog, nestled among the violets at the lower right, was cited by medieval writers for its noisy mating.”
There are many mysteries surrounding the tapestries, still debated today. Such as: who is the maker? Who was the patron? What were the tapestries really designed to represent?
Vincent van Gogh was heavily inspired by ukiyo-e artists, Japanese artists that worked with woodblock prints. This particular painting was based off of the work of Japanese artist Keisai Eisen (1790-1848).
The Courtesan, 1887, by Vincent van Gogh (1853-1890)
Composition in Blue Module, 1947-51, by Saloua Raouda Choucair (1916-2017)
Saloua Raouda Choucair (1916-2017) was a Lebanese artist who lived, worked, and created in Beirut, even during the Lebanese Civil War (1975-90). Her early artistic education came from prominent artists such as Moustafa Farroukh and Omar Onsi. She was also heavily impacted by Islamic religion and from Islamic geometric design and architecture which she included into her work. Choucair loved the modern times, and not just for the art. She was motivated to capture her times in relation to engineering, science, mathematics, as well as the architecture surrounding her.
By the late 1940s Choucair had travelled to Paris and began studying at the École des Beaux-Arts, spending time in the studio of abstract artist Fernand Léger. Over her career she focused more on the forms and the emphasis on curved lines, and the relationship between those forms. Her sculptures are particularly good examples of this, as you can see how they interlock in the three-dimensional way.
If you take a look at the Tate’s video ‘Saloua Raouda Choucair - From Beirut to Tate Modern’ you can see the intricacies of her work. Choucair’s daughter, Hala Schoukair, describes that “her soul was completely into forms and shapes,” which you can certainly understand when viewing her body of work. Although she worked with various materials, the relationship between interlocking forms carried over all. This included paintings, sculptures, tapestries, and jewelry. Some of her work reflects the impact of the civil war, as some are now decorated by the shrapnel of bombs that went off during that time.
The Lament for Icarus (1898), Herbert James Draper
These four lil paintings are somehow some of my favorites I’ve ever done. These were made back in 2017 and were made on a rather good day- I still remember what happened that day even though I can barely remember what happened last week. I tried to go for a more impressionistic look, this was during my Monet face, and I think some captured it more than others. All four of these unique and are appreciated for different reasons. The first one has more vague brushstrokes with the colors giving suggestion of form. The second one has a wide range of colors that show the vivacity of that moment. The third has bright uses of green, my favorite color, with a bustling river flowing through, giving action and life to the painting. The last one has bold color contrast, with the foreground bearing warm trees and the background hosting the dark and cold mountains. Nature paintings are truly one of my favorite topics to paint and I’ve found myself in a niche of painting wilderness scenes. I would’ve thrived in the Plein Air era of art.
Art to Create When You’re Not an Artist
Art has been proven to be therapeutic and can be a good emotional outlet for people. Especially in troubling times like these, art is very useful to get your mind off things and to feel productive at the same time. But art can be daunting, and knowing where to even start can be overwhelming. Well you don’t have to be a trained artist to create some pieces that you’ll love.