Artificial

Unveiling Artistry: A Daily Brushstroke of Creativity.

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Questions from a worker who reads

Who built Thebes of the 7 gates?

In the books you will read the names of kings.

Did the kings haul up the lumps of rock?

And Babylon, many times demolished,

Who raised it up so many times?

In what houses of gold glittering Lima did its builders live?

Where, the evening that the Great Wall of China was finished, did the masons go?

Great Rome is full of triumphal arches.

Who erected them?

Over whom did the Caesars triumph?

Had Byzantium, much praised in song, only palaces for its inhabitants?

Even in fabled Atlantis, the night that the ocean engulfed it,

The drowning still cried out for their slaves.

The young Alexander conquered India.

Was he alone?

Caesar defeated the Gauls.

Did he not even have a cook with him?

Philip of Spain wept when his armada went down.

Was he the only one to weep?

Frederick the 2nd won the 7 Years War.

Who else won it?

Every page a victory.

Who cooked the feast for the victors?

Every 10 years a great man.

Who paid the bill?

So many reports.

So many questions.

Bertold Brecht, 1935

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"If you're lonely when you're alone, you're in bad company."

- Jean-Paul Sartre

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Portrait of Auguste Rodin, Eugène Carrière

Carrière held deep admiration for numerous Old Masters, although in his early artistic endeavors, his primary influence was the contemporary painter Jean-Jacques Henner. Initially, he adopted a predominantly monochromatic brown palette, occasionally infused with other hues, employing a painterly technique reminiscent of Henner's. By the mid-1880s, his works were characterized by an enveloping, misty brown ambiance from which the images emerged.

Before relocating to Paris to pursue painting, Carrière served as an apprentice lithographer. Even after gaining recognition as a painter in the early 1880s, he continued to create commercial lithographs to sustain himself. It wasn't until 1890 that he fully embraced lithography as an artistic medium. His profound understanding of this technique allowed him to translate the hallmark sfumato style of his paintings into prints, achieved through delicate wiping and scraping. The print featured here is an adaptation of a painted portrait Carrière created of his close friend, the sculptor Auguste Rodin, a testament to their intertwined artistic journeys and shared aesthetic values.

Carrière occupies a significant position in the realm of fin-de-siècle Symbolism, which took shape in the visual arts during the mid-1880s. His work, characterized by a poetic, dreamlike quality, resonated with Symbolist critics such as Charles Morice and Jean Dolent. The latter described Carrière's art as a reality suffused with the enchantment of dreams. Carrière also engaged with Symbolist theater and frequented the Café Voltaire, firmly embedding himself in the heart of the Symbolist movement. Through his use of subdued colors, soft focus, and the shrouding of figures in a dense, dark atmosphere, as seen in "Maternity" (c. 1889), Carrière achieved an ethereal sense of space, light, and color, infusing his images with pervasive stillness.

Carrière's profound belief in the essential unity of humanity led him to view his family as a microcosm of all mankind. While many of his paintings depict family members and relationships, his focus on the universal rather than the specific often resulted in figures lacking distinct individuality, set within formless surroundings. He also created a series of portraits, including notable examples like his portrayal of the poet Paul Verlaine (1890) and the sculptor Louis-Henri Devillez (1887).

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"In individuals, insanity is rare; but in groups, parties, nations, and epochs, it is the rule."

- Friedrich Nietzsche

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The human condition by René Magritte, 1933

René Magritte had a particular fondness for two recurring themes in his art: the "window painting" and the "painting within a painting." One of his early explorations of these themes can be seen in "The Human Condition," where he ingeniously combines the two, creating what could be considered his most subtle and profound commentary on their shared significance.

In "The Human Condition," we are presented with a room containing an easel positioned in front of a window. This easel holds an unframed painting of a landscape that appears to seamlessly blend with the actual landscape visible through the window. Initially, it's natural to assume that the painting on the easel represents the portion of the real landscape hidden by the window frame. However, upon closer reflection, one comes to realize that this assumption rests on a false premise: the idea that the imagery within Magritte's painting is real, while the painting on the easel merely symbolizes that reality. In reality, there exists no disparity between the two; both are integral components of the same artwork, part of the same artistic creation. Magritte's title may well allude to this recurring cycle, in which the observer, often against their inclination, perceives one as reality and the other as representation.

Magritte's utilization of a curtain in this artwork evoked a technique that had previously been embraced by several Old Masters. They used it as a trompe-l'oeil method to engage the viewer with the composition, revealing the artifice of the scene, and demonstrating their skill in rendering something as lifelike as the drapery hanging in front of a painting. This technique is exemplified in works like "The Art of Painting" and "The Girl with a Pearl Earring" by Johannes Vermeer, where the curtain serves a similar purpose.

Magritte, too, employed a similar concept in his exploration of the nature of the picture's surface, and he did so with great creativity, as seen in the stage curtain featured in "The Human Condition." In this way, he continued the tradition of using curtains to engage the viewer and provoke contemplation about the relationship between reality, representation, and the artistry behind it.

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Fallingwater by Frank Lloyd Wright, 1935

Nestled in the serene Pennsylvania wilderness, "Fallingwater" is a testament to the genius of Frank Lloyd Wright. It's not your everyday house; it's an extraordinary fusion of art and architecture that coexists harmoniously with nature.

Perceive a house daringly perched over a waterfall, as if it grew from the very rock and water it shares space with. Fallingwater's design, with its cantilevered balconies and terraces, feels like an extension of the natural world.

Wright's vision for Fallingwater transcends the ordinary. Its horizontal lines and use of local stone and wood materials create a seamless connection to the environment. It's as if the house and nature are in a silent, timeless conversation.

Over time, Fallingwater has earned the title of Wright's "most beautiful job." It's not just a house; it's a living tribute to architectural innovation. It has also found its place on the Smithsonian's "Life List of 28 Places to See Before You Die," a recognition of its enduring impact.

Fallingwater isn't just a house; it's an architectural marvel that continues to inspire. Its ability to blend human design with the natural world makes it a timeless masterpiece. It's a testament to Frank Lloyd Wright's enduring influence on the world of architecture.

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Søren Kierkegaard claimed that if a person behaved perfectly rationally they would be so discordant with civil society that people would deem them mad.

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The Treachery of Images

"The Treachery of Images," originally painted by Belgian surrealist artist René Magritte in 1928-1929, challenges the way we perceive and interact with language and imagery. The artwork features a simple depiction of a pipe, accompanied by the text "Ceci n'est pas une pipe" (French for "This is not a pipe") written just below it.

At first glance, it appears to be a straightforward representation of a pipe, but Magritte's intent was to provoke thought about the relationship between words, images, and reality. The painting reminds us that what we see in a work of art is not the same as the physical object itself. It is, in fact, a representation or interpretation of that object.

"The Treachery of Images" invites viewers to question the nature of representation and the role of language in shaping our understanding of the world. It challenges us to think critically about how we perceive and communicate ideas through art and language, making it a thought-provoking and lesser-known masterpiece in the realm of surrealism.

This artwork's concept and execution make it a fascinating piece that continues to captivate those who encounter it.

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The Song of Love

"The Song of Love" is a surrealist painting created by the Italian artist Giorgio de Chirico in 1914. This enigmatic and dreamlike artwork is characterized by its eerie, deserted cityscape. In the foreground, you'll find a classical statue, a rubber glove, and a green ball, all placed in a mysterious and seemingly irrational arrangement.

The painting's atmosphere is both unsettling and contemplative, as it combines elements of classical antiquity with a sense of modern dislocation. The long shadows and the distant, receding perspective add to the overall feeling of quiet unease. De Chirico's work is often associated with the "metaphysical painting" movement, which explores the mysterious and enigmatic qualities of everyday objects and urban landscapes.

"The Song of Love" is a lesser-known gem in the realm of surrealism and has captivated art enthusiasts with its ability to evoke a sense of mystery and contemplation. It invites viewers to delve into the hidden meanings and connections within its dreamlike composition.

This artwork challenges conventional perceptions of reality and symbolism, making it a fascinating piece to explore for those interested in surrealism and the avant-garde art movement of the early 20th century.

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The Lovers

"The Lovers" (Les Amants) is a captivating painting by the Belgian surrealist artist René Magritte, completed in 1928. This iconic artwork challenges conventional notions of love and identity. In the painting, two figures stand face to face, their heads enveloped by white cloth, concealing their faces entirely. Each figure seems to exist in a separate world, isolated within their own shrouded identities.

Magritte's use of juxtaposition and surrealism creates a dreamlike quality, inviting viewers to contemplate the mysteries of human connection and emotional intimacy. The enigmatic nature of "The Lovers" prompts questions about the barriers that sometimes exist between individuals in even the most intimate relationships, as well as the paradoxical nature of love itself.

The painting's symbolism and ambiguity make it a thought-provoking exploration of the complexities of human emotions and the masks we often wear in our interactions with others. "The Lovers" remains a lesser-known yet profoundly impactful work in the world of surrealist art, inviting viewers to ponder the enigma of love and identity.

"The Lovers" challenges viewers to delve deeper into the intricate layers of human relationships and the hidden aspects of the self, making it a compelling addition to the world of surrealist art.

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The Persistence Of Memory

"The Persistence of Memory" is a surreal masterpiece by the renowned Spanish artist Salvador Dalí. Created in 1931, this painting is an iconic representation of the dreamlike and surreal nature of Dalí's work. The artwork features a barren, otherworldly landscape with melting watches draped over various objects, including a tree and a distorted face.

The melting watches, often interpreted as symbols of the fluidity of time, create a sense of distortion and instability in the scene. The eerie, almost hallucinatory quality of the painting transports viewers into a realm where time itself appears to be in a state of flux.

While Salvador Dalí is a well-known artist, "The Persistence of Memory" may not be as frequently discussed as some of his more famous works, making it a fascinating and lesser-known gem in the realm of surrealism. It invites viewers to question the nature of reality and the fluidity of time in a captivating and thought-provoking way.

This painting is a testament to Dalí's unique artistic vision and his ability to challenge conventional perceptions of reality through his art.

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Under the Wave off Kanagawa

The work explores the impact of western culture and the advancement it had on conventional Japan. It gives a time stamp of the situation of Japan transitioning from its old way to a modern Japan. 

Although Japan opened its ports to outsiders in 1859; this masterpiece was created using a particular and exceptional European pigment: Prussian blue, which implies that a social trade existed during the 1830s.

After opening its ports to the western world, Hokusai's artwork immediately got famous and The Great Wave Off Kanagawa was sent out to Europe and America, where it was admired by famous artists like Van Gogh, Whistler, and Monet. The artwork has impacted numerous contemporary artists and poets. It has become something like its own brand in our modern times, a work famous for being famous.

The breathtaking composition of this woodblock print, said to have inspired Debussy’s La Mer (The Sea) and Rilke’s Der Berg (The Mountain), ensures its reputation as an icon of world art. Hokusai cleverly played with perspective to make Japan’s grandest mountain appear as a small triangular mound within the hollow of the cresting wave.

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Harvest at La Crau with Montmajour in the Background

During the time he lived in Provence, van Gogh braved the heat of the day and went out numerous times to paint the glorious countryside. He  completed The Harvest at La Crau, with Montmajour in the Background in June of 1888.

If ever a painting captured the beauty of a summer day in the country, this one is it. The color scheme is particularly appropriate, with a blue sky, blue carts, and blue sides of barns  encircled by the orange of the foreground, the wheat stack and the roofs of houses. These elements highlight the almost luminescent gold of the wheat that dominates the image. The brilliant red wagon wheels in the middle right of the picture draw the eye on a line leading back to the white Abbey of Montmajour in the far background of the upper left. Van Gogh was fascinated with the Abbey, visiting it at least 50 times.

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Three flags wave in front of Hamburger Kunsthalle. Their colors correspond to those of the German flag but do not quite match in proportion. Instead, these flags function as a diagram depicting the country’s wealth distribution: The barely visible red line represents the property holdings of those in the lowest-income brackets; the thin black stripe, the holdings of the middle class; and the fat yellow block, those of the big finance classes. This work, Korrektur der Nationalfarben (Correction of the National Colors), 1970, launches KP Brehmer’s extensive exhibition. According to a recent study conducted by the international Organisation for Economic Co-operation and Development, the distribution of wealth in German society remains especially unequal.

From the early 1960s until his death in 1997, Brehmer developed a politico-enlightenment practice that involved investigating the economic and psychosocial relations of the Western capitalist welfare state. He appropriated the modes of statistical measurement and representational forms of diagrams, charts, and graphs, collapsing them into the visual language of Constructivism or Pop art. In the series “Seele und Gefühl eines Arbeiters” (The Soul and Feeling of a Worker), 1978–81, he takes on a 1932 sociological study by Rexford B. Hersey that recorded the psychological state of workers laboring on the Pennsylvania Railroad in the early 1900s. Brehmer translated this data into a compositional grid, oriented by time on its horizontal axis and by the workers’ psychological states on the vertical. From there, he developed diagrams and musical compositions that transposed the emotional life of workers into what resembles Constructivist images and experimental music.

Before Mark Fisher titled his 2009 book Capitalist Realism: Is There No Alternative? to describe the normalization of neoliberal imperatives, Brehmer, together with Sigmar Polke, Gerhard Richter, and Konrad Lueg, chose Kapitalistischen Realismus as the name for their predominantly performative collaborations in West Berlin from 1963 to 1966. Brehmer’s prophetic critiques of everyday life in postwar West Germany are all too timely today, when the capitalist machinery continues to teeter dangerously and threaten everything in its path.

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In the series Identifications, works by leading artists from the 1960s were mounted one after the other. These were recorded according to their instructions, and they often feature in their own work. According to Schum, the title of the series should be taken literally. It underlines the unity between artist and work. When the work was first presented, he explained this as follows: 'We no longer perceive the work of art as a painting or sculpture not connected with the artist. On television, the artist can reduce his work to an attitude, a simple gesture, referring to his concept. The work of art is conveyed as a unity of concept, visualization, and the artist who provides the idea.' In some of the works, such as, those by Beuys, Ruthenbeck, Rinke, Rückriem Van Elk, Anselmo, Boetti, Calzolari, De Dominicis, and Gilbert & George, the role of the camera is confined to that of a recording instrument. In others, the artists interact with the camera, as in the case of Fulton, Brouwn, Merz, Zorio, Kuehn, Sonnier, and Serra. Gary Kuehn covers the matte glass of a television screen with criss-cross lines, to the accompaniment of a loud ticking sound. The spontaneous movement of drawing the lines is confined by the frame of the image. In this work (the only piece Kuehn made for television) his free movements and their confinement may be compared to the polarity between hard and soft material, of organic and geometric forms which is characteristic of Kuehn's work.