FRAGILE

⚔️art archive⚔️ ig @glass_chalice

[xphaiea]

Dorothy Eugenie Brett

[lostfunzones]

Lee Krasner, Untitled, 1949.

[chris-devour]

Alice at the factory / print and scan

https://www.instagram.com/chrisdevour/

Chris Devour

[vortexstreet]

Man Ray, La Fortune, 1938, Oil on linen, 23.7 × 28.8 inches (60.2 × 73.2 cm), Whitney Museum of American Art, New York

[newloverofbeauty]

Bather, Camera work by David Hockney  (1984)

[achillesinhighheels]

Ray Johnson, Candy Darling cast, 1970

[amare-habeo]

Alphonse Mucha (Czech, 1860-1939)

Reverie, 1898

Oil on canvas

[topcat77]

EGON SCHIELE

‘Reclining Woman’, 1917

[classicalcanvas]

Orchard at Louveciennes the English Pear Tree (1875) by Pierre-Auguste Renoir

[whynlewis-deactivated20180929]

‘Bound’

An old photograph of an old painting by me. www.whynlewis.com

[rearte2]

by Joan Mitchell, 1972

[kitsunetsuki-deactivated2026051]

Jeanloup Sieff (1987)

[fragrantblossoms]

Ruth Asawa working in her home, 1956. Photo by Imogen Cunningham.

https://ruthasawa.com/

[diana-andraste]

Dot Lady, Ruth Thorne-Thomsen, 1983, from Door Series

[fromthedust]

Jerry Uelsmann (American, 1934-1922)

When I was an undergraduate in the early 1970s Jerry Uelsmann was a visiting artist and gave a slide lecture showing his photographs at the school. I was enamored of his work, and when I took photography classes I tried (unsuccessfully) to emulate his work. My problem with that was that I tried to do it in the camera rather than in the darkroom.

Uelsmann decided the contents of the final print after rather than before pressing the shutter button — his photomontages were all done in the darkroom. Uelsmann constructed his dreams like a visual poet with results that often seemed emotionally more real than the factual world. His work influenced generations of both analog and digital photographers. Although he admired digital photography, he remained completely dedicated to the alchemy of film photography in the black and white darkroom — no Photoshop.

Prior to his sessions in the darkroom, he would study hundreds of negatives using contact sheets (proof sheets). The final print could take hours or days to resolve, but the journey was always magical according to Uelsmann. Trial and error were essential steps. A persistent theme was about the never ending mysteries of life. Beginning in the mid-1960s Uelsmann preferred the title, Untitled, for most of his photographs to invite various interpretations. He described his persona as “an unapologetic romantic” who loves working in the darkroom. Uelsmann produced composite photographs with multiple negatives and extensive darkroom work. He operated up to a dozen enlargers to produce his final images drawing from a large archive of negatives. When beginning a photomontage, he had a strong intuitive sense of what he was looking for, some strategy for how to find it, and an understanding that mistakes are inevitable and are part of the creative process. His darkroom session began by studying his negatives. He covered a large drafting table with hundreds of proof sheets. He folded and overlapped various contact prints, explored the visual possibilities, then brought the options into his darkroom. The negatives he had chosen were placed into different enlargers. He moved the photo paper progressively down the line of enlargers building up an image. Uelsmann was a firm believer that the final image need not be tied to a single negative.

[lonequixote]

Vase of Amaryllis by Henri Matisse

(via @lonequixote)

[ymutate]

Philip Guston, American, born Canada, 1913-1980 Red Box, 1977 Oil on canvas 172.7 x 245.7 cm (68 x 96 ¼ in.) Anonymous gift in commemoration of the generosity of Frances W. Pick, 1989.434 © The Estate of Philip Guston, found at artic.edu/aic