Hauss

"Promoting art that matters and inspires"

[cinema-shots]

Closer (2004)

[photosfromkhartoum]

Introducing my one and only Ibrahim Musa! The man who ran after me with a stick in Shambat, the subject of my first ever portrait, and the man who taught me how to drive (not like a woman, I must add) He loves Art - called him in cause I was short of moolah $$ comes in 5 minutes after I call! Who says family gotta be blood!

[stephslomostuff]

Anne Hathaway’s cottage, Stratford. February 2015.

[oblivious-b1tch-3000]

Henri de Toulouse-Lautrec

[haussco]

Tamas Andok: Planet Nivalis

[haussco]

The Enclave by Richard Mosse

Winner of the Deutsche Borsche Prize 2014

[haussco]

The making of The Enclave by Richard Mosse

[antonimus]

Antonio Lee Oil and acrylic on canvas. 100cm x 155cm

[designed-forlife]

Wonderland by Jaume Plensa

Spanish artist Jaume Plensa recently unveiled a giant new sculpture called Wonderland at the base of Calgary’s tallest tower, The Bow, in Canada. The wire mesh piece stands 39 feet high and resembles a young girl’s head. (It was actually inspired by a real girl in Spain.) Interestingly, the sculpture has two entrances so that visitors can walk inside of it. “My vision for Wonderland is to inspire everyone who experiences the sculpture: I believe the architecture of our bodies is the palace for our dreams,” said Plensa.

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[thecolorblockcurator]

The Artists Daughter at Home, William Howe Foote

[necspenecmetu]

Giacomo Antonio Melchiorre Ceruti (Il Pitocchetto), Two Boys Drinking Wine, 18th century

[femme-de-lettres]

Large (Wikimedia)

Arthur Hughes’ 1878 painting Uncertainty depicts a young woman waiting while her lover asks her father’s permission to marry her.

He’s left one glove on the chair beside her, and clutches the other in his hand.

As Sotheby’s quotes Rossetti’s brother as saying, “[t]he lover’s fine greyhound, left behind during the colloquy, looks with confident affection at the young lady”—indicating the duration of their courtship.

[tierradentro]

“La Grenouillère”, 1869:

1) By Claude Monet;

2) By Pierre-Auguste Renoir.

(…) The paintings depict a near-identical scene. It is one of tranquil informality, in which a group of smartly dressed holidaymakers relax in and around a popular swimming spot. The centre of both paintings is taken up with a social gathering on a small round island, located a few metres from the shore, which is reached by a narrow wooden pontoon that comes in from the left. Others are chatting in a café to the right of the picture or enjoying a swin on the far side of the island. In the near foreground are moored rowing boats, bobbing gently on the water, the shallow ripples of which are given a silvery glint by the afternoon sun.

Monet’s picture was only ever meant to be a sketch (he described it as a “bad sketch”).  “Bad” or not, it is a good example of early Impressionism: crudely painted, brightly coloured, quickly executed and portraying a modern bourgeois subject. As is Renoir’s version, for the same reasons. But the pictures are quite different in style and approach. Renoir directs his attention towards the social aspect of the gathering, making the pleasure-seekers’clothes, countenance and interaction his primary pictorial concern. For Monet people are not the point; his interests focused on the effects of the natural light on the water, boats and sky. His painting is crisper, less romantic than Renoir’s  soft-focus evocation of a halcyon day, his colour palette more harmonious, his compositional structure more rigid. The biggest difference, though, is in the amount of  rigour applied to accurate documentation. Monet’s rendition of the event is a believable account, whereas Renoir’s effort is sentimental and saccharine, a picture that owes as much to eighteenth-century Rococo as it does to Impressionism. (from “What Are You Looking At?: 150 Years of Modern Art in the Blink of an Eye”, by Will Gompertz).

[historical-nonfiction]

Friezes from the Etruscan tombs at Tarquinia. The northern Italian culture was influenced by Grecian colonies to the south, but with a distinctive style that is unique to the Etruscans and which influenced later Roman art styles.

[haussco]

The new series produced by Cuban artist Erik Ravelo was titled as "The untouchables", are photographs of children crucified for his supposed oppressors, each for a different reason and a clear message, seeks to reaffirm the right of children to be protected and report abuse suffered by them especially in countries such as Brazil, Syria, Thailand, United States and Japan.

The first image refers to pedophilia in the Vatican. Second child sexual abuse in tourism in Thailand, and the third refers to the war in Syria. The fourth image refers to the trafficking of organs on the black market, where most of the victims are children from poor countries; fifth refers to weapons free in the U.S.. And finally, the sixth image refers to obesity, blaming the big fast food companies.

[haussco]

Oil pastel sketch, Mary Cassatt

[haussco]

Court Jester by Diego Velázquez