Favourite artists/artwork? I've taken a liking to Edouard Cortès' paintings of Paris lately
I've been slowing reading a Georgia O'Keefe biography and was quickly drawn to her early abstract oil paintings.
Anonymous :
23 days ago :
No.1848
>>1853
>>1848 thank you for your reflections
>>1854>>1848
here is the 'Coronación de la Virgen' as mentioned by anon
>>1880I've been thinking a lot about Caravaggio's The Calling of St. Matthew recently. Not sure why, it's just been bouncing around in my head.
Attached: Highway by George Tooker
>>1848
Not too long ago I had this "non-vicarious" experience seeing a Robert Delaunay in person at an Orphism exhibition at the MoMA. I was surprised at the difference, having seen this one (Simultaneous Contrasts: Sun and Moon) online previously. For abstract compositional works, I think the minute errors introduced by color correction etc. are especially likely to drastically change the work.
I went to the MNBA (Museo Nacional de Bellas Artes).
My favorite artworks were:
Portrait d'Ernest Hoschedé et sa fille Marthe
(Manet): I swear it looks unimpressive as a picture on a screen, but if you get to stand in front of it it's marvellous. It looks so simple, even lazy, but then I saw a strong intention in each of the strokes (perhaps even of subconscious nature; it wouldn't be crazy, considering the astounding ability of these artists).
>Landscapes by Sisley,such as Bords de rivière.
The only work by Van Gogh was astounding, too. I'm talking about Le Moulin de la Galette. I bought a small reproduction and, alas! it doesn't convey the beauty of it as well.
(Enough of impressionism.)
The works by Bouguereau, especially the monumental Premier deuil, albeit more "academic" (which I often don't like that much, since I 'overexposed' myself to it) were a prime example of the perfection humans reached when it comes to mimmicking reality.
_______
About sculpture...
I liked Rodin, of course. There were, too, some small bronzes of animals and fauns that were beautiful.
I used to hold medieval sculpture as a "lesser" manifestation of the medium, more than anything due to it being "common sense". But I was amazed at, for example, https://www.bellasartes.gob.ar/coleccion/obra/7811/,
https://www.bellasartes.gob.ar/coleccion/obra/7813/
... And this colorful painting: https://www.bellasartes.gob.ar/coleccion/obra/8922/, which almost convinced me to return to catholicsm. Well, not like that, but a heavy, sacred air filled the rooms, and a certain mystical and unfathomable connection with divinity was felt. Now I see why art was used as a doctrinary tool by the church when a huge percentage of the population was illiterate.
The Monumento al Senador Rosazza by Bistolfi (https://www.bellasartes.gob.ar/coleccion/obra/3638/) was a highlight of sculpture, without a doubt. Antonio Tartandini is another excellent sculptor I discovered there. "La Clarina" is particularly beautiful (a doubtless member of an exquisite canon), and the one which gave me the most pleasure to copy. The way he dealt with clothing is commendable.
Other works:
Rêverie, Chaplin
Le Banquet aprés le Triomphe, Leyniers
Portrait de Diego Martelli, Degas
Reposo, Schiaffino
Joven oriental, Romani
Cándido López series on the Triple Allegiance War (or Paraguayan War)
Sin pan y sin trabajo, de la Cárcova
The series La Conquista de México
The prehispanic art section was quite interesting, too, mostly because it was strongly linked to their beliefs, social hierarchies and way of living.
Sorry for the long post, lol. As you can see, I'm not very knowledgeable about Art, but I'm grateful for having had the opportunity to visit a place like this.
>>1848
I went to the MNBA (Museo Nacional de Bellas Artes).
My favorite artworks were:
Portrait d'Ernest Hoschedé et sa fille Marthe
(Manet): I swear it looks unimpressive as a picture on a screen, but if you get to stand in front of it it's marvellous. It looks so simple, even lazy, but then I saw a strong intention in each of the strokes (perhaps even of subconscious nature; it wouldn't be crazy, considering the astounding ability of these artists).
>Landscapes by Sisley,such as Bords de rivière.
The only work by Van Gogh was astounding, too. I'm talking about Le Moulin de la Galette. I bought a small reproduction and, alas! it doesn't convey the beauty of it as well.
(Enough of impressionism.)
The works by Bouguereau, especially the monumental Premier deuil, albeit more "academic" (which I often don't like that much, since I 'overexposed' myself to it) were a prime example of the perfection humans reached when it comes to mimmicking reality.
_______
About sculpture...
I liked Rodin, of course. There were, too, some small bronzes of animals and fauns that were beautiful.
I used to hold medieval sculpture as a "lesser" manifestation of the medium, more than anything due to it being "common sense". But I was amazed at, for example, https://www.bellasartes.gob.ar/coleccion/obra/7811/,
https://www.bellasartes.gob.ar/coleccion/obra/7813/
... And this colorful painting: https://www.bellasartes.gob.ar/coleccion/obra/8922/, which almost convinced me to return to catholicsm. Well, not like that, but a heavy, sacred air filled the rooms, and a certain mystical and unfathomable connection with divinity was felt. Now I see why art was used as a doctrinary tool by the church when a huge percentage of the population was illiterate.
The Monumento al Senador Rosazza by Bistolfi (https://www.bellasartes.gob.ar/coleccion/obra/3638/) was a highlight of sculpture, without a doubt. Antonio Tartandini is another excellent sculptor I discovered there. "La Clarina" is particularly beautiful (a doubtless member of an exquisite canon), and the one which gave me the most pleasure to copy. The way he dealt with clothing is commendable.
Other works:
Rêverie, Chaplin
Le Banquet aprés le Triomphe, Leyniers
Portrait de Diego Martelli, Degas
Reposo, Schiaffino
Joven oriental, Romani
Cándido López series on the Triple Allegiance War (or Paraguayan War)
Sin pan y sin trabajo, de la Cárcova
The series La Conquista de México
The prehispanic art section was quite interesting, too, mostly because it was strongly linked to their beliefs, social hierarchies and way of living.
Sorry for the long post, lol. As you can see, I'm not very knowledgeable about Art, but I'm grateful for having had the opportunity to visit a place like this.
thank you for your reflections
>>1848
I went to the MNBA (Museo Nacional de Bellas Artes).
My favorite artworks were:
Portrait d'Ernest Hoschedé et sa fille Marthe
(Manet): I swear it looks unimpressive as a picture on a screen, but if you get to stand in front of it it's marvellous. It looks so simple, even lazy, but then I saw a strong intention in each of the strokes (perhaps even of subconscious nature; it wouldn't be crazy, considering the astounding ability of these artists).
>Landscapes by Sisley,such as Bords de rivière.
The only work by Van Gogh was astounding, too. I'm talking about Le Moulin de la Galette. I bought a small reproduction and, alas! it doesn't convey the beauty of it as well.
(Enough of impressionism.)
The works by Bouguereau, especially the monumental Premier deuil, albeit more "academic" (which I often don't like that much, since I 'overexposed' myself to it) were a prime example of the perfection humans reached when it comes to mimmicking reality.
_______
About sculpture...
I liked Rodin, of course. There were, too, some small bronzes of animals and fauns that were beautiful.
I used to hold medieval sculpture as a "lesser" manifestation of the medium, more than anything due to it being "common sense". But I was amazed at, for example, https://www.bellasartes.gob.ar/coleccion/obra/7811/,
https://www.bellasartes.gob.ar/coleccion/obra/7813/
... And this colorful painting: https://www.bellasartes.gob.ar/coleccion/obra/8922/, which almost convinced me to return to catholicsm. Well, not like that, but a heavy, sacred air filled the rooms, and a certain mystical and unfathomable connection with divinity was felt. Now I see why art was used as a doctrinary tool by the church when a huge percentage of the population was illiterate.
The Monumento al Senador Rosazza by Bistolfi (https://www.bellasartes.gob.ar/coleccion/obra/3638/) was a highlight of sculpture, without a doubt. Antonio Tartandini is another excellent sculptor I discovered there. "La Clarina" is particularly beautiful (a doubtless member of an exquisite canon), and the one which gave me the most pleasure to copy. The way he dealt with clothing is commendable.
Other works:
Rêverie, Chaplin
Le Banquet aprés le Triomphe, Leyniers
Portrait de Diego Martelli, Degas
Reposo, Schiaffino
Joven oriental, Romani
Cándido López series on the Triple Allegiance War (or Paraguayan War)
Sin pan y sin trabajo, de la Cárcova
The series La Conquista de México
The prehispanic art section was quite interesting, too, mostly because it was strongly linked to their beliefs, social hierarchies and way of living.
Sorry for the long post, lol. As you can see, I'm not very knowledgeable about Art, but I'm grateful for having had the opportunity to visit a place like this.
here is the 'Coronación de la Virgen' as mentioned by anon
Thanks anon, I botched the link.
I've been thinking a lot about Caravaggio's The Calling of St. Matthew recently. Not sure why, it's just been bouncing around in my head.
Attached: Highway by George Tooker
>>1848
I went to the MNBA (Museo Nacional de Bellas Artes).
My favorite artworks were:
Portrait d'Ernest Hoschedé et sa fille Marthe
(Manet): I swear it looks unimpressive as a picture on a screen, but if you get to stand in front of it it's marvellous. It looks so simple, even lazy, but then I saw a strong intention in each of the strokes (perhaps even of subconscious nature; it wouldn't be crazy, considering the astounding ability of these artists).
>Landscapes by Sisley,such as Bords de rivière.
The only work by Van Gogh was astounding, too. I'm talking about Le Moulin de la Galette. I bought a small reproduction and, alas! it doesn't convey the beauty of it as well.
(Enough of impressionism.)
The works by Bouguereau, especially the monumental Premier deuil, albeit more "academic" (which I often don't like that much, since I 'overexposed' myself to it) were a prime example of the perfection humans reached when it comes to mimmicking reality.
_______
About sculpture...
I liked Rodin, of course. There were, too, some small bronzes of animals and fauns that were beautiful.
I used to hold medieval sculpture as a "lesser" manifestation of the medium, more than anything due to it being "common sense". But I was amazed at, for example, https://www.bellasartes.gob.ar/coleccion/obra/7811/,
https://www.bellasartes.gob.ar/coleccion/obra/7813/
... And this colorful painting: https://www.bellasartes.gob.ar/coleccion/obra/8922/, which almost convinced me to return to catholicsm. Well, not like that, but a heavy, sacred air filled the rooms, and a certain mystical and unfathomable connection with divinity was felt. Now I see why art was used as a doctrinary tool by the church when a huge percentage of the population was illiterate.
The Monumento al Senador Rosazza by Bistolfi (https://www.bellasartes.gob.ar/coleccion/obra/3638/) was a highlight of sculpture, without a doubt. Antonio Tartandini is another excellent sculptor I discovered there. "La Clarina" is particularly beautiful (a doubtless member of an exquisite canon), and the one which gave me the most pleasure to copy. The way he dealt with clothing is commendable.
Other works:
Rêverie, Chaplin
Le Banquet aprés le Triomphe, Leyniers
Portrait de Diego Martelli, Degas
Reposo, Schiaffino
Joven oriental, Romani
Cándido López series on the Triple Allegiance War (or Paraguayan War)
Sin pan y sin trabajo, de la Cárcova
The series La Conquista de México
The prehispanic art section was quite interesting, too, mostly because it was strongly linked to their beliefs, social hierarchies and way of living.
Sorry for the long post, lol. As you can see, I'm not very knowledgeable about Art, but I'm grateful for having had the opportunity to visit a place like this.
Not too long ago I had this "non-vicarious" experience seeing a Robert Delaunay in person at an Orphism exhibition at the MoMA. I was surprised at the difference, having seen this one (Simultaneous Contrasts: Sun and Moon) online previously. For abstract compositional works, I think the minute errors introduced by color correction etc. are especially likely to drastically change the work.
Oh, also: there's a Picasso with the same title as your Van Gogh (La Moulin de La Gallete) that impressed me deeply at that same Orphism show. The quality of the candlelight was kind of shocking in its evocative realism. As to be expected, the digital reproduction is significantly less moving!
I am lucky to be within easy walking distance of several Van Goghs at the Yale Art Gallery. The Night Cafe is easily my favorite.
Gaelic art especially during the Revival and the first decades of the Republic is aching with purpose. Art O'Murnaghan was self-taught at monastic Irish calligraphy and was commissioned by the Republic to create a seminal piece to honour the past dead. It's called The Book of the Resurrection (Leabhar na hAiséirighe) and was tragically never finished despite Art working on it his whole life until he passed away. What remains is 27 vellum sheets each focused on a distinct aspect of Irish heritage and the figures of the 1916 Easter Rising. The one I have attached is called "Men of The Harbours" honouring the smugglers bringing firearms and Erskine Childers with his boat Asgard.
Anonymous :
22 days ago :
No.1897
>>1904
>>1897
Reminds me of Mihaly Munkacsy somehow. Though more symbolist and less overwrought.
>>1905>>1897
Also, I'm not prone to picking favorites of anything but I could reasonably say that "Ein lieber Besuch" ("a dear visit", usually translated to "a dear visitor") by Max Kurzweil (it won't let me attach it, file too large) is probably my favorite painting (Nāve is also on the top for me though).
I also like Woltze, Repin, Surikov and Lukin ("It has come to pass", attached) among others.
I think Nāve (death) by Janis Rozentāls (attached) depicts death in a different light to what we are used to. Dignifying, reverent. It's a simple composition but very charged with symbolism and meaning.
Anonymous :
22 days ago :
No.1904
>>1910
>>1904
I just looked him up and he's an amazing artist. The similarities may be in the contrast created between the people and the background (almost a chiaroscuro effect) which gives it an air of simplicity even when the frame is crowded with people and things.
Following my two previous posts and the painters I mentioned, I'm very biased towards realism and don't usually go for abstract paintings. But if I had to mention a non-strictly realist painter, Sorolla goes without saying (the best impressionist by far, in my opinion). His house, which is a museum nowadays, is beautiful. Highly recommended if you ever come to Madrid.
>>1897
I think Nāve (death) by Janis Rozentāls (attached) depicts death in a different light to what we are used to. Dignifying, reverent. It's a simple composition but very charged with symbolism and meaning.
Reminds me of Mihaly Munkacsy somehow. Though more symbolist and less overwrought.
>>1897
I think Nāve (death) by Janis Rozentāls (attached) depicts death in a different light to what we are used to. Dignifying, reverent. It's a simple composition but very charged with symbolism and meaning.
Also, I'm not prone to picking favorites of anything but I could reasonably say that "Ein lieber Besuch" ("a dear visit", usually translated to "a dear visitor") by Max Kurzweil (it won't let me attach it, file too large) is probably my favorite painting (Nāve is also on the top for me though).
I also like Woltze, Repin, Surikov and Lukin ("It has come to pass", attached) among others.
Anonymous :
22 days ago :
No.1910
>>1925
>>1910
I think this was the painting I was unconsciously thinking of. There is an un-selfconscious attempt at seriousness and drama in the painting of the 19th century that I admire. Sorolla was not my radar but his paintings are excellent--
>>1904
>>1897
Reminds me of Mihaly Munkacsy somehow. Though more symbolist and less overwrought.
I just looked him up and he's an amazing artist. The similarities may be in the contrast created between the people and the background (almost a chiaroscuro effect) which gives it an air of simplicity even when the frame is crowded with people and things.
Following my two previous posts and the painters I mentioned, I'm very biased towards realism and don't usually go for abstract paintings. But if I had to mention a non-strictly realist painter, Sorolla goes without saying (the best impressionist by far, in my opinion). His house, which is a museum nowadays, is beautiful. Highly recommended if you ever come to Madrid.
Anonymous :
22 days ago :
No.1925
>>1975
>>1925
It's a lovely piece and I see the similarities with Rozentāl's painting even more. I agree with your description of 19th century art. It led me to think that what I like about painting is exactly that; a tranquil display of an important topic, done in such a way that it simply shows you what it must, but leaves it to you to fill in the details of what make it so profound. In a way, it acknowledges both the viewer's capacity for abstraction and the weight of what is shown in the canvas, and this is how we develop a bond with a piece of art.
I'm glad you liked Sorolla. Despite being well known in Spain, he remains very underrated worldwide. His "social realism" paintings are my favorites (where he displays more uncomfortable realities about the society of the time, sometimes in a critical way, which is a contrast compared to the sunny beach scenes he is famous for), for example "Triste Herencia" (Sad Inheritance) or "¡Aún dicen que el pescado es caro!" (They still say fish is expensive!, attached).
>>1910
>>1904
I just looked him up and he's an amazing artist. The similarities may be in the contrast created between the people and the background (almost a chiaroscuro effect) which gives it an air of simplicity even when the frame is crowded with people and things.
Following my two previous posts and the painters I mentioned, I'm very biased towards realism and don't usually go for abstract paintings. But if I had to mention a non-strictly realist painter, Sorolla goes without saying (the best impressionist by far, in my opinion). His house, which is a museum nowadays, is beautiful. Highly recommended if you ever come to Madrid.
I think this was the painting I was unconsciously thinking of. There is an un-selfconscious attempt at seriousness and drama in the painting of the 19th century that I admire. Sorolla was not my radar but his paintings are excellent--
Dumpin some photos I've taken of paintings over the last few years
Anonymous :
22 days ago :
No.1956
>>1966
>>1956
I'll shrink them when I get home, just don't feel like doing it on my phone tbh
>>1954
Nvm there all too big to post srry. Anyone been to the Clark in Massachusetts? Love that collection
I think the limit is 2MB anon you should be able to get them down pretty easily in a photo editor and still have good quality.
>>1925
>>1910
I think this was the painting I was unconsciously thinking of. There is an un-selfconscious attempt at seriousness and drama in the painting of the 19th century that I admire. Sorolla was not my radar but his paintings are excellent--
It's a lovely piece and I see the similarities with Rozentāl's painting even more. I agree with your description of 19th century art. It led me to think that what I like about painting is exactly that; a tranquil display of an important topic, done in such a way that it simply shows you what it must, but leaves it to you to fill in the details of what make it so profound. In a way, it acknowledges both the viewer's capacity for abstraction and the weight of what is shown in the canvas, and this is how we develop a bond with a piece of art.
I'm glad you liked Sorolla. Despite being well known in Spain, he remains very underrated worldwide. His "social realism" paintings are my favorites (where he displays more uncomfortable realities about the society of the time, sometimes in a critical way, which is a contrast compared to the sunny beach scenes he is famous for), for example "Triste Herencia" (Sad Inheritance) or "¡Aún dicen que el pescado es caro!" (They still say fish is expensive!, attached).
The most astounding painting I have ever seen is by a country mile John Martin's The Great Day of His Wrath.
Some years ago in London, the artistically uninitiated 13 year old me walked in on it hanging in a moodily lit gallery room and was immediately struck by it. Imagine never having seen nor heard of it and suddenly coming face to face with such a giant, vivid, cataclysm on canvas. It resonated with me before I had the words to describe why or even what it meant - that is the power of great art, after all; it has stuck with me ever since. Never before and never since have I seen God's awesome power so perfectly captured in paint. It takes an incredible depth of talent to capture His unfathomable power in static pigment, and that is precisely what John Martin could do and did. What a masterpiece.
Anonymous :
19 days ago :
No.2604
>>2617
>>2604
No doubt those same critics, who produce nothing but take upon themselves the easy hysteria of contrarianism, would in later centuries call Mark Rothko "evocative" and Tracey Emin "transgressive". Many art critics not knowing quality if it hit them in the face is as time-honoured a standard as those same people not knowing their anus from their eyeballs. In John Martin's case, they read the art's ability to be appreciated by the common man and not merely the effete intelligentsia that they covet being considered part of as an indication of the work being lowbrow, rather than as the assertion of its unequivocal universal aesthetic value. Nobody of sound mind, clear vision, and serious appreciation of the sublime would consider this to be a poor work of art, regardless of the supposed weaknesses of the artists' techniques.
>>2068
My fellow John Martin enjoyer!
I saw Belshazzar’s Feast at the Laing Gallery in 2011 and I was blown away. I wrote an essay on the themes of the painting and completely forgot about the first draft until your post reminded me of it.
You describe its ability to inspire awe very well. Martin’s work was considered vulgar and populist by some critics of his day, but I really think he makes up for his lack of refinement with his understand of scale and psychology.
>> 2604
Oops
Meant to reply to
>>2086
The most astounding painting I have ever seen is by a country mile John Martin's The Great Day of His Wrath.
Some years ago in London, the artistically uninitiated 13 year old me walked in on it hanging in a moodily lit gallery room and was immediately struck by it. Imagine never having seen nor heard of it and suddenly coming face to face with such a giant, vivid, cataclysm on canvas. It resonated with me before I had the words to describe why or even what it meant - that is the power of great art, after all; it has stuck with me ever since. Never before and never since have I seen God's awesome power so perfectly captured in paint. It takes an incredible depth of talent to capture His unfathomable power in static pigment, and that is precisely what John Martin could do and did. What a masterpiece.
Anonymous :
19 days ago :
No.2617
>>2628
>>2617
Here is Rembrandt's treatment of Belshazzar's feast, which I also quite like. Dramatic in a more intimate, stage-play-like way.
>>2652>>2617
Again, well said my friend.
Art is truly beautiful when it aligns itself to themes higher than itself, and allows the observer to contemplate these themes without needing access to bleeding-edge critical theories as justification. I am told Martin’s work lacks refinement, but its sincerity is what stays with me.
Whenever something is accused of being lowbrow, I always try and differentiate works that keep the crude impressions of the public at a base level by providing entertainment only, and the works that attempt to elevate them. Martin’s work surely falls into the latter category.
I’m always self conscious when making such statements, perhaps they seem simple to anyone who is browsing this thread and has a more nuanced and sophisticated view of art criticism than I do. But I’ve yet to hear, in clear terms, why the work of Martin is inferior on account of its contemporary popularity. Today we have the added hindsight of seeing the influence Martin had on landscape painting in general, something no amount of soyjak “it’s the marvel film of yesteryear!” gushing can detract from.
Anyway, here is a link to my draft. It’s overwrought, introductory and its conclusions don’t exactly align with my views now. Frankly, you summarised it better than I could have. Nonetheless I wrote it hoping I could introduce someone to the grandeur of the painting that, as you know, is best captured by seeing it in person.
Just having read it again I can see I also referenced the Rembrandt version!
https://www.essaysandaphorisms.com/p/5771a5c7-f331-4487-8774-0166d602d820?postPreview=paid&updated=2025-04-20T11%3A23%3A44.685Z&audience=everyone&free_preview=false&freemail=true
>>2604
>>2068
My fellow John Martin enjoyer!
I saw Belshazzar’s Feast at the Laing Gallery in 2011 and I was blown away. I wrote an essay on the themes of the painting and completely forgot about the first draft until your post reminded me of it.
You describe its ability to inspire awe very well. Martin’s work was considered vulgar and populist by some critics of his day, but I really think he makes up for his lack of refinement with his understand of scale and psychology.
No doubt those same critics, who produce nothing but take upon themselves the easy hysteria of contrarianism, would in later centuries call Mark Rothko "evocative" and Tracey Emin "transgressive". Many art critics not knowing quality if it hit them in the face is as time-honoured a standard as those same people not knowing their anus from their eyeballs. In John Martin's case, they read the art's ability to be appreciated by the common man and not merely the effete intelligentsia that they covet being considered part of as an indication of the work being lowbrow, rather than as the assertion of its unequivocal universal aesthetic value. Nobody of sound mind, clear vision, and serious appreciation of the sublime would consider this to be a poor work of art, regardless of the supposed weaknesses of the artists' techniques.
>>2617
>>2604
No doubt those same critics, who produce nothing but take upon themselves the easy hysteria of contrarianism, would in later centuries call Mark Rothko "evocative" and Tracey Emin "transgressive". Many art critics not knowing quality if it hit them in the face is as time-honoured a standard as those same people not knowing their anus from their eyeballs. In John Martin's case, they read the art's ability to be appreciated by the common man and not merely the effete intelligentsia that they covet being considered part of as an indication of the work being lowbrow, rather than as the assertion of its unequivocal universal aesthetic value. Nobody of sound mind, clear vision, and serious appreciation of the sublime would consider this to be a poor work of art, regardless of the supposed weaknesses of the artists' techniques.
Here is Rembrandt's treatment of Belshazzar's feast, which I also quite like. Dramatic in a more intimate, stage-play-like way.
>>2617
>>2604
No doubt those same critics, who produce nothing but take upon themselves the easy hysteria of contrarianism, would in later centuries call Mark Rothko "evocative" and Tracey Emin "transgressive". Many art critics not knowing quality if it hit them in the face is as time-honoured a standard as those same people not knowing their anus from their eyeballs. In John Martin's case, they read the art's ability to be appreciated by the common man and not merely the effete intelligentsia that they covet being considered part of as an indication of the work being lowbrow, rather than as the assertion of its unequivocal universal aesthetic value. Nobody of sound mind, clear vision, and serious appreciation of the sublime would consider this to be a poor work of art, regardless of the supposed weaknesses of the artists' techniques.
Again, well said my friend.
Art is truly beautiful when it aligns itself to themes higher than itself, and allows the observer to contemplate these themes without needing access to bleeding-edge critical theories as justification. I am told Martin’s work lacks refinement, but its sincerity is what stays with me.
Whenever something is accused of being lowbrow, I always try and differentiate works that keep the crude impressions of the public at a base level by providing entertainment only, and the works that attempt to elevate them. Martin’s work surely falls into the latter category.
I’m always self conscious when making such statements, perhaps they seem simple to anyone who is browsing this thread and has a more nuanced and sophisticated view of art criticism than I do. But I’ve yet to hear, in clear terms, why the work of Martin is inferior on account of its contemporary popularity. Today we have the added hindsight of seeing the influence Martin had on landscape painting in general, something no amount of soyjak “it’s the marvel film of yesteryear!” gushing can detract from.
Anyway, here is a link to my draft. It’s overwrought, introductory and its conclusions don’t exactly align with my views now. Frankly, you summarised it better than I could have. Nonetheless I wrote it hoping I could introduce someone to the grandeur of the painting that, as you know, is best captured by seeing it in person.
Just having read it again I can see I also referenced the Rembrandt version!
https://www.essaysandaphorisms.com/p/5771a5c7-f331-4487-8774-0166d602d820?postPreview=paid&updated=2025-04-20T11%3A23%3A44.685Z&audience=everyone&free_preview=false&freemail=true
Anonymous :
18 days ago :
No.2762
>>3010
>>2762
you can take up drawing and painting in your free time, no need to throw the rest of your life away. although the urge to devote yourself to one sole thing is enticing, I understand.
>>3033>>2762
Do you draw/paint yet? If you don't, get started. The difficulty and self-doubt of starting out on the path of artistic self expression will be enough to deflate your fantasy of how great a life dedicated to art will be. Urge dealt with. If are already an artist, well, there's your outlet right there. Good luck.
How do you deal with the urge of throwing everything away to learn drawing and painting? This is always what I get from these threads (+ enjoyment, thank you for sharing such great works).
>>2762
How do you deal with the urge of throwing everything away to learn drawing and painting? This is always what I get from these threads (+ enjoyment, thank you for sharing such great works).
you can take up drawing and painting in your free time, no need to throw the rest of your life away. although the urge to devote yourself to one sole thing is enticing, I understand.
>>2762
How do you deal with the urge of throwing everything away to learn drawing and painting? This is always what I get from these threads (+ enjoyment, thank you for sharing such great works).
Do you draw/paint yet? If you don't, get started. The difficulty and self-doubt of starting out on the path of artistic self expression will be enough to deflate your fantasy of how great a life dedicated to art will be. Urge dealt with. If are already an artist, well, there's your outlet right there. Good luck.
MC Escher is my personal favorite. An expert at the mind breaking art stuff
Max Leidlein, ‘Die Wilde Jagd’ (The Wild Hunt), nach einem alten Bilderbogen, from “Der Orchideengarten”, 1920
Rolf von Hoerschelmann (1885-1947), “Der Orchideengarten”, #8, 1920
Franz Stuck (1863-1928), ‘Die Sphinx’, “Die Kunst für alle”, 1903-04
Franz Stuck (1863-1928), ‘Der böse Gewissen’ (The bad Conscience), “Die Kunst unserer Zeit”, 1898
Franz Stuck (1863-1928), ‘Steam Power’, “Allegorien und Embleme”, 1882
Gustave Doré (1832-1883), ‘The Suicide of Gérard de Nerval’, “Die Graphischen Künste”, #32, 1909
Friedrich August Weinzheimer (1882-1947), ‘Szene aus Dantes Hölle’ (Scene from Dante’s hell), “Die Graphischen Künste”, #38, 1915
Sascha Schneider (1870-1927), ‘O, ihr Höheren’ (“Oh, You Higher Beings!”), “Deutsche Kunst und Dekoration”, #15, 1904-05
Woldemar Friederich (1846-1910), ‘The Wild Huntsman’, “The Quarterly Illustrator”, 1895
Arthur Rackham (1867-1939), ‘Raging Wotan…’, “The Rhinegold & the Twilight of the Gods” by Richard Wagner, trans. by Margaret Armour, 1910
Arthur Rackham (1867-1939), ‘The Rhine’s Fair Children…’, “The Rhinegold & The Valkyrie” by Richard Wagner, trans. by Margaret Armour, 1910
Ludwig Fahrenkrog (1867-1952), 'Die Wilde Jagd’ (The Wild Hunt), “Deutscher Wille”, 1917
Alfred Rethel (1816-1859), ‘Ausschnitt aus 'Auch ein Totentanz’, “Deutscher Wille”, 1916
Hedwig Klemm-Jäger (1862-1943), ‘August 1st 1914’, “Deutscher Wille”, 1917
William Blake - The Angels Hovering Over the Body of Christ in the Sepulchre
William Blake - The examination of Hiob: Satan pours on the plagues of Hiob
William Blake - The Great Red Dragon and the Woman Clothed with the Sun
William Blake - Dante running from three beasts is rescued by Virgil
William Blake - Job's Despair
Anything by Hendrik Vroom. I love maritime paintings, specifically by Dutch painters.