It kinda feels like one in real life, except it was made in 1944, so obviously not. His self portrait does that a bit as well:
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Cool, now i know the name to one of his pictures, thanks!
think i haven’t seen him mentioned here yet:
Emil Nolde
(he did a series of these, called ‘Herbstmeer’ and added a roman number, iirc this is 11 or 12)
n.b.
looking for a few examples to post, i realized again that correct color-reproduction isn’t there, like, having seen some of these in person, you cannot help but feel the difference between the real deal and what we’re seeing here.
Gotta check out whether Sony really went along and put their correct color profile thingy in one of their later smart devices!
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Here is the one Emil Nolde image that I have:
I find that the coloring of painting scans varies widely. In most cases, I really don’t know which is closest to the original because I haven’t seen the original. So I just pick the one I like best.
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the fanciest ketchup and mustard bottles
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Vincent van Gogh
At risk of mentioning a painter too obvious to need mentioning, I’m including van Gogh here because I like his art and because for years I had seen only his most famous paintings. He has other good ones, too.
I guess it’s a good thing that his goal of becoming a pastor didn’t work out and his brother suggested he try painting. (Not that painting worked out any better for him, as far as making a living.)
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Was Vince the original weeaboo
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There’s a Samurai Champloo episode about this
ooh renoir!
and Little River, see here
are two of my personal favs.
Actually made me remember that i have to turn the calendar page to July!
Can’t resist posting a few of my favorites by Beksiński.
This one is a contender for my favorite painting in the world:
I have a (tiny, unfortunately) print of this one on my wall:
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Dave Coulter
More here: https://www.cheshireartgallery.co.uk/product-category/artists/david-coulter-artist/
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one thing i’d like to explicitly iterate is that I am very grateful for introducing us, or at least me, to painters i’ve never heard before, and wouldn’t know otherwise, or happen to get to know by chance -
and the latter thing is what made me think about for a while now, namely: how do you get in contact with new painters if you aren’t one, and how do you go about making it (not even Koons big, but rather biggish enough to survive, feed your family, pay your bills etc) in this modern world that’s so hung up on instant input without much reflection, and people that only give you seconds to grab their attention, while competing with so many other distractions…
Anyway, a second thought, for a different topic probably, but somewhat(?) connected:
Distinctive visual language in videogames, disconnected from the game - does it still work as a “piece of art”, or is it just yet another acreenshot, and what, if it is the former, makes it stand out?
Cuba mentioned recently the sepia-tone utilized in Deus Ex:HR, and it is the prime example of a game that manages to have a few memorable moments hidden among way too many mediocre setpieces. The few pieces of official artwork for both DX:HR and MD manage to capture my attention more than the games do (most of the time), whereas several pieces of artwork that people did for SotC manage to elicit the same feeling the game did - they “nailed it”, whatever it actually is.
And that’s what this thread made me think about, especially with the multitude of scenes, styles, execution, artists, motives, framing…
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I guess I have some input on this, not that I have any answers.
I’ve been doing art fairs lately, and that’s the only way I’ve every found of reliably selling my own work. That’s not to say I make money from it – usually I only barely cover my expenses – but it’s a way to get the stuff seen meet other artists. Also, I think they’re less intimidating for people to go to than gallery openings. The one I’ve been doing is mostly independent artists, so you’re talking to the person who made the work, and they tend to be less grandiose about it than a curator would be.
I have no idea how to do this for a living, though, honestly. I’ve met a few people who do it, but they’re like factories. Lots of editions and assembly-line-type production. My work doesn’t lend itself to that (I’ll post some recent stuff in the “your art” thread so you can see what I’m talking about). I’m fortunate in that I’ve been able to do this full-time for the past couple months, but I’ll probably be going back to working retail by the end of the year. Oh well.
@ellaguro had a good blog post recently that, among other things, outlined the division between rich kid artists who are allowed to consider ideas, and everyone else who are beholden to the market. It made me want to go back to retail right away. The art market is depressing just to think about, especially when you read articles about how it’s being squeezed like everything else is, and galleries are closing because billionaires are the only ones buying art and they only want it if it costs $10 million. In other words, there are not enough mere multi-millionaire art-buyers to afford the $10,000 price-tags necessary to make art profitable. Eugh.
I try to imagine a world where I can just make and show my stupid paintings without this monstrous apparatus propping the whole thing up. I don’t know what that looks like, though. In the short term, it probably means working retail.
But yeah, if you want to meet new artists, go to art fairs. Not the big ones. Satellite fairs.
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