MUCH LOVED Photographer Marc Nixon made a series of portraits of teddy bears and other stuffed animals along with their age, size and history. Some were very much loved :-)
These photos come from a book, “Much Loved” l Imprint : Abrams Image l Via
No one before Bernini had managed to make marble so carnal. In his nimble hands it would flatter and stream, quiver and sweat. His figures weep and shout, their torses twist and run, and arch themselves in spasms of intense sensation. He could, like an alchemist, change one material into another - marble into trees, leaves, hair, and, of course, flesh.
- Simon Schama’s Power of Art. Bernini
He stopped suddenly and looked at her with irony and contempt.
From I misteri di Roma contemporanea (The mysteries of contemporary Rome) vol. 1, author mentioned only by the initials G. S., Turin, 1861.
Water nymphs. These delightful statues were brought to England from Italy by Whitaker White in 1904 and are currently located at York House Gardens (Twickenham) alongside river Thames (South-West of London).
“I don’t think of architectural language as just a metaphor about space, but about spaces of power, about ideas of power.”
Julie Mehretu is an artist born in Ethiopia, raised in Michigan, educated in Senegal and Rhode Island and currently residing in New York. Mehretu’s complex pieces feature architectural forms, fictional landscapes, and grids layered with scribbles, smudges and shapes of different size and colors. Her paintings are more than just assemblage of random colors and lines. The underlying structure of her work consists of socially charged spaces such as government buildings, museums, stadiums, schools, and airports.
“I think architecture reflects the machinations of politics, and that’s why I am interest in it as a metaphor for those institutions.”
Julie Mehretu has received numerous awards including The MacArthur Award in 2005, often referred to as the “genius grant.” The American Art Award granted by The Whitney Museum of American Art (2005,) and the Berlin Prize: Guna S. Mundheim Fellowship at The American Academy in Berlin (2007).
YO HOLD ON.
A 2500 year old mummy that had some amazing tattoos.
IT GETS BETTER.
This mummy, found in the Altai mountains of Siberia, is actually that of a young woman who died at about the age of twenty-five; she is thought to have been a member of the Pazyryk tribe.
She was buried with six horses and two similarly-tattooed men (the horned griffon that decorates her shoulder also appears on the man buried closest to her, covering most of his right side), possibly escorts. She was also wearing a horse-hair wig, silk, and elaborate boots, which is all a level of ceremony that would have likely only been accorded to a woman of high rank. You didn’t get inked like this unless you were very important, and had worked your way up to that importance.
…Hence, of course, the references to her by researchers as ‘The Ukok Princess,’ although due to the lack of weapons in her grave they have concluded that the woman was in fact a healer or a storyteller.
And now I’m all consumed with curiosity: Who was she? What amazing things did she accomplish? Why these symbols, and what did they mean? Who were the two men alongside her?
The most informative article about it can be found here, although I would completely eat up any other information you guys could find.
The Pazyryk burials are INCREDIBLE, no lie.
art history meme | 3/5 movements: Impressionism
Claude Monet’s Impression, Sunrise exhibited in 1874, gave the Impressionist movement its name when the critic Louis Leroy accused it of being a sketch or “impression,” not a finished painting. It demonstrates the techniques many of the independent artists adopted: short, broken brushstrokes that barely convey forms, pure unblended colors, and an emphasis on the effects of light. Rather than neutral white, grays, and blacks, Impressionists often rendered shadows and highlights in color. The artists’ loose brushwork gives an effect of spontaneity and effortlessness that masks their often carefully constructed compositions, such as in Alfred Sisley’s 1878 Allée of Chestnut Trees. This seemingly casual style became widely accepted, even in the official Salon, as the new language with which to depict modern life.