Paint Your Palette Orange and Red
I know too little about art history, I seek to change that.

Don't think this is a serious blog, though. I mean, it might get serious, of course, but I'm quite the goofball.

I can be serious, if it calls for it, probably not even then.

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De Kooning read widely in philosophy and literature, and he particularly liked Kierkegaard’s idea that everything necessarily contains its opposite. “That’s what fascinates me,” he told Rosenberg: “to make something that you will never be sure of, and no one else will….That’s the way art is.” 

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Whereas the surrealist used automatism to explore the workings of the unconscious mind and then turned to more conventional means to describe what they found. Motherwell and the other artists of the New York School saw automatism as a means for generating a form that would directly embody their existential struggle for self-definition. 

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Gorky, more than anyone, gave vanguard painting in the forties a tragic image. Yet he also symbolized the triumph of aesthetic experience over the vagaries of (even a potential tragic) life. His work brought the individual’s experience of the past (real and imagined) into the immediate present as an ineluctable element of one’s ongoing definition of self (in the existential sense) and demonstrated that art, if not life, is an act of intellectual will.

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The main part of Hoffman’s theories, however, concerns spatial dynamics and visual tensions. For example, he reasoned that “painting possesses fundamental laws. These laws are dictated by fundamental perceptions. One of these perceptions is: the essence of the picture in the picture plane. The essence of the picture is its two-dimensionality. The first law is then derived: the picture lane must be preserved in its two-dimensionality.” 

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"The mastery of continuous, unpredictable change is a central theme in Calder’s art. Its roots go back to the frequent dislocation of his unsettled childhood and the strain caused by his father’s illness. This background seems to have produced in the adult artist a surface resilience and an ability to keep emotional ups and downs out of sight by way of a dry wit and a disinclination to look inward."

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"Typically Kline started his paintings by first setting down the movement with fast gestural strokes in black and then cutting back the black with white, modifying and clarifying the idea. The paintings concern weight and movement rather than contours or forms."

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"The idea of creating free-associative episodes in boxes cam from the sequential narrative frames in early Italian Renaissance paintings. From a compositional point of view this allowed an isolation and simultaneity of symbols that paralleled the multiplicity of levels in the unconscious mind, and as a formal device made it possible to use automatism freely while at the same time maintaining control over the pictorial structure."

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"A great free joy surges through me when I work," he wrote,"And as the blues or reds or blacks leap and quiver in their tenuous ambiance or rise in austere thrusts to carry their power infinitely beyond the bounds of the limiting field. I move with them and find a resurrection from the moribund oppressions that help me only hours ago."

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stirringsouls:

STREET ART UTOPIA |We declare the world as our canvas |Street Art by Alice - A Collection

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slcsocialentrepreneurship:

Lalla Essaydi

1. Harem

2. Converging Territories

3. LFM Revisited

View from Inside: Contemporary Arab Photography, Video and Mixed Media Art

March 2014