Like Us!

Worth Watching
  • Empires - The Medici: Godfathers of the Renaissance
    Empires - The Medici: Godfathers of the Renaissance
    A fascinating and highly entertaining look at one of the most important families of the Renaissance era--the Medici.
  • Sister Wendy - The Complete Collection (Story of Painting / Grand Tour / Odyssey / Pains of Glass)
    Sister Wendy - The Complete Collection (Story of Painting / Grand Tour / Odyssey / Pains of Glass)

    “Sister Wendy Beckett has transformed public appreciation of art through her astonishing knowledge, insight and passion for painting and painters.” This set includes Sister Wendy's Story of Painting, Sister Wendy's Odyssey, and Sister Wendy's Grand Tour. Simultaneously delightful and scholarly--this is a must have for anyone interested in art history.

  • Exit Through the Gift Shop
    Exit Through the Gift Shop
    When British stencil artist Banksy traveled to Los Angeles to work, he came across obscure French filmmaker Thierry Guetta and his badly organized collection of videotapes involving the activities of graffiti artists. Inspired, Banksy assembled them with new footage to create this talked-about documentary, and the result is a mind-boggling and odd film (so strange as to be thought a hoax by some) about outsider artists and the definition of art itself.
  • The Impressionists
    The Impressionists
    A dramatization of the Impressionist movement as seen through the eyes of Claude Monet. Highly entertaining and informative.
  • The Impressionists: The Other French Revolution
    The Impressionists: The Other French Revolution
    A very personal and revealing look at the personalities that created Impressionism.
Friday
Jul192019

Vacation Notice

The What About Art? team will be on vacation from July 21st through August 11th. Posts will begin again on August 12th.


Friday
Jul192019

Barbara Hepworth: Relationships to Space

Barbara Hepworth - Rock Form (Porthcurno) - 1964 - Bronze, Edition of 6, Cast No. 3 - 99-3/4 x 42 x 17 in. (253.4 x 106.7 x 43.2 cm) - Norton Simon Museum - Pasadena, CABritish artist Barbara Hepworth (1903-1975) distinguished herself as a world-recognized sculptor during a period where female artists were rare. She evolved her ideas and her work as an influential part of an ongoing conversation with many other important artists of her time, working crucially in areas of greater abstraction while creating three dimensional objects. 

Hepworth’s development of sculptural vocabularies and ideas was complex and multi-faceted. It included the use of a wide range of physical materials for sculpting and an unprecedented sensitivity to the particular qualities of those materials in helping decide the ultimate results of her sculptures. The investigation of "absence" in sculpture as much as "presence," and deep considerations of the relationship of her sculptural forms to the larger spaces surrounding it were of keen interest to her.

The work featured here retains the curving planes of much of her work. She produced it at a time when an increased demand for her work led her away from stone sculpture to bronze. Hepworth had a prosperous career within the modernist movement in England.

Wednesday
Jul172019

Quote of the Day

"Everything we see hides another thing, we always want to see what is hidden by what we see.” - René Magritte


Monday
Jul152019

Giacometti: An Existentialist 

Alberto Giacometti - Three Men Walking - 1949 - Bronze - 30 1/8 x 13 x 12 3/4 in. (76.5 x 33 x 32.4 cm) - Metropolitan Museum of Art, New YorkSwiss artist Alberto Giacometti  (1901-1966) had a remarkable career that traced the shifting enthusiasms of European art before and after the Second World War. As a Surrealist in the 1930s, he devised innovative sculptural forms, sometimes reminiscent of toys and games. As an Existentialist after the war, he led the way in creating a style that summed up the philosophy's interests in perception, alienation and anxiety.

In the late 1930s, Giacometti abandoned both abstraction and Surrealism, becoming more interested in how to represent the human figure in a convincing illusion of real space. He wanted to depict figures in such a way as to communicate a perceptual sense of spatial distance, so that viewers, might share in the artist's own sense of distance from his subject. The solution he arrived at involved whittling the figures down to the slenderest proportions.

Giacometti’s Surrealist works influenced such sculptors as Henry Moore (discussed elsewhere on What About Art?). His figurative work was instrumental in re-establishing the figure as a viable motif in the post-war period, at a time when abstract art dominated. 

“The rough, eroded, heavily worked surfaces of "Three Men Walking (II)" [featured here] typify his technique. Reduced, as they are, to their very core, these figures evoke lone trees in winter that have lost their foliage. Within this style, Giacometti would rarely deviate from the three themes that preoccupied him—the walking man; the standing, nude woman; and the bust—or all three, combined in various groupings.” (metmuseum.org)

Friday
Jul122019

Henry Moore: “Truth to Materials”

Henry Moore - Reclining Figure - 1935-36 - Elmwood - h. 19; l. 35; d. 15 in. - Albright-Knox Art Gallery, Buffalo (click photo for larger image)Henry Moore (1898-1986) is widely regarded as the most important British sculptor of the 20th century, and the most popular and internationally celebrated sculptor of the post-war period. He is best known for his semi-abstract monumental bronze sculptures, which are located around the world as public works of art. Moore also produced many drawings, including a series depicting Londoners sheltering from the Blitz during the Second World War, along with other graphic works on paper.

Non-Western art was crucial in shaping his early work. He often used abstract form to draw analogies between the human body and the landscape. 

The foundation of Moore's approach was direct carving, something he derived not only from European modernism, but also from non-Western art. At one point in his career, he abandoned the process of modeling (often in clay or plaster) and casting (often in bronze) that had been the basis of his art education, and instead worked on materials directly. He believed in the ethic of “truth to materials”—the idea that the sculptor should respect the intrinsic properties of media, letting them show through in the finished piece.

His forms are usually abstractions of the human figure, typically depicting mother-and-child or reclining figures. Moore's works are usually suggestive of the female body, apart from a phase in the 1950s when he sculpted family groups. His forms are generally pierced or contain hollow spaces. Many interpreters liken the undulating form of his reclining figures to the landscape and hills of his birthplace, Yorkshire.