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The artworld fine art series highlights world famous and infamous artists throughout history, from the Renaissance period to the present.
SAM FRANCIS - Another Quick Look: A montage of Sam Francis Watercolors at the rise of his popularity from the late 1950s to the early 1960s. Includes an interview with longtime friend and art dealer Andre Emmerich. 6 min.
RICHARD POUSETTE-DART - Thinking with the Brush: One of the original Abstract Expressionists, Richard Pousette-Dart has just recently begun to receive the notoriety other New York School painters have long enjoyed. Often termed Painterly abstraction, see why Pousette-Darts paintings express an evocative field of color hinting at myth, ritual and psychological themes. 13 min.
In the world of painting modern artists are drawing inspiration from the old masters. In Venice, the birth- place of painting, Justin shows us how new paintings give a new lease of life to old works.
For many, visiting galleries and museums can be daunt- ing - all that noise, all those visitors, not enough time. How do we find that intimate moment with a painting in a public space?
For centuries the only way to capture a face was to paint it. Nowadays every handheld device can do the same job. Justin asks the question: are painted por- traits worth looking at in today's world?
Justin opens our eyes to landscape painting. He shows us how contemporary artists see landscapes today and how landscape painting has undergone an extraordinary transformation.
Guiding us through the seemingly 'nothing' world of ab- stract art, Justin teaches us that paintings that look like nothing at all always have something to say.
Justin blows a hole in the myth that paintings are can- vases contained within a frame, hanging on walls. Paint- ing has flopped right off the walls and begun to flirt with other art forms.
Artists, like many of us, are troubled by the issues of the world. Can painting, this seemingly silent medium, get to grips with the world outside and make a difference?
Developed as an adjunct to the exhibition Dive Deep: Eric Fischl and the Process of Painting, this 35-minute film is a co-production with the Pennsylvania Academy of the Fine Arts (PAFA) in Philadelphia. It is comprised of excerpts from interviews conducted by PAFA Director Harry Philbrick and Associate Curator Jodi Throckmorton of the San Jose Museum of Art in California at Fischl's Long Island and New York City studios. The film charts the course of the artist's creative process from his days as a student at California Institute of the Arts to the present.
Fischl speaks candidly and with a comedic sense about his schooling - breaking away from minimal abstraction, revolting against the suggestion that painting was dead, particularly figurative painting, as well as finding his own voice. He is generous in the detail of his approach, sharing questions he attempts to answer in his paintings along with the challenges of composition, concluding, "at a certain point paintings paint themselves. You just carry out what (they're) telling you to do. You can't change it."
Fischl works throughout the film in various media - paint, photography, sculpture and watercolor - moving effortlessly between each whilst opining on their respective merits. He lets us in on his influences, including the sculpture of Auguste Rodin and the paintings and photographs of Thomas Eakins. What connects them to his own broad body of work is the human figure; Fischl states, " I am interested in the relationship that a person has with their body. Their body is this interface between an internal world of feeling, self-regard, self loathing and this socialized world of availability signals, desire... you read all that. And that's the stuff that I am riveted to...that's the thing I find the most compelling about watching people."
One of the world's greatest living painters, the German artist Gerhard Richter has spent over half a century experimenting with a tremendous range of techniques and ideas, addressing historical crises and mass media representation alongside explorations of chance procedures. Infamously media-shy, he agreed to appear on camera for the first time in 15 years for a 2007 short by filmmaker Corinna Belz called Gerhard Richter's Window.
Her follow-up, Gerhard Richter Painting, is exactly that: a thrilling document of Richter's creative process, juxtaposed with intimate conversations (with his critics, his collaborators, and his American gallerist Marian Goodman) and rare archive material. From our fly-on-the-wall perspective, we watch the 79-year-old create a series of large-scale abstract canvases, using fat brushes and a massive squeegee to apply (and then scrape off) layer after layer of brightly colored paint. This mesmerizing footage, of a highly charged process of creation and destruction, turns Belz's portrait of an artist into a work of art itself.
DVD (English and German, Color, With English Subtitles) / 2012 / 97 minutes
Masterpieces of Carravagio and Rembrant exemplify the dramatic use of strong chiaroscuro. A detailed look at the work of art historians shows the process of determining authorship of a painting previously attributed to Rembrandt. Flemish paintings of the 17th century attest to the prosperity of the Netherlands in the Age of Exploration and dawn of travel, with genre paintings and landscapes coming into fashion with the emerging bourgeoisie
Albrecht Durer mastered the Florentine style of painting and spread its influence to northern Europe. Development of the European printing press made him a pioneer publisher and printmaker. German and Flemish portrait painters documented the lives of the European nobility and wealthy merchants, while the Bruegel workshops captured with poignant satire the day-to-day peasant life, conflicts surrounding the Reformation and the booming flower business. The painterly re-imagining of classical motifs by Rubens were the artist's commentary on war.
Breaking away from stylistic canon of medieval religious art, artists of the early Renaissance turned to oil painting, visual perspective and realism. Flemish 15th century master van Eyck introduced unprecedented realism to the rendering of light. Artists of the Florentine school turned to classical motifs and naturalism that ushered in the art of the Italian Renaissance. Oil painting continued to replace tempera and realistic modeling of form infused religious art with a humanist subtlety.
Artist Jerry Yarnell begins by explaining the paints, brushes, and canvas preparation for painting with acrylics and then directs students in the creation of an acrylic landscape.
Learning Objectives
1) Students will learn how to work with fast-drying acrylic paints.
2) Students will be shown how to mix colors on a palette.
3) Students will be shown a variety of techniques that will help them to develop as artists.
Robert and Susan Garden talk about concepts and supplies, and they demonstrate techniques, brushstrokes, and color mixing that will help students to create a masterpiece.
Learning Objectives
1) Students will learn how to use the 'color wheel' when painting.
2) Students will learn how to use color effectively and how to create shadows.
3) Students will learn how to create beautiful paintings in little time.
4) Students will learn techniques that will help to enhance their artistic renderings.
The making of art requires more than just expression. Artists not only EXPRESS ideas in work but they must also be able to PERCEIVE the world around them. Since the first spark of consciousness lit the pathway to the birth of Civilization man has endeavored to portray and capture flickers of the lonely vastness of his Universe, to portray that most intangible quality; the essence of being human. The expression of humanity communicated and preserved in tangible form. Art comes not so much from a knowledge of colors to mix, drawing skills, or the laws of perspective but from the adoption of a method of analysis of the world around us. A painting is an illusion, of space, of depths, of solid objects. Understand the mechanism of phenomena in nature and you can imprison it in two dimensions, in a painting. In this program, we will endeavor to show you that this ability is inherent in all and there is but one step in its attainment. It requires merely a change - a change in perception.
Learning Objectives
1. To help the student to understand what kinds of thoughts are going through an artist?s head when she or he is sitting before a blank canvas.
2. To help the student to understand if there any ways we can make painting easier and less daunting.
3. To help the student to understand the importance of tonal values in painting.
Clerio Demoraes discovered painting that comes from the unconscious mind by working with people with special needs. Unaware of making mistakes, they have taught him to be more imaginative.
"In my paintings I'm not inventing; my ideas come from constantly investigating how things look." - ElIsworth Kelly
Ellsworth Kelly is widely regarded as one of the most important abstract painters, sculptors and printmakers working today. Kelly insists on the connection between abstraction and nature from which he extrapolates forms and colors. Since the beginning of his career, Kelly's emphasis on pure form and color and his impulse to suppress gesture in favor of creating spatial unity have played a pivotal role in the development of abstract art in America.
This hour-long documentary, shot in High Definition, elucidates the true complexity of the artist's work. In following Kelly as he revisits the Paris of his early twenties, the film uncovers early influences that became leitmotifs he would return to, reiterate, refine, and re-work for decades to come. A spinal sequence, showing, from A to Z, Kelly's creation of two wall sculptures commissioned for the new U.S. Embassy in Beijing, provides a dramatic thrust to the film. Insightful commentary from scholars and critics including Robert Storr (Dean, Yale School of Art), Anne d'Harnoncourt (Director, Philadelphia Museum of Art), Alfred Pacquement (Director, Centre Georges Pompidou), Ann Temkin (Curator, MoMA) and Roberta Bernstein (Professor, University at Albany) helps to round out this definitive portrait of one of the true giants of American art.
Sandro Chia, Francesco Clemente, David Salle, Julian Schnabel, Georg Baselitz, Markus Lupertz. Narration by Donald Kuspit.
Critic Donald Kuspit sees the possibilities of modern art revitalized in the powerful expressive painting of this international group of artists. From an immense reservoir of choices, they have recovered myth, history, symbols and eroticism to use as subject matter, and have recharged the painterly gestures of previous generations with new intensity.
Directors: Edgar B. Howard, Phyllis Hattis Rubin and Catherine Price
In 1989, William S. Rubin, then Director Emeritus of the Museum of Modern Art's Department of Painting and Sculpture, organized its groundbreaking exhibition Picasso and Braque: Pioneering Cubism. Rubin gathered over 400 paintings and sculptures by the artists for the exhibition and charted their artistic partnership from 1907 until Braque went off to the Great War in 1914.
This unscripted lecture by Rubin was originally produced by The Museum of Modern Art and Checkerboard Film Foundation and was shown in conjunction with the 1989 exhibition. It is being reissued to commemorate William Rubin on the occasion of the 2007 exhibition Picasso Cubiste, organized by the Musee Picasso in Paris.