Monthly Archives: April 2016

Tour of Picasso in Essays

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I had very little appreciation for Picasso until just now. His shrewd business practices have permanently entrenched him in American history as the founder of art techniques he admitted stealing. More books were written about him during his lifetime than the more than 400 years since Shakespeare’s life.

Here are two interesting essays from Harper’s magazine:

Picasso in Vallauris

Picasso ,Inc.

“No matter who I am, or what I am, or how I live, my work must stand or fall by its own merits.”

“The only thing we can be sure of is that this old body will only last a few more. So why trouble about me instead of my work? That’s a wonderful hat you have there!”

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Thank you,

Fyo

 

Thomas Eakins Controversy

This is what the weather outside is like.

 

Nice and Clear.

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To get to our destination we must travel through American Art by way of a series of corridors which remind us of Charlie and the Chocolate Factory. We come to a room which appears to have no exit. There is a tiny sliver in the back left hand corner of the room. This brings us to a small portal. We are given the choice of passage into three various fields of American Art history or to traverse other areas of world art which we will visit later.

 

We choose Thomas Eakins…

 

Whenever a prominent historical figure’s history is written down it seems inevitable for them to have controversy in their lives. Thomas Eakins’ portraits give a detailed glimpse of the upper class lifestyle during the late 1800s. His obsession with the human body was incorporated in his teaching style at the Philadelphia Academy of Fine Arts where he became a salaried professor and would eventually become director. He encouraged students to use photography to study anatomy and motion. He also integrated surgical dissection lessons which he learned while studying at Thomas Jefferson University. Plaster casts were created from these dissections which are shown in some of the pictures below.

Thomas had a insatiable desire to learn all he could about the human body and to be a great artist. He moved quickly towards becoming the director while teaching at the PAFA and was eager to share the knowledge he had gained with any who asked. He continually removed the mandatory loin cloths of male models and undressed himself to demonstrate movements of the pelvic muscles showing animosity or perhaps indifference towards the academy’s gymnophobic atmosphere until his forced resignation in 1886.

To be continued…

 

This man is fascinating.

 

This is the opening after being in the tiny corridor.

 

This is section devoted entirely to Thomas Eakins. The last picture includes some of his sketches which he believed should be done in paint. Mending the Net is a terrific piece which shows several different story lines.

Plaster casts of dissections at Philadelphia Museum of Art

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One of the only traces of Thomas Eakins found in the main halls of the Philadelphia Academy of Fine Arts.

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Self portrait of Thomas

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PoP Art and Yves Klein

I was at a dinner party recently and we began talking about the Pop Art exhibit and I said that it felt empty to me compared with the rest of the museum. They agreed and said something which I had never thought about before.

Pop Art has a foundation of sardonic sarcasm.

This puts everything into perspective for me and makes me appreciate Pop Art in general a little bit more. As well as giving an even deeper appreciation for the artists who seemed to get through this phase of sardonic sarcasm by not making it their core, but leaving tiny hints on the surface.
Yves Klein has always been one of my favorite artists and I particularly enjoy how there are many dimensions that are shown through the reflections and shadows displayed on the glass. His friend Arman, who is inside the case has a hint of a smirk from a joke in which he and Yves not doubt share, because it is most of the audience who are trapped behind dimensional minds.

The Emerging Self

We are now walking towards Thomas Eakins‘ art in the American Art section of the Museum. There is a long hallway with a new Edward Hopper painting at the entrance. Why they chose Ed to be a representation of American art is unknown. It is a recent addition and I have a sneaking suspicion the donor paid a large sum of money for the spot. Or perhaps the museum ran out of space. I like Ed but I’m not a fan of this particular piece, although it is beginning to grow on me; most likely implanting subconscious feelings which slowly convince me that there is a deeper, more significant meaning behind this particular work. This feeling is probably a misguided but it is working slowly but surely.

 Moving on we see a statue at the end of the hall. It beckons us like a light tower on a stormy night, which would make it pleasant, but as we walk towards it we start to get a sinking feeling. We have been deceived. All along the sides of us while we walk down the hallway are beautiful Italian drawings that seem filled with angst. What are they doing here in the American hallway? It looks like there is no outlet as we get closer to the statue of mourning. We start to feel closed in.
Our breathing quickens.
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