検索キーワード： 著者 "Edward Smith" すべてのカテゴリー

It is a historical peculiarity of landscape painting that it begins with the artificial, and only after that proceeds towards the natural. For example, landscape paintings, and especially fanciful Nilotic panoramas, were one of the genres produced by artists in Pompeii. When, with the Renaissance, landscape painting once again started to establish itself after a long interval, the representations of the surrounding world that artists began to produce as a separate and independent genre, rather than simply as a background for human figures, were usually more fanciful than real.

His sculptures have never been afraid of being seen. What I mean by this apparently paradoxical statement is that Pomodoro has never needed the shelter of the museum - defined by me here as "a space set apart for art" - in order to make his point as an artist. His sculptures have never been afraid of being seen. What I mean by this apparently paradoxical statement is that Pomodoro has never needed the shelter of the museum - defined by me here as "a space set apart for art" - in order to make his point as an artist.

The Tate Britain’s "display", Seeing Africa - it was hardly big enough to be called a proper exhibition - raised more questions than it answered. Consisting of paintings and sculptures drawn from a single private collection, it aimed to explore the subject of Africanisme through images of African people and African landscape made by European painters who traveled to the Dark Continent at the height of the colonial epoch. That is to say between the 1870s and the 1950s.

One of the commonest and most loosely used terms in any discussion of contemporary art is the word avant-garde. Indeed it often seems to be taken for granted that valid contemporary art and avant-garde art are synonymous.

Eco-art exhibitions are part of the trend of our times. Radical Nature, the show at the Barbican Art Gallery in London, demonstrated some of the possibilities and paradoxes of enterprises of this sort. Basically what the organizers had to do is to move the outside indoors. This set them both practical and, in their own terms at least, moral problems.

Pablo Gargallo is often described as "Cubist" sculptor, partly thanks to his signature technique of hollowing out or reversing volumes, and partly due to his links with Picasso, one of the two undoubted inventors of cubism. In the strict sense, the idea of cubist sculpture is an oxymoron. Despite its undoubted early links to the African tribal sculptures that partly inspired Picasso’s transition to a new and radical style, cubism was essentially an attempt to find a better and more complete way of representing forms on a flat surface.

The big exhibition of Matisse's Cut-Outs at Tate Modern in London was, certainly on the face of it, everything that a major museum of modern and contemporary art should be doing. It was beautifully presented, very professionally curated, had an extremely thorough, excellently illustrated catalogue, and was greeted with ecstatic reviews.

'AIDS art' is essentially an American invention. It has now manifested itself in a large number of different locations, but is almost invariably based on a model of artistic activity that evolved in the United States - one that was a response to the impact made by the epidemic on sections of American society.

The artist Ingres was a supreme bourgeois who also succeeded in being one of the supreme rebels of 19th-century art. Like Caravaggio, his opposite in most respects, he is historically recalcitrant.

There is room for a book on this subject, among the vast mass of publications about the visual arts that flow from British and American publishing houses every year. Gay art, from being a quasi-forbidden topic, is now fashionable, not least among would-be up-to-the-minute academics.

In Chinese culture, calligraphy is so closely allied to traditional modes of ink-and-brush painting as to be almost indistinguishable from them. There is no definite border between the two art forms, as this exhibition amply demonstrates.

Lucio Fontana is rightly regarded as one of the most important Italian artists active in the 20 years after World War II, important not only in Italy, but in a pan-European sense. It is, however, also important to remember additionally that he was born in Argentina and spent quite important parts of his early career there, working first as an assistant to his father, Luigi, a sculptor, and then independently.

The Antonello da Messina exhibition now at the Scuderie del Quirinale in Rome is one of those rare occasions that takes place only once in a lifetime. In fact, an exhibition devoted to Antonello will almost certainly never happen again. Like Vermeer, whom in some respects he resembles through his quietism, he is known through very few paintings - less than 50 in all. About two-thirds of these have been gathered together for the exhibition.

The magnificent Veronese show that opened at the National Gallery in London in 2014 met with a curiously subdued response from local reviewers. They recognized that it was a magnificent event of its kind, and one that was especially appropriate because the gallery has an important group of works by this 16th-century Venetian painter in its own collection, among them the famous Family of Darius Before Alexander.

In this volume of the series of short science fiction stories we discover new sapient races, a race to Mars, planets disintegrating, psionic interlopers, hidden ancient worlds, explosive exploits and time travel. The stories are: 'Atom Drive' by Charles Louis Fontenay, 'Hot Planet' by Hal Clement, 'Nobel Redman' by Jesse Franklin Bone, 'Seed of the Arctic Ice' by H. G. Winter, 'Silver Dome' by Harl Vincent, 'The Vortex Blaster' by Edward Elmer Smith and 'Time and Time Again' by H. Beam Piper.

Once upon a... time there was a marvellous land of Snergs. Miss Watkyns, a teacher who loved children, lived there. Just over the river lived Golithos, a not so friendly giant, who also loved children – with a lot of salt! He had a friend called Mother Meldrum, the wickedest witch that ever lived. When Sylvia and Joe run away for a big adventure their lives are in deadly peril when they fall into the clutches of these two evil characters.

When Beryl Cook died, she was the subject of a large number of obituaries. Some of them were predictably condescending, which I suspect she would not have minded a bit. The really telling thing, however, is what has happened since then on the web. If you go to the site maintained by The Times, still regarded as the British paper of record, and look for the paper’s obituary archive, you will find a section within it devoted to "Artistic Genius". The subtitle is "Artists and makers who changed the way we see".

Eminent art historian and writer Edward Lucie-Smith discusses an ambitious digital art book series called 100 London Artists, designed to celebrate London as an art city.

Every now and then, an exhibition comes along that hits you in the solar plexus. The compact Daumier show at the Royal Academy in London is one of those. It is housed in the moderately sized Sackler Galleries on the top floor of the building, not in the main exhibition rooms below, where it would be swallowed up. Most of the works on view are quite small. Very few are more than medium sized. For the most part, the color is subdued. Indeed, some of the paintings seem monochromatic until you examine them more closely, The range of subjects is, if not exactly restricted, not hugely wide.

The Gale Dictionary of Psychoanalysis defines ‘self-representation’ as “the image the subject has of him or herself based on his or her own interpretation.” The hugely influential 20th century psychoanalytic researcher and philosopher Jacques Lacan enlarges on this by speaking of “the finally donned armor of an alienating identity that will mark [the subject’s] mental development with its rigid structure.” Not surprisingly, psychoanalysts see this construct as a manifestation of the ego, and also as something intimately linked to narcissism.