Thursday, December 31, 2009

The Top Ten

Here's our list of the top ten artists at Fifty Two Pieces and the pages that made them so popular. Like most popularity lists this one is skewed by length of time a page has been circulating on the internet. Although Raphael and La Donna Velata made the cut it was just barely. However, Raphael only first appeared during the last week of October. Part of the reason Josef Sudek is a front runner in popularity has to do with the world wide audience Fifty Two Pieces has. Visitors come from all over the world and make frequent revisits. Although most of the over 17,000 visitors are from the United States, Canada and Great Britain, people from over 100 countries have dropped in on Fifty Two Pieces.

Check out these artists and the other 42 that we have presented in the last year. For each one on the Top Ten List we've also included a link to all of their posts.




Amy had this to say today...
My personal favorite, the artist I most enjoyed learning about this year, is you LaValle. This project taught me so much about partnership in writing and learning. It has been invaluable for me. I have logged into Fifty Two Pieces for the last time and no new years resolution will ever be the same.

LaValle had this to say on this last day of 2009...
Starting tomorrow, I'll no longer be thinking about what I'll be writing about on Fifty Two Pieces, nor will I be researching what that writing will be about, nor will I be waking up early to actually write it. Not doing all of that in turn will be leaving hours of extra time every day. What is she going to do you might ask? Voice from the Couch is also waiting to hear and not too patiently for that answer.

Well, I'll be starting a photography blog Portland Through My Lens. I'm challenging myself to ride the Portland Streetcar every day of 2010 and take photographs and post at least one of those images. The restrictions I'm imposing on myself are that the photos must be either from the streetcar or within two blocks of the streetcar. And I should amend the challenge to everyday that I'm in Portland since I do hope to travel sometime during the year. I'll have to come up with a sub-challenge for those days.

2009 has been a fine year, full of lots of planning, website maintenance and many discoveries. Thank you Amy for a great year. And thank you to everyone, all 17,000+ visitors, who have helped to make the year as good as it was.
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Wednesday, December 30, 2009

Claude Monet ~ Waterlilies and Mark Rothko


















Yesterday, Voice from the Couch couldn't put down the Monet and Modernism book. He had already read up on Andy Warhol and then found Mark Rothko in an earlier section. Voice had this to say... "Well of course, Rothko would be connected to Monet. This is great." Some time later, Voice let me have the book back and I was able to continue my reading on Rothko and some of his thoughts on Monet.
The reactions [of the viewers]...say unanimously my work has the power to convery anew way of looking. This message becomes visible through a new structural language they have never experienced before. In my pictures you find an unspoiled, conscious, elemental humanity. Even the pictures of Monet have something of this, which is why I prefer Monet to Cezanne... Despite the general view that Cezanne created a new way of looking at things and was the father of modern painting, I prefer Monet. Monet was the greater artist of the two. I don't agree with the current public opinion about the colorists and their art... because color in itself is among the sensory components of art.
This quote is from a conversation between Rothko and Alfred Jensen on June 17, 1953.

The two paintings above show Claude Monet's Water Lily painting from 1916 and on the right Mark Rothko's untitled, 1952 in similar yellow greens and lavenders. Rothko has taken the horizontal Monet with its visual field of waterlilies and made it vertical. Rothko carries the abstraction one more step. Take a look at the Rothko piece and you can that see his technique of taking spaces filled with color and then have them hover is very similar to the inner spaces of surface found in Monet's waterlily paintings.

And of course there is also the series aspect of Rothko's work. Much like Warhol (see yesterday's posting), Rothko is indebted to Monet for pioneering the concept of repetition, the creation of a series. A prime example of that would be his Seagram murals (see below). Originally designed for the Four Seasons the original plan was for seven – that is all the rooms the restaurant could handle. How many did Rothko produce? Not just the nine that ultimately became part of the Tate collection but 21 others for a total of 30. To see all of the Tate murals click here. There's also a curator's video at that site as well as gallery notes. The image below is of three of the murals. Voice from the Couch is making plans to see these sometime this year! Until then he plans to make frequent visits to the Portland Art Museum's Monet - Waterlilies.

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Tuesday, December 29, 2009

Claude Monet ~ Waterlilies and Andy Warhol ~ Flowers



















These two images are part of one of Andy Warhol's very successful series using the flower motif. The Flowers series in 1964 was based on a photograph of hibiscus flower blossoms. Warhol saturated the large images of the flowers with intense color and put them on a verdant background. They really do seem to float off the canvas much like Monet's treatment of lilies in his pond. Warhol deeply admired Monet's waterlilies spending much time with them at the Metropolitan Museum of Art.

So in addition to leaving the artists of the next generations the legacy of rich, varied color, Monet also introduced the 20th century art world to the concept of the series - "a systematic approach to the the subject of art and to pictorial means." His many studies of light and haystacks, cathedrals and waterlilies were the precursors to the many varied uses of a series. Some artists may present images in series so that all things are different, for others, the images are increasingly similar. Monet's Legacy Series - Order and Obsession in Hamburg in 2001 explored the connection between Monet and artists of the twentieth century. It's catalogue was intended to:
investigate the historical and cultural backgrounds against which artists began to work in series. Factors such as the advent of industrial mass production and the accompanying development of reproductive techniques will be taken into consideration, as will philosophical issues such as the notion of the whole and its parts, the individual and the collective, perception, space, movement and time.

Warhol is quoted in Monet and Modernism, another exhibition during 2002 as having said...
Most artists repeat themselves all their lives. Isn't life a repetition of the same things happening all the time? I just like doing the same thing over and over again. It's one way of expressing yourself! All of my motifs are always identical but also very different. They change wit the luminosity (of the color), with time, and with the atmosphere. Isn't life a series of motifs that change while they go on repeatin themselves?
If you listen carefully, you'll probably hear Claude Monet agreeing with those last two sentences.


Unfortunately Claude Monet's Waterlilies is the only waterlily painting owned by the Portland Art Museum. So to see a series of them in person, you'll have to travel to New York and visit the Museum of Modern Art and see all three of theirs. Or you can do a search on Google.








Voice from the Couch sat down with Monet and Modernism last night and had this to say...
"Hmmm... Warhol was born in 1928 and died in 1987.
You have to include this portrait. Those eyes in the negative will stay with you all next year."
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Monday, December 28, 2009

Claude Monet ~ Waterlilies and Ellsworth Kelly, Tableau Vert


This Ellsworth Kelly painting, Tableau Vert, is the first one he painted after he returned from his trip to Giverny to see Claude Monet's home. That was back in August of 1952. Kelly had just discovered that Monet had painted work after the infamous Haystack series. When Kelly arrived at Giverny, he saw a different Giverny than we see today or when Monet was still alive. After Monet's death in 1926, his house and gardens had not been kept up and had fallen into a state of disrepair. At the time Monet's stepson, Pierre Hoschede took Kelly to the studio to see the paintings that had been completed after 1900, Kelly walked into a building where pigeons were flying around. Those birds had entered through broken panes of glass. Leaves were strewn on the floor probably similar to the peanut shells at certain bars. However, the room was filled with paintings of waterlilies - about fifteen of them were over twenty feet long. Kelly describes them as "overall compositions of thickly applied oil paint representing water with lilies, no skyline. I felt that these works were impersonal statements. ... Monet's last paintings had a great influence on me, and even though my work doesn't look like his, I feel I want the spirit to be the same."

Ellsworth Kelly recently gave Tableau Vert to the Art Institute of Chicago in 2009. In an interview he talks of how he created it "by mixing blues and greens to echo the colors of grass underwater". Unhappy with the result when he finished it, he had set it aside until 1985. At that time he had this to say “I liked it, but perhaps that was because time had passed." Now that Tableau Vert hangs at the AIC it presents new challenges that would probably interest Monet. Like most paintings it changes colors depending upon the light that it is seen under.

Photographer Robert Hashimoto, has worked for the AIC for more than 25 years, and says that Tableau Vert has been the work that has been most difficult to shoot. Although the name of the painting translates as "green picture" it is a mottled blue-green. Hashimoto felt that to him the painting seemed almost blue when he had it in the studio. Here is how the resolution of that issue went down.
The photo proofs were made on an ink jet printer and compared with the painting in the galleries. Digital prints “metamerize” in mixed daylight and tungsten light, making the colors look strange under different wavelengths. The warm, yellow Tungsten light used in the galleries makes the painting look greener than it does in the color-balanced light of a photography studio. “Perception of color is so subjective,” Robert says, “everyone sees color differently.” After cataract surgery, Robert now sees far more intense colors than he’d seen before – particularly in the blue end of the spectrum. “That’s when I call someone in to give me a second opinion,” he says.
Monet, having had his own issues with both cataracts and myopia, certainly would have taken great interest in how the issue of light unfolded in this scenario.

If you want to see Tableau Vert in person, you'll have to travel to Chicago and visit Gallery 297 in the new Modern Wing of the AIC. Of course, Monet's Waterlilies is a bit more accessible for those of us who live here in Portland. We just need to go to the second floor of the CMCA at the Portland Art Museum.

Voice from the Couch reminded me to tell you that the photo of Ellsworth Kelly in this post is of Kelly while he was painting Tableau Vert in 1952.
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Sunday, December 27, 2009

Claude Monet ~ Waterlilies and Irises, Favorite Flower?


Ah, two days after Christmas and it's Monet time here at Fifty Two Pieces. The piece of the week is Monet's Waterlilies. Meandering around the internet I find multiple references to Monet's favorite flower. Now most of us might think it was a waterlily. After all, that was what he painted for so many years. But some would have it that the iris was his favorite flower. The iris isn't paramount in most people's minds or museums, but there are some images on the internet.


And Voice from the Couch weighed in with this ... "Lilies, I don't remember any lilies at Giverney except those fields of them heading towards the Mediterranean".
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