drawing

741 items found

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“I write about my own work because I want to speak for myself. I might not be the only authority, nor the best authority, but I want to participate in the writing of my own history. Why should artists be validated by outside authorities. I don’t like being paternalised and colonised by every Tom, Dick or Harry that comes along (male or female).”

— Marlene Dumas

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Why learning art history is important for artists

Artists should study art history for several reasons:

  1. Inspiration and Influence – Understanding past movements, styles, and artists can provide fresh ideas and insights that influence an artist’s own work.
  2. Technical and Conceptual Growth – Studying historical techniques, materials, and methods helps artists refine their own practice and expand their creative approach.
  3. Context and Meaning – Art is often a response to cultural, political, and social issues. Knowing the historical context of art allows artists to create work with deeper meaning and relevance.
  4. Avoiding Reinventing the Wheel – By learning from past successes and mistakes, artists can build upon existing knowledge rather than repeating what has already been done.
  5. Developing a Critical Eye – Exposure to a variety of styles and critiques sharpens an artist’s ability to analyze and evaluate art, including their own.
  6. Building a Personal Voice – Studying different artistic movements helps artists understand where they fit within the larger artistic tradition, allowing them to develop a unique style.
  7. Professional and Academic Opportunities – Knowledge of art history can open doors in teaching, curation, and other art-related careers beyond personal practice.
  8. Cultural Literacy – Understanding art history enriches an artist’s appreciation of global cultures and traditions, making their work more informed and impactful.

Ultimately, art history provides artists with a foundation of knowledge that can fuel creativity, enhance technique, and deepen the meaning of their work.

By ChatGPT

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If words didn’t matter, then why do artists give their work titles?

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donotdestroy:

The phrase “Let art speak for itself” likely emerged from the broader philosophy that art should be experienced and interpreted directly by viewers, without requiring excessive explanation or commentary. It aligns with ideas from movements like Romanticism and Modernism, which emphasized the emotional, personal, or universal power of art.

Key Contexts for the Phrase:

1. Romanticism (18th-19th Century):

Romantic artists and thinkers believed in the innate ability of art to evoke emotions and connect directly to the human spirit, minimizing the need for verbal justification.

2. Modernism (late 19th-20th Century):

Modernist artists often rejected traditional rules and advocated for the autonomy of art. They believed that art could stand on its own without the constraints of narrative or explanation.

3. Art Criticism and Philosophy:

Thinkers like John Ruskin and Clement Greenberg contributed to the idea that art should be appreciated for its intrinsic qualities—form, texture, color—without relying heavily on external context.

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On My Mind: The importance of words

donotdestroy:

There is of course a
difference between words in the artist’s mind and words of critique or
review. The artist’s words are words of intent, of defining the vision
or painting’s aim, and may be silent, or private. The critic’s words are
to conjure the achieved effect of the artist as the critic sees it. I
think trying to define what and why you are painting is important. These
words can enrich the way in which you put paint down, they can
determine what you choose to eliminate or emphasize. In itself a title
to a painting is already a lead-in both for you the artist and for your
viewer. I was recently looking at work of Korean painter whose work is
entirely abstract, a color field. His titles pertain to Korean pottery
referencing celadon and antique glazes. No question that expands one’s
appreciation/viewing.

—Anonymous

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“You really need faith in yourself to make art and to stand up for what you believe in.”

Elizabeth Peyton (b. 1965)
Annette Greenwich St.
signed with the artist’s initials, titled and dated ‘Annette Greenwich St. EP 2004’ (on the reverse)
oil on panel
14 x 11 in. (35.5 x 27.9 cm.)
Painted in 2004.
Price realised
USD 365,000

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“Painting is self-discovery. Every good artist paints what he is.”

Jackson Pollock
Number 28, 1949
signed and dated ‘Jackson Pollock 49’ (lower left)
enamel on canvas mounted on Masonite
12 7/8 x 13 in. (32.5 x 33 cm.)
Painted in 1949.
Price realised
USD 6,705,000

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“Painting is a means of translating what is intangible into something that can be grasped visually.”

Elmer Nelson Bischoff (American, 1916-1991)
Girls, Ocean, Mirror
signed, titled and dated ‘Elmer Bischoff/ Girls, Ocean, Mirror/ 10/61’ (on the reverse)
oil on canvas
53 ¾ x 72 in. (136.5 x 182.9 cm.)
Price realised
USD 100,000

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“A fool with a tool is still a fool.”

— Grady Booch

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“The value of art lies in its power to inspire, not in its price tag.”

— Unknown

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“From my rotting body, flowers shall grow, and I am in them, and that is eternity.”

Edvard Munch
Madonna (Schiefler 33; Woll 39)
lithograph with woodcut in black, rust red, blue and pale grey-green, 1895-1902, on tissue-thin Japon, a superb, strongly printed impression, the colors rich, Woll’s fourth state (of seven) before the additional strands of hair across the torso, signed in pencil, with wide margins, deckle along the upper and right sheet edges, the lower and left sheet edges trimmed at time of printing, in excellent condition, framed
L. 21 7/8 x 13¾ in. (556 x 349 mm.)
S. 25¾ x 17¾ in. (654 x 451 mm.)
Price realised
USD 650,500

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The Rothko Conspiracy – Suicide & Scams In The Art World (1983)

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“You meet rich people and you hang around with them, and one night they’ve had a few drinks and they say ‘I’ll buy it!’ Then they tell their friends, ‘You must have this person’s work, darling,’ and that’s all you need. That’s all it takes. Get it?”

Andy Warhol
Uncle Sam, from Myths
screenprint in colors with diamond dust, on Lenox Museum Board, 1981, signed in pencil, numbered 135/200 (there were also 30 artist’s proofs), published by Ronald Feldman Fine Arts, Inc., New York, with the artist’s copyright ink stamp on the reverse, the full sheet, in very good condition, framed
Sheet: 38 x 38 in. (965 x 965 mm.)
Estimate
USD 30,000 – USD 50,000

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