Lesya Boiko's Art

23/02/2023

Franz Ludwig Catel (22 February 1778 – 19 December 1856) was a German painter. He spent most of his career in Rome.
Catel was born at Berlin in 1778. He began his artistic career by carving in wood, and then designed book illustrations, including, in 1799, ten plates for Goethe's Hermann and Dorothea. He then worked in Indian ink and water-colours, producing in 1806 a large piece in the latter medium, representing The Death of Nicholas of Bernau, which gained him admission into the Berlin Academy. In 1807 he went to Paris, where he studied oil painting.
The year 1812 found him at Rome, where his education as an artist was much advanced by his connection with Koch, Overbeck, Schadow, and Cornelius.
His inclination led him more especially in the direction of painting landscapes with prominent architectural details or figures in the foreground often moving into the territory of genre painting. He attached himself to the new classic school of landscape, labouring especially to make his perspective tell effectively, and to gain a great mastery over light and shade. His ideas gained much in point of breadth from a visit to Sicily, which he made in company with Prince Golitsuin in 1818.
In 1824 he painted Crown Prince Ludwig at the Spanish Wine Tavern in Rome (Neue Pinakothek, Munich) a work commissioned by the prince himself, who is shown at an informal gathering of artists, mostly German, with a view of the Aventine Hill visible through an open door. He settled at Macerata in 1830, but returned home on a visit in 1840, on which occasion a professorship was bestowed on him by the King of Prussia.
Catel's landscape subjects included The Moonlight View of the Colonnade of St. Peter's, and The Storm on Mount Etna. In the Berlin Gallery are two Neapolitan views, both painted in 1822, and in the New Pinakothek, Munich, are eight works by him, views in Italy.
The success of his paintings made him prosperous enough to be able to set up and entirely finance a fund for young artists in Rome. He died at Rome in 1856
en.wikipedia.org/wiki/Franz_Ludwig_Catel

23/02/2023

en.wikipedia.org/wiki/Augustus_Edwin_Mulready
Augustus Edwin Mulready (23 February 1844 – 15 March 1904 was an English genre painter whose work often depicted London street scenes with urchins and flower-sellers.
Mulready came from a family of artists. His grandfather, William Mulready (1786–1863), came to London from Ireland and established himself as a very successful and popular genre painter and book illustrator. His grandmother Elizabeth Mulready, née Varley (1784–1864) was a landscape painter, and the sister of artist John Varley (1778–1842).
Mulready was born in Kensal Green, London,the third of five children of William Mulready Junior (1805–1878, portrait painter and picture restorer), and his wife Sara (1818–1874). He studied art at the South Kensington Schools and as early as 1861, at the age of 17, was already promoting himself as a figure artist. In the same year he entered the Royal Academy, London on the recommendation of John Callcott Horsley who took him under his patronage. In 1903, reflecting on Horsley's death, Mulready wrote that Horsley was "for so many years...regarded by myself as more than a father or valued friend I have known - whose many acts, by word of help and of kindness, throughout the days of his life to me have been so marked and fixed in love though now in tears of memory".
Mulready's artistic career was much overshadowed by the fame of his grandfather, William Mulready, who was remembered, praised, exhibited and referred to long after his death in 1863. He exhibited, however, at the Royal Academy between 1863 and 1880, at the Hanover Gallery, and the art galleries of Liverpool and Southport, and his paintings were sold at Christie's. In 1879, 'A Naturalist's Window' shown at Walker Art Gallery in Liverpool was praised by a local critic as representing "a group of persons in various stations of lfe, including an African nurse girl, looking at a stuffed gorilla in a naturalist shop. It is a remarkable production and does great credit to Mr A E Mulready.". His artistic manner - figurative painting with extensive use of colours and attention to detail - was similar to that of his father and grandfather.
From 1870, Mulready was associated with the Cranbrook Colony of artists, living, from 1871, at Waterloo Place, next door to F D Hardy. He returned to London in 1874. Being much younger than other members of the colony, he had little in common with them, and his art reflected on social issues of the day, particularly on the poverty experienced by children their struggle with adult problems - no over-sentimental rural or domestic scenes by him are known. He often depicted London street scenes with urchins and poor flower-sellers, such as 'A Day's Reckoning' and 'Sounds of Revelry', shown in 1886 at the Hanover Gallery, and 'A Flower Girl in a Red Shawl' and 'A Newspaper Boy Selling Papers' displayed at Walker's Gallery in Liverpool in 1887.
A large-scale painting "Homeless by Night" was exhibited in 1892 at the Atkinson Art Gallery, Southport, and described as a large painful picture, shows a number of gutter children of both sexes, preparing to sleep under one of the Landseer's lions in Trafalgar Square." A special feature of his paintings is the inclusion of street posters in the background, the text of which creates additional social and political context for the depicted scene. In this sense, his artworks correspond with problems raised by social activists of the era. Charles Dickens novels also influenced Mulready's paintings, such as “Hard Times” (1877, private collection). He was even described as 'a sentimental social realist'.
Mulready also occasionally experimented with landscape painting: In 1880, at Christie's, three of his small landscapes were sold - The Backward Course: A Sunny Day, A Rainy Afternoon and A Wintry Ave
Little is known about Mulready's private life. According to the England and Wales marriage index, Mulready married Maria in 1874 - the couple had two children: Claude Augustus, born in 1875 and Eleanor Julia, born in 1877.

23/02/2023

Hip-Hop Chronicler Sacha Jenkins on Curating a New Show to Celebrate the Movement’s Visual Language on Its 50th Anniversary

Entering the first gallery of Fotografiska’s “Hip Hop: Conscious, Unconscious” exhibition, it’s hard to imagine the array of black-and-white photographs, each documenting stark New York City street scenes, as containing the seeds of a globe-dominating cultural behemoth.

But they do. In between the images of kids cradling boomboxes in deserted lots, of youths manning turntables in the street, and of young street gang members play-fighting in a Bronx basketball court—variously shot by photogs including Jean-Pierre Laffont and Henry Chalfont—are captured the essence and energy of a subculture formed in response to and in spite of a bleak urban landscape.

23/02/2023

Georgia O’Keeffe’s Santa Fe Home, Visited by the Dalai Lama and Later Owned by Paul Allen, Is for Sale for $15 Million

After hitting the market in 2021 for $22.6 million, the New Mexico home of artist Georgia O’Keeffe, later bought by Microsoft co-founder Paul Allen, has now shaved its price to $15 million. It’s the latest attempt to offload Allen’s vast estate, said to be worth $20 billion, since he died in 2018.

21/02/2023

The Brauer Museum Is Under Fire for a $20 Million Deaccessioning Scheme Its Founding Director Deems ‘Utterly Disgraceful’

Once again, an art museum has come under fire for plans to sell art from its collection. This time, the institution in question is the Brauer Museum of Art at Indiana’s Valparaiso University, and it is looking to sell a trio of artworks by Georgia O’Keeffe, Frederic Edwin Church, and Childe Hassam estimated to be worth over $20 million to fund improvements to freshman dormitories.

In 2008, appraisers valued the Church painting, Mountain Landscape, at about $2 million. The following year, experts valued Hassam’s The Silver Vale and the Golden Gate at $3.5 million. But the true moneymaker is expected to be O’Keeffe’s Rust Red Hills, which is worth $15 million, according to a 2016 appraisal.

17/02/2023

Angelarium Tarot: Moon

The Moon is a card of illusion and deception, and therefore often suggests a time when something is not as it appears to be. Perhaps a misunderstanding on your part, or a truth you cannot admit to yourself.

Upright card (keywords): Deception, Difficult period, Fear, Hidden things, Insecurity, Mental confusion

Reversed card (keywords): Insomnia, Mysteries unveiled, Release of fear, Unhappiness, Unusual

17/02/2023

17/02/2023

With Her Unmistakable Post-Feminist Gaze, the Photographer Petra Collins Seems to Live and Breathe Today’s Aesthetic

By now, the artist and photographer Petra Collins’s name has become shorthand for a distinctive aesthetic. It might be used aspirationally, or derisively—the vibe you want for your ad campaign, the comparison you want to avoid at your undergrad photo crit. It has come to mean soft, dreamy focus; hazy, colored lighting; windows, phones, mirrors; glitter, flowers, lingerie. It is intimate but somehow surreal. It is nostalgic while still feelinng young. It is positively addictive, and has inspired a legion of imitators—but none who can keep up with her broadening vision.

Collins is now lending her eye to “The Goddess,” a collaboration between Cadillac and Artnet that is being unveiled today on Artnet Auctions, alongside works by Ming Smith and Dannielle Bowman. Each photographer was asked to present a vision of a contemporary goddess after the ornament that adorns Cadillac’s new ultra-luxury EV, CELESTIQ.

15/02/2023

Sólo date un respiro.

Diario mejoras un poquito, sólo que no lo has notado.
Chíngale duro ¡Y también date un descanso igual!

Celebra tus triunfos aún sean pequeñitos, luchaste por ellos.

Ahora mueve esas nalgas, que tu no naciste pa estar tirado en el suelo, masita peluda y triste.

Lo lograrás.

Dany.

15/02/2023

Art Industry News: The Met Recategorizes Three Painters as Ukrainian Amid Russian Invasion Tensions + Other Stories

Art Islands Are the New Status Symbol for the Super Rich – Private art islands are in fashion among the super-rich. Like the tech billionaire character in the 2022 movie Glass Onion who keeps the Mona Lisa on his Greek island, oligarch and AS Monaco majority owner Dmitry Rybolovlev is building a resort on his Greek island Skorpios, and the Carmignac family show their art collection in their foundation on the island of Porquerolles in the Mediterranean.