A new exhibition at Rehs Contemporary Galleries explores the power of observation.
Toward the end of the 18th century in England, Romantic poetry began to emerge as a reaction against Enlightenment. One of the most enduring concepts of the genre is the idea of the sublime, which relates to the heightening of an experience by appealing to one’s emotions. William Wordsworth, one of the earliest proponents of romanticism, was particularly drawn to this notion. He wrote of how a poet he knew would go outside and jot notes about nature; he then wrote a description of what he saw rather than imbuing his poetry with his experience.
Wordsworth explained, “He should have left his pencil behind, and gone forth in a meditative spirit; and, on a later day, he should have embodied in verse not all that he had noted but what he best remembered of the scene; and he would have then presented us with its soul, and not with the mere visual aspect of it.”
In the visual arts, this idea often rings true as well, particularly when a painter puts brush to canvas and offers their interpretation of the world around them. These can be literal observations of the landscape or still lifes, or they can be more surrealistic imagery that they have created based on their experiences. Yet, all are more than the visual—they are filled with a spirit of the artist as they observe and take in what is before them.
Bu hikaye American Art Collector dergisinin April 2019 sayısından alınmıştır.
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Bu hikaye American Art Collector dergisinin April 2019 sayısından alınmıştır.
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Guardians of the Temple – Simon Dinnerstein reflects on The Fulbright Triptych 50 years later.
The Palmer Museum of Art at Penn State University exhibits Simon Dinnerstein's The Fulbright Triptych haunts the visual lexicon of 20th century American representational art. Fifty years have passed since Dinnerstein completed the painting in 1974.
A City Perspective
Leslie Gaduzo has always been interIested in art. Since childhood, he has been drawing constantly, from single point perspective drawings at age 10 to complex architectural drawings.
Living Legacy
The Butler Institue hosts Allied Artists of America's 110th Annual Juried Exhibition.
Elegant yet Approachable
The second edition of the RTIA Show presents even more art to explore and expanded special programming.
Figuratively Speaking
New York has always been an epicenter of artists on the edge of excellence, pushing the envelope and finding their voices.
JAMES AYERS: The Importance of Play
Like many artists, James Ayers' work took a turn during the Covid-19 pandemic. Seeing the enjoyment his kids took from playing with paint in his studio and exploring their creativity inspired him.
GINA MINICHINO: Playing with Food
Gina Minichino started her journey in visual arts because of Charles Schulz. \"He was my earliest influence for drawing and the reason I wanted to be a cartoonist,\" she says.
Island Light
The Cuttyhunk Island Artists' Residency is held in a sprawling, 100-year-old house on an island off the southern coast of Massachusetts.
Solitary Forms
Hogan Brown has been working with Arcadia Contemporary for two and half years and is excited to be featured in his first solo show at the gallery. He doesn't take for granted the many talented figurative painters Arcadia represents and is thrilled to be among them.
Living the Dream
Counterintuitively, David Gluck was a painter before taking up tattooing little more than a decade ago. While skin is a completely different substrate and ink a far cry from oil paint, the skills must be transferrable to some degree because there is a wait-time of nine months to get an appointment with him.