DOCSLIB.ORG

Developing a Still Life Paintings Art Collection

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Developing a Still Life Paintings Art Collection CoLLeCting ReSource guiDe Developing a Still Life Paintings Art Collection Laura Robb, Blue Cup with Crabapples, oil, 10 x 16. Discovering the prescient power and timeless appeal of still life art. A Quiet Dynamic David Riedel’s still-life paintings reveal a subtle sense of movement, mystery, and depth By g ussie F AuntLeRoy da vi D R ie D e L As the pAle light fades into dusk through north-facing skylights in his Portland, OR, studio, painter David Riedel sits quietly, watching a painting on his easel. His hands are in his lap. His tools at this moment are his eyes, closely observing how changes happen in the painting’s areas of light and dark— seeing how shadows and highlights fall on a brown clay jug surrounded by au- tumn leaves. What he’s hoping to see is the painting’s sense of mystery and depth increase in proportion to the studio’s disappearing light. “It may be a quiet still life, but it’s very dynamic,” the artist points out, his eyes still on the easel. “It’s not a station- ary thing at all. You have to be passion- ate about some idea, and then build in the tensions and energy and flow. There should be a lot going on. And the fascina- tion for me is: How well can I see what’s truly there?” As it turns out, since moving from northern New Mexico to Portland a few years ago, Riedel has had to work harder to see subtle variations in color and other nuances as he paints. For the previous 10 years he observed his paintings in the sharp, high-altitude light. That’s what filled the studio he and his wife, Rachel, built—along with an adobe house—on a mountainside north of Taos. When they moved to the Northwest, Riedel found himself facing a re-education in the Turquoise and Green, oil, 20 x 16. effects of light. www.SouthweStArt.com 2 Two White Onions, oil, 11 x 14. “Up here, the light is soft and silvery, DrAwing AnD other creative ac- he entered college at Northern Arizona and I have to struggle to see things. tivities have been central to Riedel’s life University, he headed for the architec- There’s not the sharp distinction be- since childhood. He was raised in Indiana ture department. But he soon switched tween warm light and cool light,” he ex- in the early 1960s, the son of a banker fa- majors, having realized architecture was plains. “I think it’s been really good for ther and a mother who loved to sit down no match for his growing interest in art. me. It pushes me to work harder to see, at the baby grand piano at night, playing He graduated with a bachelor’s degree in and the result is that I’ve learned to study elegantly while her four children were in fine arts in printmaking. He had a vague what I’m looking at more closely, to be bed. His was a “Norman Rockwell boy- sense of abstract expressionism but did very observant and careful with color.” hood,” the artist remembers, with bike not possess the fine art fundamentals a Riedel’s hard work has paid off. Already rides and playing in the nearby woods as future realist painter would need. For an award-winning artist whose still lifes daily fare. The exception for young David several years after graduation, in what are collected nationally and internation- was periodic downtime mandated by se- he describes as a “time of great energy ally, he received the top prize—the Amer- vere asthma. Confined to bed for as long and little direction,” he created land- ican National Award of Excellence—at as a week at a time, he would spend his scapes in pastels. “Hopefully,” he says, the Oil Painters of America national ju- hours reading and drawing. “I learned to smiling, “those early pieces will remain ried exhibition this past May. He also do those quiet things,” he relates. forever lost!” earned a merit award at this year’s Salon Surrounded by beautiful objects, in- Then, in 1986, he was introduced to International, which is held each spring cluding antiques, Chinese scrolls, and the Art Students League of New York. It at Greenhouse Gallery of Fine Art in San landscape paintings, Riedel absorbed was a career-sparking stroke of fate. He Antonio, TX. And while still life remains an aesthetic appreciation for such ob- enrolled there and everything changed. his primary genre, the 53-year-old artist jects. And while he was always encour- “For me, the concept of painting, as dis- recently has also begun showing his figu- aged in his love of art, there were no role tinct from drawing, was a revelation,” he rative and plein-air landscape work. models for making it a career. So when recalls, noting it was not until he was 30 www.SouthweStArt.com 3 that he picked up a paintbrush. His first woods away from everything and just car painting teacher, and one of the most camp and paint for a week—that’s one of influential figures during this period, my great loves.” was renowned still-life painter David Over the years Riedel has had ample Leffel. Sherrie McGraw and other in- opportunity to spend time in nature and structors also made a strong impres- paint on location. After Arizona he lived sion, and important living artists such as briefly in southern Colorado; in 1992 he Richard Schmid have left an inevitable moved to New Mexico to be close to mark on his work. a community of other artists in Taos. From 1986 to 1991, Riedel spent three to He met Rachel in a gallery in Taos and four months each year living in a friend’s they were married in 1994. Then came apartment in New York City and im- a daughter, Danica, and soon David and mersing himself in art. “The Art League Rachel began the “enormous, 10-year started teaching me the fundamentals of art project” of building an off-the-grid, drawing and painting,” he recounts. “But passive-solar adobe house and studio just as important was learning how to go from the ground up. about learning—how to pull each paint- Today the family has settled in urban ing a little farther along.” Completely Portland, near the Willamette River. Es- engrossed, he would paint and draw 12 pecially on blustery winter days, Riedel hours a day for weeks on end. When he finds a measure of wildness and solitude Red Onions, oil, 14 x 15. was finally exhausted, he would return kayaking on the river. In a more con- Enamel Pan and Peaches, oil, 11 x 15. for a few months to an isolated cabin in a tained way, his studio—in a former fac- canyon near Sedona, AZ. tory converted to art spaces—is a quiet There, alone, the artist more fully place as well. The artist has covered the pots, objects he collected during travels absorbed and explored what he had studio walls with neutral-colored fabric in Asia, and an assortment of dried flow- learned in New York. “The contrast was to reduce reflections that would inter- ers, branches, and leaves. wonderful,” he remarks. “Even now, to fere with shadows and color in his work. Things get shuffled around on the get out in a very quiet place, out in the Around him are shelves filled with vases, shelves over time, which often sparks the idea for a painting. Other works are born of a simple color combination or an intriguing shape. ENAMEL PAN AND PEACHES began when Riedel noticed the blue enamel pan he has used many times on camping trips. “One day it just caught my eye and I knew there was a painting there,” he recalls. In another instance, a branch of perfect red maple leaves hung drying on the wall for months before it became the inspiration for CLAY POT AND FALL LEAVES [see page 5]. However an arrangement starts, its journey to a finished painting taps into a wealth of knowledge the artist has ac- quired over nearly 25 years. Now, with technical painting skills under his belt, he is free to approach a work from various angles, depending on what interests him at the moment. “It’s never just stuff on a table,” he explains, referring to the expe- rience of visually exploring an arrange- ment. “It’s all about the relationships. Sometimes I’ll decide to play with edges more, or I’ll set up a good framework of shadows and work on that, or I’ll think of the image in a more abstract way, as pieces of color. These are all just internal games I play in the process of painting. “It’s never easy,” he acknowledges. www.SouthweStArt.com 4 Clay Pot and Fall Leaves, oil, 24 x 22. “Each time I set objects on the table it’s be limited to the studio. It’s your life. the yard, a neighbor’s strikingly beauti- a different environment or there are a It’s part of everything,” he says. Echoing ful cat is grooming itself under a tree in different set of parameters I set for my- the advice of a respected instructor, he the evening light. “Oh man,” he says, “if I self. So it’s always a challenge—which it adds: “When you see it now, do it now. In had my sketchbook with me—what a fan- should be.” other words, when you see something tastic pose!” F Another means of honing observational beautiful, don’t put it off; you might not and drawing skills is to always carry a see it again.” Colorado-based Gussie Fauntleroy also writes for Art sketchbook, something Riedel did dur- Settling into a chair in his front yard, & Antiques, New Mexico Magazine, Native Peoples, ing his student years and is training Riedel smiles ruefully as he discovers and the Santa Fean.
Load more

Recommended publications
  • Impressionist and Modern Art Introduction Art Learning Resource – Impressionist and Modern Art
    art learning resource – impressionist and modern art Introduction art learning resource – impressionist and modern art This resource will support visits to the Impressionist and Modern Art galleries at National Museum Cardiff and has been written to help teachers and other group leaders plan a successful visit. These galleries mostly show works of art from 1840s France to 1940s Britain. Each gallery has a theme and displays a range of paintings, drawings, sculpture and applied art. Booking a visit Learning Office – for bookings and general enquires Tel: 029 2057 3240 Email: [email protected] All groups, whether visiting independently or on a museum-led visit, must book in advance. Gallery talks for all key stages are available on selected dates each term. They last about 40 minutes for a maximum of 30 pupils. A museum-led session could be followed by a teacher-led session where pupils draw and make notes in their sketchbooks. Please bring your own materials. The information in this pack enables you to run your own teacher-led session and has information about key works of art and questions which will encourage your pupils to respond to those works. Art Collections Online Many of the works here and others from the Museum’s collection feature on the Museum’s web site within a section called Art Collections Online. This can be found under ‘explore our collections’ at www.museumwales.ac.uk/en/art/ online/ and includes information and details about the location of the work. You could use this to look at enlarged images of paintings on your interactive whiteboard.
    [Show full text]
  • Food Photography and Still Life Paintings: a Single Subject
    2019 FOOD PHOTOGRAPHY AND STILL LIFE PAINTINGS: A SINGLE SUBJECT IN MULTIPLE WORLDS. Bo Sosef Master Film and Photographic Studies – University of Leiden ----------------------------- Supervisor: Ali Shobeiri Wordcount: 24658 (including footnotes, bibliography, etc.) 15-8-2019 TABLE OF CONTENTS INTRODUCTION: P. 2, 3 CHAPTER 1: THE EVENTS AROUND FOOD STILL LIFE PAINTING IN THE DUTCH 17TH CENTURY. 1.1 INTRODUCTION: P. 4 1.2 PRECURSORS OF FOOD STILL LIFE PAINTINGS: P. 5 – 9 1.2.1. DISCUSSIONS ABOUT THE ORIGINS: P. 6 – 9 1.3 EARLY 17TH CENTURY FOOD STILL LIFE PAINTINGS: P. 9 – 13 1.4 THE DEVELOPMENTS OF THE DUTCH TRADE: P. 13 – 19 1.5 FOOD STILL LIFES LATER IN THE 17TH CENTURY: P. 20 – 26 CHAPTER 2: THE TRANSITION FROM FOOD STILL LIFE PAINTING TO FOOD PHOTOGRAPHY 2.1 INTRODUCTION: P. 27 2.2 THE INVENTION OF A NEW MEDIUM: PHOTOGRAPHY: P. 28 – 31 2.3 A TRIP TO THE OTHER SIDE OF THE WORLD: THE RELATIONSHIP BETWEEN PAINTING AND PHOTOGRAPHY IN THE NETHERLANDS INDIES: P. 31 – 35 2.4 BACK TO THE WEST: THE RELATIONSHIP BETWEEN PAINTING AND PHOTOGRAPHY IN THE WEST: P. 35 – 38 2.5 FOODIE CULTURE: P. 38 – 44 CHAPTER 3: THE DARK SIDES OF FOOD DEPICTION 3.1 INTRODUCTION: P. 45 3.2 THE TRICKS AND CONSEQUENCES OF FOOD MARKETING: P. 45 – 48 CONCLUSION: P. 49 – 50 BIBLIOGRAPHY: P. 51 - 55 IMAGES: P: 56 - 69 1 INTRODUCTION Food has been a crucial part of life since the very beginning of human existence and serves as a primary life need in order for humans to survive.
    [Show full text]
  • Impressionist Still Life 2001
    Impressionist Still Life 2001- 2002 Finding Aid The Phillips Collection Library and Archives 1600 21st Street NW Washington D.C. 20009 www.phillipscollection.org CURATORIAL RECORDS IN THE PHILLIPS COLLECTION ARCHIVES INTRODUCTORY INFORMATION Collection Title: Impressionist Still Life; exhibition records Author/Creator: The Phillips Collection Curatorial Department. Eliza E. Rathbone, Chief Curator Size: 8 linear feet; 19 document boxes Bulk Dates: 1950-2001 Inclusive Dates: 1888-2002 (portions are photocopies) Repository: The Phillips Collection Archives INFORMATION FOR USERS OF THE COLLECTION Restrictions: The collection contains restricted materials. Please contact Karen Schneider, Librarian, with any questions regarding access. Handling Requirements: Preferred Citation: The Phillips Collection Archives, Washington, D.C. Publication and Reproduction Rights: See Karen Schneider, Librarian, for further information and to obtain required forms. ABSTRACT Impressionist Still Life (2001 - 2002) exhibition records contain materials created and collected by the Curatorial Department, The Phillips Collection, during the course of organizing the exhibition. Included are research, catalogue, and exhibition planning files. HISTORICAL NOTE In May 1992, the Trustees of The Phillips Collection named noted curator and art historian Charles S. Moffett to the directorship of the museum. Moffett, a specialist in the field of painting of late-nineteenth-century France, was directly involved with the presentation of a series of exhibitions during his tenure as director (1992-98). Impressionist Still Life (2001-2002) became the third in an extraordinary series of Impressionist exhibitions organized by Moffett at The Phillips Collection, originating with Impressionists on the Seine: A Celebration of Renoir‟s Luncheon of the Boating Party in 1996, followed by the nationally touring Impressionists in Winter: Effets de Neige, on view at the Phillips in 1998.
    [Show full text]
  • California Art Club Newsletter
    CALIFORNIA ART CLUB NEWSLETTER Still Life Painting in California A Continuous Transformation by Elaine Adams till life, contrary to its name, is a educational text, Masters of Taste: Genre and Still form of artistic expression that constantly Life Painting in the Dutch Golden Age, published by Sevolves. Objects change through time, as they the Albany Institute of History and Art, “During the vary in style and purpose or even become obsolete. seventeenth century, Netherlanders bought directly Cultural tastes and interests also change including from artists’ studios, from art dealers or bookshops, what is revered and enjoyed as part of nature’s or from temporary stands set up at Kermis (street bounties. One may fairs). …even most consider still lifes as small towns could boast societal statements at least a few resident locked in time. Still life painters. In fact, some paintings often show Dutch communities had the natural world com- more artists than they bined with that of the did butchers.” manmade—flowers in Just as French terms a vase, fruit in a bowl, are often applied when food on a tray— describing facets of symbols of human Impressionism, in triumphs in domesti- homage to the nine- cating nature and con- teenth century artists taining it for everyday who developed the use and enjoyment. movement, Dutch terms Still Life painting are applied to Still was particularly popu- Lifes, in the language of lar among seventeenth the artists who popular- century Dutch artists ized the genre. The term during what is now “still life,” which can termed as their “Golden also be hyphenated as Age.” After making “still-life,” is itself peace with Spain in derived from the Dutch 1648, the Netherlands word, “stilleven,” became a highly pros- meaning “still model.” perous economy.
    [Show full text]
  • Still-Life Painting
    Subject: HISTORY OF ART Topic: STILL-LIFE PAINTING IN THE 17th CENTURY Age of students: 16-18 Language: English, B2 level Time: 2 h Contents aims: Through text reading and painting observation students will learn the contents of still-life painting in the 17th century. Language aims: Learning and improving students’ knowledge of art language in painting. Pre-requisites: Students must know grammar contents on a B1 level, to be implemented to B2 level. They must be familiar with basic language referred to the History of Art and have knowledge of European Art in Renaissance and the Baroque Period. Materials: Pc, Internet connection, images to be shown with a projector or in the paper form. Procedure steps Phase A. Time: 1 hour. The lesson starts with a reading comprehension activity. While students are asked to read the texts given, the teacher’s aim is to focus on the contents paying great attention to vocabulary and pronunciation/intonation. During this reading activity, the teacher shows different examples of paintings that can be referred to as works belonging to still-life painting. Phase B. Time: 1 hour. The teacher shows 5 still-life paintings among the most famous ones and encourages students to try a visual analysis. The lesson proceeds with the comparison between the visual analysis and the contents expressed in the reading comprehension. Phase A. General contents. Time: 1 hour reading comprehension Still-life painting flourished as a genre, or specialty, in Europe in particular during the seventeenth century and it will never be abandoned ever since, being popular in the following centuries as well.
    [Show full text]
  • < Paul Cézanne >
    Still Life: Plate of Peaches, 1879-80. Oil on canvas, 59.7 x 73.3 cm. Solomon R. Guggenheim Museum, New York, Thannhauser Collection, Gift, Justin K. Thannhauser 78.2514.4 < PAUL CÉZANNE > Paul Cézanne’s (b. 1839, Aix-en-Provence, France; d. 1906, Aix-en-Provence) complex still lifes are an important part of his quest for empirical truth in painting. Because these THE GREAT U inanimate objects did not move, like human “I will astonish Paris with an apple,” he subjects might, during the painting sessions, once said.3 and they were available any time of day or PAUL CÉZANNE night, they were an ideal subject for a slow- Cézanne set up his still lifes with great care. working, analytical artist like Cézanne. A testimony by an acquaintance describes his Sometimes the fruit or flowers he used method of preparing a still life: “No sooner P HEAVAL would wither and die before the painting was the cloth draped on the table with innate was completed and would need to be taste than Cézanne set out the peaches in replaced by paper flowers and artificial fruit. such a way as to make the complementary colors vibrate, grays next to reds, yellows to His work was motivated by a desire to give blues, leaning, tilting, balancing the fruit at the sculptural weight and volume to everyday angles he wanted, sometimes pushing a one- objects. In Cézanne’s still lifes ambiguities sous or two-sous piece [French coins] under abound. As if by magic, the tablecloth we them. You could see from the care he took see in Still Life: Plate of Peaches is able to how much it delighted his eye.”4 But when levitate several pieces of fruit without any he began to paint, the picture might change visible means of support.
    [Show full text]
  • Still Life As a Model of Spacetime
    STILL LIFE AS A MODEL OF SPACETIME MATILDE MARCOLLI Contents 1. Introduction 2 2. Time and transience 4 2.1. Time as a collection of instants 4 2.2. Linear time as process 9 2.3. The flow of time and music 10 2.4. Decay and thermodynamic time 14 2.5. The algorithmic time of seashells 16 2.6. The flow of time as a flow of knowledge 18 3. Space and time 20 3.1. Existence as space without time 26 3.2. C´ezanne'scurved space 27 3.3. Matisse's emergent flat space 28 3.4. The Cubist spacetime 31 3.5. Dadaism: spacetime as information 33 3.6. Theoretical spacetimes 36 3.7. Cornell's cosmic dioramas 38 1 2 MATILDE MARCOLLI 1. Introduction Still life is the most philosophical genre of traditional figurative painting. It saw some of its most famous manifestations in the Flemish tradition of the XVII century, but it evolved and sur- vived as a meaningful presence through much of XX century art, adopted by avant-garde movements such as cubism and dadaism. The purpose of this essay is to dig into the philosophical mean- ing behind the still life painting and show how this genre can be regarded as a sophisticated method to present in a pictorial and immediately accessible visual way, reflections upon the evolving notions of space and time, which played a fundamental role in the parallel cultural developments of Western European mathe- matical and scientific thought, from the XVII century, up to the present time. A challenge for the artists of today becomes then how to con- tinue this tradition.
    [Show full text]
  • Year 8: Art & Design – Homework Booklet Term 1: Impressionism
    Year 8: Art & Design – Homework Booklet Term 1: Impressionism & Post Impressionism Student Name: _________________________________________________________________ Form: _________ Art & Design Teacher(s): ___________________________________________________________ Task 1: Monet’s San Giorgio Maggiore at Dusk (1908) Claude Monet was a founder of French Impressionist painting. Here is his representation of the sunset in Venice, Italy. • Using coloured pencils, recreate Monet’s painting. • Consider your presentation as this will be the first page of your homework booklet for the term. Plan for the Term Task Homework Complete Monet’s San Giorgio Maggiore at Dusk (1908) 1 2 Key features of Impressionism 3 Claude Monet Comprehension 4 Drawing: Monet’s Bridge at Giverny 5 Landscape Photography 6 Using a Limited Colour Palette Impressionism - 7 Revision of Key Terminology 8 Still Life Photography Post & 9 Still Life Drawing 10 Mark-Making Techniques 11 Vincent Van Gogh Comprehension 12 Colour Theory Recap 13 Pointillism Impressionism 14 Identifying the Impressionists 15 Impressionist Quiz 16 Art Critic Task 2: Key features of Impressionism Complete the missing words in the sentences, using the key words below, to create the key features of Impressionism. • Impressionism is the name given to a group of __________ who painted in ___________ in the late 19th Century. • Impressionist artists reacted to the invention of the _________ and moved away from painting people or landscapes _______________. • Generally, Impressionist artists painted __________ at the scene. • Impressionist artists were interested in the way in which ________ affects objects and used bright and vivid _________ to highlight an object’s natural colour. • They were less concerned with painting realistically and more interested in the way light shines on an object and how colours change in the _______.
    [Show full text]
  • FAUVISM and ITS COLOR Deb Komitor Art History Paper in Partial
    FAUVISM AND ITS COLOR Deb Komitor Art History Paper In partial fulfillment of the Master of Fine Arts Program The basic premise to early 20th century avant-garde art was that painting should offer an equivalent to nature and not an imitation of 1't • 1 This freedom is implied by the pre-sense of color being used as a non-descriptive element rather than to describe subjects in a realistic manner. This freeing of color from formal description was the basis of fauvism. Fauvism was a synthetic movement seeking to include and expand art styles from the immediate past. It looked back on the means in which Gauguin, van Gogh, Seurat, the Nabis, and the Neo-Impressionists approached color. Color was being used to designate emotions, thoughts, and ideas, rather than just to enhance the realistic rendering of subject matter. Fauvism was neither a school nor a system; it was merely chance encounters and common aspirations of a group of young independ- 2 ent painters, who reacted more or less alike to the climate of the times. Matisse was the central figure in the Fauve group. His early law studies would ahve provided him with a secure future, but in 1890 while recovering from an appendicitis operation he discovered his great love for painting. A year later he persuaded his father to allow him to go to Paris to attend painting classes at the Julian Academy, where he was taught by Bouguereau and Ferrier. Matisse, however, could not agree with their illustrious style of painting nor their method of teaching and was in fact thrown out of the life class.
    [Show full text]
  • Fun Facts Outline-Goldfish 1912
    Goldfish 1912 by Henry Matisse Print Facts • Medium: Oil on canvas • Date: 1911 • Size: 140 x 95 cm • Location: Pushkin Museum, Moscow, Russia • Style: Fauvism • Genre: Still Life • The Goldfish is a painting that shows Matisse's extraordinary talent for creating paintings which make great use of color. It is an example of Fauvism – a movement that Matisse himself made popular. • The background is a rainbow of different colors, which are bright and warm in the top section and dark and cold in the lower part of the painting. • The four goldfish in the glass, which are the focus of the painting, are a bright and brilliant orange. • They are surrounded by a whole host of bright plants and Matisse makes excellent use of the water to reflect the colors and brighten the picture further. Artist Facts • Born December 31, 1869 in Le Cateau-Cambrésis, Nord, France • Died November 3, 1954 (age 84) • Born Henri-Émile-Benoît Matisse in France, he was the first son of parents who owned a seed business (some call it a flower business). • In 1887 he went to Paris to study law and later worked as a court administrator. • He first started to paint in 1889 (20 years old), after his mother brought him art supplies during a period of convalescence following an attack of appendicitis. He discovered “a kind of paradise” as he later described it, and decided to become an artist. His father was deeply disappointed. • In 1891 he went to Paris to study art and initially he painted still-lifes and landscapes in the traditional Flemish style.
    [Show full text]
  • The Dutch Still Life Is Deceptively Simple. These Beautiful Renderings
    The Dutch still life is deceptively simple. These beautiful renderings of laid tables, flower pots, fruit baskets, kitchens, and more are wonderful glimpses of the foods and household customs of the aristocracy during the sixteenth and seventeenth centuries. However, a close examination reveals that the paintings have much more meaning behind them than simply a presentation of food and cutlery. Each item in those paintings is chosen for its narrative value. The flowers, the wine, the pastries are all full of symbolic meaning. The paintings become stories from the bible, or allusions to theological principles. A bowl of fruit is turned into an entire story simply by understanding what each item represents. These qualities are what drew me to the subject of symbolism in paintings of that era. Those works are strikingly beautiful at a glance, but simple inquiry turns them into powerful narratives. The ‘double life’ that each painting lives is what drew me to them. The symbolism that permeated the still life genre during the sixteenth and seventeenth centuries is rooted in religious texts. The symbols included by the painters turned the paintings into narratives describing Christian ideals and stories. Each piece of the painting had its own significance, and examination of these symbols reveals how universal their meanings are. On the surface, the symbols allude to Christ, the Virgin Mary, the crucifixion, and other very Christian ideas. However, deeper inquiry makes it clear that universal themes and ideas such as good, evil, betrayal, vice, innocence, mercy, rejuvenation, seasons, etc. are also conveyed by each symbol. The symbolism in this genre of painting is not at all limited to a single religious interpretation.
    [Show full text]
  • Georges Braque and the Cubist Still Life, 1928–1945 January 25–April 21, 2013
    Educator’s Guide Georges Braque and the Cubist Still Life, 1928–1945 January 25–April 21, 2013 ABOUT THIS GUIDE This guide is designed as a multidisciplinary companion for K-12 educa- IN THIS GUIDE tors bringing their students to view Georges Braque and the Cubist Still Before You Visit | p.2 Life, 1928–1945, on view at the Mildred Lane Kemper Art Museum from In the Gallery | p.2 January 25 through April 21, 2013. Our intent is to offer a range of learning objectives, gallery discussions, and postvisit suggestions to stimulate the Collection Connections | p.5 learning process, encourage dialogue, and help make meaning of the art In the Classroom or at Home | p.6 presented. Teachers at all grade levels should glean from this guide what is Vocabulary | p.6 most relevant and useful to their students. Vocabulary words that appear in Additional Resources | p.7 bold are defined at the end of the guide. ABOUT THE EXHIBITION Georges Braque and the Cubist Still Life, 1928–1945 offers the first detailed examination of Braque’s experiments with still lifes and interiors during the years leading up to and through World War II, an overlooked and transitional period in the career of this lead- ing founder of Cubism. Braque employed the genre of the still life to conduct a lifelong investigation into the nature of perception through the tactile and transitory world of everyday objects. The exhibition examines the transformations in Braque’s creative pro- cess as he moved from painting small, intimate interiors in the late 1920s, to depicting bold, large-scale, tactile spaces in the 1930s, to creating personal renderings of daily life in the 1940s.
    [Show full text]