DOCSLIB.ORG

An Investigation Into Painting the News

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
An Investigation Into Painting the News Breaching Borders: An Investigation into Painting the News Tania Price BFA (Hons) School of Creative Arts and Media Submitted in fulfilment of the requirements for the Doctorate of Philosophy (Fine Arts) by Research University of Tasmania June 2019 1 Declaration of Originality This thesis contains no material that has been accepted for a degree or diploma by the University or any other institution, except by way of background information. To the best of my knowledge and belief, it contains no material previously published or written by another person, except where due acknowledgement is made in the text, or any material that infringes copyright. Tania Price 17 Septmber 2019 Authority of Access This thesis may be made available for loan and limited copying and communication in accordance with the Copyright Act 1968. Tania Price 17 September 2019 Statement of Publication I, Tania Price, am the sole author of a published work undertaken as part of this thesis. Title of paper: Truth in Artistic Gesture Located in: The International Journal of Arts Theory and History, Vol 13, Issue 1, as part of The Arts in Society series, 2018, published by Common Ground Research Network. ISSN: 2326-9952 (print) ISSN: 2327-1779 (online) http://doi.org/10.18848/2326-9952/CGP/v13:01 Tania Price 17 September 2019 2 Acknowledgements I would like to thank my supervisors, Dr Brigita Ozolins and Dr Mary Scott, for their advice, guidance and encouragement. I am deeply grateful for the assistance and companionship of my fellow candidates and members of the academic, professional and technical staff at the University of Tasmania’s School of Creative Arts and Media. To family, friends and the greyhound, thank-you for your interest, love and support. Thanks, also, to Dr Jacqueline Fox for her thoughtful editing of this manuscript. 3 Table of Contents List of Illustrations ............................................................................................................. 6 Abstract ............................................................................................................................. 9 Chapter One: Introduction.............................................................................................. 11 1.1 How it started ................................................................................................. 11 1.2 Aims, objectives and a central argument ....................................................... 12 1.3 The theory ....................................................................................................... 15 1.4 The field .......................................................................................................... 17 1.5 My approach ................................................................................................... 20 1.6 The chapters ................................................................................................... 22 1.7 Challenges and constraints ............................................................................. 24 1.8 To finish ........................................................................................................... 26 Chapter Two: Reality and Representation ...................................................................... 29 2.1 Introduction .................................................................................................... 29 2.2 Through a media lens ..................................................................................... 30 2.3 A note on history painting .............................................................................. 31 2.4 Three painters ................................................................................................. 35 2.5 Representing reality now—some theory ........................................................ 43 2.6 Selecting and transcribing the image ............................................................. 44 2.7 Coming in ........................................................................................................ 46 2.8 How far to abstraction? .................................................................................. 48 2.9 Becoming the story ......................................................................................... 51 2.10 Painting’s communicative power ................................................................... 52 2.11 Portrait of a child ............................................................................................ 53 2.12 The right to represent ..................................................................................... 56 2.13 A pink suitcase ................................................................................................ 57 2.14 To conclude ..................................................................................................... 59 Chapter Three: Distance, Perspective and Context ........................................................ 60 3.1 Introduction .................................................................................................... 60 3.2 The space between us .................................................................................... 61 3.3 Near and far .................................................................................................... 64 3.4 Being there ...................................................................................................... 66 3.5 Residue as an opportunity for engagement ................................................... 71 4 3.6 Painting my way in .......................................................................................... 72 3.7 Grounded in reality ......................................................................................... 75 3.8 Context changes everything, yet things stay the same .................................. 76 3.9 On the other hand .......................................................................................... 80 3.10 A shift in perspective ...................................................................................... 81 3.11 Contextualising with text or image ................................................................. 83 3.12 Seeing things differently ................................................................................. 85 3.13 Trying to understand ...................................................................................... 87 3.14 To conclude ..................................................................................................... 88 Chapter Four: Movement, Potential and Performativity ............................................... 89 4.1 Introduction .................................................................................................... 89 4.2 A different outcome........................................................................................ 90 4.3 Painting beyond an event ............................................................................... 94 4.4 Moving through the world .............................................................................. 98 4.5 Painting as participation ............................................................................... 100 4.6 The reality of conflict, tension and antagonism ........................................... 102 4.7 Painting conflict ............................................................................................ 104 4.8 Painting as an event ...................................................................................... 106 4.9 A moving image ............................................................................................ 107 4.10 Stateless for three days ................................................................................ 109 4.11 Painting movement....................................................................................... 110 4.12 Movement as time ........................................................................................ 112 4.13 Hidden process ............................................................................................. 113 4.14 To end ........................................................................................................... 115 Conclusion ..................................................................................................................... 116 Bibliography .................................................................................................................. 121 5 List of Illustrations Fig. 1. Théodore Géricault, The Raft of the Medusa, 1818-19. Oil on canvas, 491 x 716 cm. Musée du Louvre, Paris. From Wikimedia Commons. Fig. 2. Édouard Manet, Execution of the Emperor Maximilien, 1867. Oil on canvas, 196 x 259.8 cm. Museum of Fine Arts, Boston. Fig. 3. Édouard Manet, The Execution of Emperor Maximilien of Mexico, 1867. Oil on canvas, 252 x 305 cm. Städtische Kunsthalle, Mannheim. Fig. 4. Édouard Manet, The Execution of Maximilien, c. 1867-68. Oil on canvas (four fragments), 193 x 284 cm. National Gallery, London. Fig. 5, 6 and 7. Gerhard Richter, Confrontation 1, Confrontation 2 and Confrontation 3, 1988. Oil on canvas. 112 x 102 cm each. From Storr 2000, ©Gerhard Richter 2019 (27022019) Fig. 8. Luc Tuymans, The Arena 1, 2014. Oil on canvas, 176.3 x 252 cm. Courtesy of Studio Luc Tuymans. Fig. 9. Luc Tuymans, The Arena 11, 2014. Oil on canvas, 182.2 x 253 cm. Courtesy of Studio Luc Tuymans. Fig. 10. Luc Tuymans, Still Life, 2002. Oil
Load more

Recommended publications
  • Experience the Flemish Masters Programme 2018 - 2020
    EXPERIENCE THE FLEMISH MASTERS PROGRAMME 2018 - 2020 1 The contents of this brochure may be subject to change. For up-to-date information: check www.visitflanders.com/flemishmasters. 2 THE FLEMISH MASTERS 2018-2020 AT THE PINNACLE OF ARTISTIC INVENTION FROM THE MIDDLE AGES ONWARDS, FLANDERS WAS THE INSPIRATION BEHIND THE FAMOUS ART MOVEMENTS OF THE TIME: PRIMITIVE, RENAISSANCE AND BAROQUE. FOR A PERIOD OF SOME 250 YEARS, IT WAS THE PLACE TO MEET AND EXPERIENCE SOME OF THE MOST ADMIRED ARTISTS IN WESTERN EUROPE. THREE PRACTITIONERS IN PARTICULAR, VAN EYCK, BRUEGEL AND RUBENS ROSE TO PROMINENCE DURING THIS TIME AND CEMENTED THEIR PLACE IN THE PANTHEON OF ALL-TIME GREATEST MASTERS. 3 FLANDERS WAS THEN A MELTING POT OF ART AND CREATIVITY, SCIENCE AND INVENTION, AND STILL TODAY IS A REGION THAT BUSTLES WITH VITALITY AND INNOVATION. The “Flemish Masters” project has THE FLEMISH MASTERS been established for the inquisitive PROJECT 2018-2020 traveller who enjoys learning about others as much as about him or The Flemish Masters project focuses Significant infrastructure herself. It is intended for those on the life and legacies of van Eyck, investments in tourism and culture who, like the Flemish Masters in Bruegel and Rubens active during are being made throughout their time, are looking to immerse th th th the 15 , 16 and 17 centuries, as well Flanders in order to deliver an themselves in new cultures and new as many other notable artists of the optimal visitor experience. In insights. time. addition, a programme of high- quality events and exhibitions From 2018 through to 2020, Many of the works by these original with international appeal will be VISITFLANDERS is hosting an Flemish Masters can be admired all organised throughout 2018, 2019 abundance of activities and events over the world but there is no doubt and 2020.
    [Show full text]
  • Luc Tuymans in the Dark Regions of The
    Luc Tuymans In the Dark Regions of the My project is an effort to avert the critical gaze from the racial object to the racial World subject; from the described and the imagined to the describers and imaginers; from the serving to the served. - Toni Morrison" "Mwana Kitoko, The beautiful White Man." Thus did the people of the In Tuymans' oeuvre, a painting often acquires additional layers of Congo address their sovereign, Baudouin, king of the Belgians. Luc meaning through the precisely devised context of its first exhibition, Tuymans painted him descending the narrow stairs of his airplane in the frequently involving spaces that require a certain number and mid-fifties, wearing an immaculate white Navy uniform, looking just a combination of works. Even while painting, Tuymans often has a little too stiff for the elegance of his slim figure, one hand firmly precise notion of how the picture is to operate alone, together with grasping his sword, his eyes hidden behind sunglasses to protect them others, and in the room where it is first to be presented. In his most from the sun and the intrusive gaze of others. The painting of Baudouin, recent cycle for the David Zwirner Gallery in New York, the full- MWANA KITOKO (2000), shows a grand entrance in bright light that length portrait of the monarch is placed— among others—opposite a oscillates between the dazzling effect of a media event and the light of slightly smaller three-quarter portrait of a black man titled STATUE the tropics. The dark lens gives the figure an insect-like appearance.
    [Show full text]
  • Luc Tuymans Good Luck
    Luc Tuymans Good Luck October 27 – December 19, 2020 5–6/F, H Queen’s, 80 Queen’s Road Central Hong Kong Luc Tuymans, Still, 2019 ​ ​ © Luc Tuymans Courtesy the artist and David Zwirner David Zwirner is pleased to present an exhibition of new work by the renowned Belgian artist Luc Tuymans (b. 1958) at the gallery’s Hong Kong location—his first solo presentation in Greater China. On view will be a selection of recent paintings and a new single-channel animated video that are drawn from a range of historical and contemporary images. Together the works share an undercurrent, as suggested by the exhibition’s title, of paradox and uncertainty. Tuymans has become known for a distinctive style of painting that demonstrates the power of images to simultaneously communicate and withhold. Emerging in the 1980s, Tuymans pioneered a decidedly non-narrative approach to figurative painting, instead exploring how information can be layered and embedded within certain scenes and signifiers. Based on preexisting imagery culled from a variety of sources, his works are rendered in a muted palette that is suggestive of a blurry recollection or a fading memory. Their quiet and restrained appearance, however, belies an underlying moral complexity, and they engage equally with questions of history and its representation as they do with quotidian subject matter. Tuymans’s canvases both undermine and reinvent traditional notions of monumentality through their insistence on the ambiguity of meaning. ​ The present exhibition brings together a wide range of global, historical, and contemporary references that reflect ongoing themes of interest for the artist.
    [Show full text]
  • Dallas Museum of Art Horchow Auditorium
    Artist Talk: Luc Tuymans June 3, 2010 Dallas Museum of Art Horchow Auditorium Jeffrey Grove: Good evening. Welcome to the Dallas Museum of Art. I'm Jeffrey Grove. I'm the Hoffman Family Senior Curator of Contemporary Art, and I am proud and privileged to introduce to you Luc Tuymans. [Applause] I hope you all had a chance to preview the exhibition before you came in for the talk. We are going to be very casual this evening. I'm not going tell you everything about Luc’s life story because you probably already know it or you wouldn’t be here, or you’ve seen it in the paintings down the hall. What we’re going to do is we’re sort of breaking our evening into three segments. Luc and I are going to talk first about the installation that you will see here at the DMA, about the exhibition overall, some of the pictures covering the arc, the trajectory of his career up to now. And then we’re going to take a break and Luc’s going to move over to the podium and do a presentation on pictures and some of his work and some aspects of his career that are not necessarily encapsulated in the exhibition we have on view at the DMA. And he’ll spend about 15 minutes on that then we’ll return over here. He and I will have a short dialog, and then we’re going to open up the floor to you for conversation and questions because I think that you’ll find what he has to say provocative, thought provoking and really will challenge some of your assumptions about what you may think you’ve seen in the work.
    [Show full text]
  • Form Vision Hans Theys
    Form Vision Hans Theys Form Vision Artists on Art Tornado Editions 2019 To Tamara Van San In 1983, a fellow student handed me this Banda copy, suggesting it might be interesting for me – as an aficionado of art and literature – to study the writings of Kafka without interpreting them. The origin of the book you are holding now lies within this generous gesture. Thirty years later, when I accidently rediscovered it, I realised that the text quotes a book by Susan Sontag, translated and typewritten by an unknown hand. Everyone has a sort of individual form vision. In all the greatest artists the seeds of this form vision has been present even in their early work, and to some extent their work has been a gradual unfolding of this rhythm throughout. (…) It’s something the artist can’t control – it’s his make up. (…) The less conscious you are of your own individual form rhythm, the more likely it is, I think, to get richer and fuller and develop. Henry Moore, 1941 What is important now is to recover our senses. We must learn to see more, to hear more, to feel more. Our task is not to find the maximum amount of content in a work of art, much less to squeeze more content out of the work than is already there. Our task is to cut back content so that we can see the thing at all. (…) The function of criticism should be to show how it is what it is, even that it is what it is, rather than to show what it means.
    [Show full text]
  • Tuymans Paper
    Moonie S. 'Thematizing Failure: The Morbid Fascination of Luc Tuymans'. Journal of Contemporary Painting 2016, 2(1), 57-74. Copyright: ©Intellect Ltd. 2016. This is the Author’s accepted manuscript of an article that was published in its final definitive form by Intellect Ltd, 2016. DOI link to article: http://dx.doi.org/10.1386/jcp.2.1.57_1 Date deposited: Select deposit date Embargo release date: 01 April 2017 This work is licensed under a Creative Commons Attribution-NonCommercial 3.0 Unported License Newcastle University ePrints - eprint.ncl.ac.uk 1 Thematizing failure: The morbid fascination of Luc Tuymans Stephen Moonie, Newcastle University Abstract Luc Tuymans’ paintings are often heralded as exemplary of contemporary painting’s historical dilemma. This article argues that a discourse of failure has been formative in shaping Tuymans’ critical reception: a discourse that has drawn heavily on the postmodern critique of painting in the 1980s. Further, this discourse has been formative of Tuymans’ own practice. However, this article argues that despite the productiveness of the discourse of failure – especially with regard to the relationship between Tuymans’ painting and the technologically mediated image –such an approach runs up against certain limits. This is especially apparent in Tuymans’ recent work, which exemplifies a more pronounced ambivalence towards modernism and its legacy. Keywords Luc Tuymans 2 failure iconoclasm modernism postmodernism contemporary painting Luc Tuymans is firmly established as one of the most prominent contemporary painters: his CV includes a pavilion at the Venice Biennale in 2001, a major retrospective at Tate in 2004, and a slew of publications on his work (Dexter 2004; Koerner 2009; Loock 1996; Molesworth 2009).
    [Show full text]
  • For Immediate Release Metropolis
    FOR IMMEDIATE RELEASE METROPOLIS CARL ANDRE | NOAH BARKER | ANGELA BULLOCH | LARRY CLARK | DAN GRAHAM | ZOE LEONARD | ERIC N. MACK | ROSE MARCUS | JOÃO PENALVA | LUC TUYMANS | KELLEY WALKER 28 JUNE – 11 AUGUST 2017, NEW YORK PRIVATE VIEW: WEDNESDAY, 28 JUNE 6 - 8 PM Simon Lee Gallery New York is delighted to present Metropolis, an exhibition that showcases how artists use the city as a source for materials, subjects, and ideas. The works present how artists can interpret the metropolis in multifarious forms, and illustrate the universality of the city. The cityscape is a source of disorder, a place to play and learn; it’s a site of both creation and destruction. A warren of brick alleys and concrete streets expanding and contracting in unison, the metropolis is a living organism. A stimulant for cultural circulation, the city lends itself as a platform for the creative community. The work presented within this exhibition displays how the urban environment affects and is influenced by the artists residing inside. “Manhattanism is the one urbanistic ideology that has fed, from its conception, on the splendors and miseries of the metropolitan condition—hyper-density—without once losing faith in it as the basis for a desirable modern culture. Manhattan's architecture is a paradigm for the exploitation of congestion.” This quote, written in 1979 by the Dutch-born, London-based architect Rem Koolhaas, epitomizes the specific condition whereby culture is directly influenced by its urban design and architecture. The metropolis serves as a platform for the controlled fluidity of human interaction and exchange which for centuries has been illustrated in the fine arts.
    [Show full text]
  • Intrigue: James Ensor by Luc Tuymans the Sackler Wing of Galleries 29 October 2016 – 29 January 2017
    Intrigue: James Ensor by Luc Tuymans The Sackler Wing of Galleries 29 October 2016 – 29 January 2017 2009-2016 Season supported by Supported by The Royal Academy of Arts will present the first major exhibition of James Ensor’s (1860-1949) work to be held in the UK in twenty years. One of Belgium’s most prominent modernist artists, Ensor was widely considered to be an important precursor of Expressionism. Intrigue: James Ensor by Luc Tuymans will bring together some 70 paintings, drawings and prints by the artist, the vast majority of which have been drawn from major Belgian collections. The exhibition will be curated by the renowned contemporary painter and one of Belgium’s foremost artists, Luc Tuymans, who will bring a fresh perspective to the selection and presentation of Ensor’s work. A highly skilled draughtsman and painter, Ensor had a deep appreciation of the poetic possibilities of light and a lifelong devotion to the inherent creativity of the mind. His eclectic visual language drew upon a wealth of subjects from the traditional to the fantastic, producing an extraordinary body of work that spanned poetic evocations of the Belgian countryside and coastline, to disturbing visions of imagined worlds. Ensor’s works have continued to baffle, intrigue and defy categorisation in equal measure, providing one of the most singular and distinctive bodies of work to be produced at the turn of the twentieth century. Born in 1860 to an English father and a Belgian mother, Ensor was raised in the coastal town of Ostend, where his family ran a curio shop which he described as “an inextricable jumble of assorted objects constantly being knocked over by a number of cats, deafening parrots, and a monkey…”.
    [Show full text]
  • Raoul De Keyser Born 1930 in Deinze, Belgium
    This document was updated February 25, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Raoul De Keyser Born 1930 in Deinze, Belgium. Died 2012. EDUCATION 1963-1964 Academy of Fine Arts, Deinze, Belgium SOLO EXHIBITIONS 2021 Raoul De Keyser, David Zwirner, Hong Kong 2018 Raoul De Keyser: In Print. Zeefdrukken, Lithografieën, Linosneden, Etsen, Cultuurcentrum Strombeek Grimbergen, Grimbergen, Belgium [catalogue] Raoul De Keyser: Oeuvre, Stedelijk Museum voor Actuele Kunst (S.M.A.K.), Ghent [itinerary: Pinakothek der Moderne, Munich] [catalogue] 2017 Archives Raoul De Keyser, Ghent University Library, Ghent [organized in collaboration with Stedelijk Museum voor Actuele Kunst (S.M.A.K.), Ghent] [catalogue] Raoul De Keyser: Release, Museum van Deinze en de Leiestreek, Deinze, Belgium Raoul De Keyser: Tegendraads, Zeno X Gallery, Antwerp 2015 Raoul De Keyser: Drift, David Zwirner, London [itinerary: David Zwirner, New York] Raoul De Keyser: Paintings 1967-2012, Inverleith House, Royal Botanic Garden Edinburgh [exhibition publication] 2013 Raoul De Keyser. 1963-1970, Museum van Deinze en de Leiestreek, Deinze, Belgium [catalogue] 2012 Raoul De Keyser: Hommage, Zeno X Gallery, Antwerp Raoul De Keyser: To Walk, Galerie Barbara Weiss, Berlin [catalogue] 2011 Raoul De Keyser: De dingen die ik zie/The Things I See, De Loketten, Flemish Parliament, Brussels [catalogue] Raoul De Keyser: FREEDOM, David Zwirner, New York 2010 Raoul De Keyser: Airy, Zeno X Gallery, Antwerp 2009 Raoul De Keyser:
    [Show full text]
  • Recent Acquisitions from the Department of Drawings [Gary Garrels]
    New to the Modern : recent acquisitions from the Department of Drawings [Gary Garrels] Author Museum of Modern Art (New York, N.Y.) Date 2001 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/166 The Museum of Modern Art's exhibition history—from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art m Newto the Modern RecentAcquisitions from the Departmentof Drawings hohA This exhibition surveys the Museum's recent purchases and gifts of drawings created over the past sixty years. The drawings in the Museum's collection cover a wide range of materials, and range in size and intention from small and personal to grand and iconic; all, however, are unique, and they generally have paper as their support. The works on view, all VIacquired over the past eighteen months, exemplify the efforts of the Department of Drawings to strength en its collection from the second half II of the twentieth century at the same high level as the Museum's holdings Ellsworth Kelly.Blue and White, from LineForm Color.1951. Cut-and-pasted colored paper, of works from the late nineteenth to xfi l x 8" (19.1 x 20.3 cm). Purchase and gift of the artist the mid-twentieth century. Contain ing over a hundred works by more than forty artists, the exhibi tion demonstrates the richness of drawing as a means of express ing the most diverse aesthetic visions. Escaping fixed definitions, drawing constantly reinvents itself, sustaining its importance in art and in the Museum's collection.
    [Show full text]
  • The Conversation Between Painting and Photography in the 21 Century
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Wits Institutional Repository on DSPACE The Conversation Between Painting and Photography in the 21st Century: An analysis of selected paintings by Peter Doig (1959-) and Luc Tuymans (1958-) Kate Yvonne Margot Lewis A dissertation submitted to the Faculty of Humanities and Social Sciences, University of Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Masters of Arts in Fine Art by Dissertation. Johannesburg, 2013 Page 1 of 94 Declaration: I, Kate Yvonne Margot Lewis, declare that this dissertation is my own unaided work. It is submitted for the degree of Master of Arts in the University of the Witwatersrand, Johannesburg. It has not been submitted before for any other degree or examination in any other university. _____________________ Kate Lewis ______ day of _______________, 2013 Page 2 of 94 Abstract In this research I explore the relationship between painting and photography, focusing on the natures of both mediums and how they are questioned when creating a painting from a photographic source. I have selected works by contemporary painters Peter Doig and Luc Tuymans for analysis, examining the ways in which their images force us to question the assumed ‘truth value’ attached to photographic images. I also explore the potential for both painting and photography as mediums to portray the internal or the imagined, as well as painting’s link to the concepts of artifice and construction throughout history, especially when compared to photography. In this research I examine the early development of photography, as well as the development of ‘photographic’ or perspectival language in painting, both separate from and in relation to advancements in photographic technologies in the late nineteenth and early twentieth century.
    [Show full text]
  • (1595-96) and David with the Head of Goliath
    SANGUINE LUC TUYMANS ON BAROQUE Fondazione Prada presents the exhibition “Sanguine. Luc Tuymans on Baroque”, curated by Luc Tuymans, in its Milan venue from 18 October 2018 to 25 February 2019. Organized with M KHA (Museum of Contemporary Art of Antwerp) and KMSKA (Museum of Fine Arts of Antwerp) and the City of Antwerp, the project will be featured in Milan in a new and more extensive version, following its first presentation in the Belgian city from June to September 2018. Luc Tuymans conceived an intense visual experience presenting more than 80 works by 63 international artists, including 25 exhibited exclusively at Fondazione Prada. “Sanguine” is a personal interpretation of the Baroque based on innovative juxtapositions and unexpected associations of works by contemporary artists and Old Masters. Avoiding a rigid chronological order or a strictly historiographical approach, Tuymans evades the traditional notion of the Baroque and invites viewers to reconsider 17th century art, as well as the contemporary research, by placing artists and their role in society at the center of the exhibition narrative. In the wake of Walter Benjamin’s analysis, according to whom the Baroque marked the start of modernity, Tuymans explores the search for authenticity, the political significance of artistic representation, the emotional turmoil generated by art, the celebration of the author’s personality, and the international dimension of the art scene, recognizing the Baroque as the primary point of reference for today’s art. Not only does “Sanguine” push the traditional boundaries of the Baroque notion by extending its duration to the present day, but also it shows how over the past two centuries artists have helped redefine it, from the negative sense attributed to the word by art critics during the late 18th century, to the reassessment operated by Postmodernism and the re-establishment of a Baroque and figurative expressiveness in the art of recent years.
    [Show full text]