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The Naturalist Andersens: HA Brendekilde 1889-1894

I find these interesting – from their historical context as well as the combination of colours.

hoakley's avatarThe Eclectic Light Company

By the end of the 1880s, Hans Andersen Brendekilde (1857–1942) was still a good friend of L A Ring, but the latter spent more of his time with the Wilde family. Brendekilde had also been making good progress exhibiting at Charlottenborg, and 1889 completed what must be his best-known work.

brendekildewornout Hans Andersen Brendekilde (1857–1942), Worn Out (1889), oil on canvas, 207 x 270 cm, Fyns Kunstmuseum, Odense, Denmark. Wikimedia Commons.

Worn Out (1889) is a painting which follows in the tradition of Jules Bastien-Lepage. An old man has collapsed when working in the fields. A younger woman, perhaps his daughter, is giving him aid and shouting for all she’s worth to summon assistance. The soil around them is poor, and full of flints; the two were engaged in the toil of the poorest of the poor, picking out the large stones and putting them into piles for collection. It’s backbreaking…

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Green

…in a green shade!

Mathias LK's avatarFotografi

Green 15 juli 2010

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Obdachlos in der Stadt – Collage von Susanne Haun

Susanne Haun's avatarSusanne Haun

Obdachlos in der Stadt - 20 x 30 cm - Collage von Susanne Haun (c) VG Bild Kunst, Bonn 2018Obdachlos in der Stadt – 20 x 30 cm – Collage von Susanne Haun (c) VG Bild Kunst, Bonn 2018

Gestern habe ich die Arbeiten für die Ausstellung Querbrüche Obdachlos gerahmt. Es ist nicht mehr weit bis zur Ausstellungseröffnung,  in einer Woche geht es los. Heute habe ich die oben gezeigte kleine Collage geklebt, bzw. gezeichnet. Bei all den vielen Wohnungen in der Stadt sollte man doch eigentlich meinen, dass es auch ein Plätzchen für die Wohnungslosen gibt.

Heute habe ich Jörg, den Obdachlosen, der vor dem Karstadt in der Müllerstraße sitzt, eine Einladung gebracht. Er stand Modell für das von mir gezeichnete Portrait, das auch auf der Einladungskarte abgebildet ist, gestanden. Inzwischen hängen im Wedding einige Plakate zur Ausstellung und die “Obdachlosenszene” haben Jörg erkannt und auch Jörg selber hat sich erkannt.

Wenn ihr dem Link folgt findet ihr die genauen Daten zur Ausstellung und zu den Ausstellungsevents.

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Autobiography, a Very Short Introduction, by Laura Marcus #BookReview

Very interesting and most useful!

Lisa Hill's avatarANZ LitLovers LitBlog

Life Writing is incredibly popular these days, and it came as no surprise to me to learn from This Very Short Introduction to Autobiography that Michel Foucault thinks that we have become ‘confessing animals’. The plethora of memoirs, autobiographies and ‘true confessions’ today seems to be evidence of a compulsion to record the complexities of human life, experience and memory, though it has to be said that some life writing seems of more lasting value than others.  Autobiography, a Very Short Introduction by Laura Marcus, a Professor at Oxford, is a fascinating exploration of this kind of writing, starting with the Confessions of St Augustine in the 4th century, through to its modern manifestations in multimedia, autobiographical novels and autofiction.

After the Introduction, there are eight chapters in this VSI (as well as the usual references, suggestions for further reading, and an index).

  1. Confession, conversion, testimony
  2. The journeying self
  3. Autobiographical…

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Radical Views: Egon Schiele 4, 1915-16

Fascinated by the colour combinations and also by the different manner in which his work is carried out in different contexts.

hoakley's avatarThe Eclectic Light Company

Egon Schiele’s landscape paintings from the early years of the First World War were innovative and exciting; his figurative work, which was even more radical, I find more of a challenge. Many of those works from 1915 centre on his personal relationships.

It appears that, when he married Edith Harms, Schiele had expected to maintain his relationship with Wally (Walburga Neuzil), with whom he had lived for four years. When he tried to explain this to Wally, she – perhaps not unsurprisingly – abandoned him immediately, and they apparently never met again.

schieledeathmaiden Egon Schiele (1890–1918), Death and the Maiden (1915), oil on canvas, 150 x 180 cm, Österreichische Galerie Belvedere, Vienna, Austria. Wikimedia Commons.

Schiele expressed this in his major painting of Death and the Maiden (1915), which was exhibited the following year in Berlin. The young woman is based on his earlier paintings of Wally, and the man is…

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Alphonse Osbert-born in Paris in 1857 and died there in 1939

This French painter studied at the School of Fine Arts and under Henri Lehmann, Fernand Cormorant and Léon Bonnat. His entrance to the salon of 1880, Portrait of MO (“without a trace”), reflected his early attraction the realist tradition of Spanish painting of the 17th century. Impressionism’s impact encouraged him to lighten his palette and paint outdoor landscapes. At the end of the decade of 1880, Habibo cultivated the friendship of several symbolist poets and the well-known painter Puvis de Chavannes, which made him abandon his naturalist approach and adopt the aesthetic idealism of poetic painting. Abandoning topics extracted from daily life, Osbert proposed to transmit personal visions and developed his own set of pictorial symbols. Inspired by Puvis, simplified forms of landscape, which served as backgrounds for static and isolated figures dissolved by a  mysterious light. A pointillist technique, taken from Seurat, a friend of Lehmann’s, tended to dematerialize forms and add luminosity. However, Osbert avoided the full range of nuances of the so called “divisionists” of their choice of blues, violets, yellows and silvery green. The mysticism of Osbert is located in the center of the painting. The Rosacrucian ideal of “art as an evocation of mystery, as a prayer” finds no better expression than the virginal figure of faith, often interpreted as Saint Geneviève or Saint Jeanne, situated in a meadow with a lamb and wrapped in a supernatural radiance. Such works were praised by the Symbolist writers who considered them as visual counterparts of the poetry of Paul Verlaine, Stéphane Mallarmé and Maurice Maeterlinck. Osbert was called “painter of the Nights ” “Alma artist ” and “Poet of Silence” for his evocation of an atmosphere of mystery and reverie.

(With thanks to the incomparable Ines Vigo for this transcription from You Tube)

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Baltic sunset

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Aubrey

I am currently reading the marvellous biography of John Aubrey by Ruth Scurr. An interesting and timely posting.

apolla13's avatarNames Throughout the Ages

Aubrey is an English unisex name, the Norman French form of Germanic Alberich meaning “elf power” made up from Germanic elements alf (elf) and ric (power). In Germanic mythology, Alberich is a dwarf and appears in the Nibelungenlied, an epic poem in which he guards the treasure of Nibelung. It’s also an English surname originating from the given name.

Origin: Proto-Indo-European

c87b27634ccb6d7e63a2667fc58ec5dePinterest

Male forms:

  • Aubry (English)
  • Alberich (Ancient Germanic)
  • Alberic (Ancient Germanic)
  • Auberon (English)
  • Alberico (Italian)
  • Ælfric (Anglo-Saxon)
  • Elric (Medieval English)

Female forms:

  • Aubry (English)
  • Aubree (English)
  • Aubrie (English)

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‘Guignol’s Band’ by Céline (1944 Club)

Think that I prefer Celan to Celine but most interesting!

Jonathan's avatarIntermittencies of the Mind

Readers, friends, less than friends, enemies, Critics! Here I am at it again with Book I of Guignol! Don’t judge me too soon! Wait awhile for what’s to follow! Book II! Book III! it all clears up! develops, straightens out! As is, 3/4 of it’s missing! Is that a way to do things? It had to be printed fast because with things as they are you don’t know who’s living or dead!

So begins Louis-Ferdinand Céline’s third ‘proper’ novel, published in 1943 if you believe the blurb on the back of the book, but according to Frédéric Vitoux (Céline: A Biography, 1992) (and Wikipedia) was actually published in March 1944. Guignol’s Band is vintage Céline, but it’s fair to say that he’s a problematic writer. I don’t want to go in to too much detail but a few facts about the writer should be known before proceeding. First…

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Between Klimt, Mucha, and Hodler: The art of Kolo Moser 4, 1914-18

I find these works fascinating- the rather thick lines seem to give a mosaic quality as with hinterglasmalerei.

hoakley's avatarThe Eclectic Light Company

Although Koloman Moser (1868–1918) had withdrawn from the Wiener Werkstätte in 1907, he continued to undertake design work in his later years. This included design for stamps, and particularly of stage sets for productions in Vienna. But his focus remained on painting, in which he turned increasingly to figurative works.

moserselfportrait1914 Koloman Moser (1868–1918), Self-portrait (c 1914), oil on canvas, 75 x 75 cm, Private collection. Wikimedia Commons.

His Self-portrait from about 1914 is unusual, not for depicting him in the act of sketching a landscape, but for setting himself in the remains of a building which almost comes to dominate the image. His skin tones are now a light ochre, matching the stone walls.

mosercrouchingwomanstudy Koloman Moser (1868–1918), Study for ‘Three Crouching Women’ (c 1914), pencil, Indian ink and pen and red pencil on canvas mounted on paper, 21 x 28.5 cm, Die Sammlung Leopold, Vienna, Austria. Wikimedia Commons.

This study…

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