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Found 548 results

  1. Edward Mitchell Bannister | Tonalist painter FOR MORE SUCH ARTWORKS & ARTISTS' FOLLOW SUJITH PUTHRAN
  2. Peter Demetz, 1969 | Figurative wood sculptor Peter Demetz was born in Bolzano-Italy and lives and works in Ortisei (BZ); 1983-84 - Art school in Ortisei; 1984-90 - Apprenticeship at Heinrich Demetz’s workshop; 1993 - Achievement of the diploma "Maestro scultore"; 1993-09 - Participation at collective exhibitions in Ortisei (UNIKA), Milan, Vail/Colorado, Leipzig, Lichtenstein/Germany, Gent, Vienna, Florence, Lecce, Bolzano, Istanbul, Palma de Mallorca and Roma. Orders in Italy, Austria, Germany, USA and Iceland: 1995-02 - Teacher at the vocational school in Ortisei and Selva Gardena. Subjects: drawing, history of art and sculpture. 1997-00 - Chairman of the association "Artigianato Artistico Gardenese" and of the UNIKA group; 1999-02 - Courses in pedagogy, didactics, educational and developmental psychology; 2001 - Lectures and seminars on wood sculpture as well as courses on working with wood and clay, drawing, design and anatomy; among others, for the design centre of the company Swarovski in Wattens (A), the LKJ-Sachsen in Leipzig, the Daetz-Centrum in Lichtenstein (Ger) and the Academy of Fine Arts in Carrara; 2002-06 - Leading teacher of the course on wood sculpture of the Westsächsische Hochschule Zwickau, Department of Applied Arts Schneeberg, at the Daetz-Centrum in Lichtenstein, Germany; 2007 - Collaboration with the Artforum Gallery of contemporary art, Bologna, Italy; 2011 - Collaboration with the White Room Art System Gallery of contemporary art, Capri/Positano, Italy. FOR MORE SUCH ARTWORKS & ARTISTS' FOLLOW SUJITH PUTHRAN
  3. Arnold Böcklin | A Modern Visionary | Symbolist painter Amajor artist of the late 19th century, the Swiss painter Arnold Böcklin (1827-1901) remains little-known in France, where his art was often reduced to the fascinating icon of only one of his many masterpieces, The Isle of the Dead. Rediscovered in the 1910s by surrealist painters - Giorgio de Chirico** and Max Ernst** in particular - who found a powerful inspiration in his fantastic and iconoclastic vision of mythology. Although it was long considered as "Germanic", if Böcklin's painting draws its inspiration in the artistic, literary and esthetical German traditions, it also breaks away from it. His first landscapes, impregnated with romanticism, took stock of the lessons of Johann Wilhelm Schirmer and Carl Friedrich Lessing with Castle in Ruin at Twilight, 1847 (Berlin, Nationalgalerie). His art also reflects a Nordic interpretation of the Latin character shared with the Deutsch-Römer, the German artists** who settled in Rome in the middle of the century. As he travelled widely, he was also influenced by other trends in European painting: Rubens**, for instance, whose memory haunts the depictions of fighting centaurs and the large fight scenes of the later years; Poussin and Le Lorrain, whose ideal landscapes are echoed in the series of Villas on the Seaside. Böcklin spent a large part of his life in Italy, where he was strongly marked by Pompeian art - Portrait of Angela Böcklin as a Muse, 1863 (Basel, Kunstmuseum) - and by the Italian Renaissance** he remembered in the sumptuous portraits and allegories of the 1870s in Munich - Self-Portrait, 1873 (Hamburg, Kunsthalle) and Anacréon's Muse, 1873 (Aarau, Aargauer Kunsthaus). To him, the Mediterranean antiquity was a golden age for humanity living in harmony with nature. His mythological creatures - Pan in the Reeds, 1859 (Munich, Neue Pinakothek), Spring Evening, 1879 (Budapest, Szepmüveszeti Museum) - express the artist's nostalgia and his deep scepticism towards modern civilisation, with affinities with the international symbolism** of the 1890s. Yet Böcklin's style, perfectly original, cannot be compared to that of any great symbolist. Rediscovering Böcklin, the surrealists highlighted the extraordinary creativity of the artist, his iconographic invention, the scholarly and iconoclastic exploration of mythology he practised, the extreme eroticism and morbidity of some of his work, the mix of genres and repertories, all that we now associate with a surprising modernity. This eclecticism is a characteristic of some large sea scenes, including Mermaids at Play, 1886 (Basel, Kunstmuseum) where tritons and naiads, lacking all idealisation, show the ferocious irony of the artist towards terrestrial and sensual appetites of the triumphant bourgeoisie of the first period of the Empire. During his stay in Naples, Böcklin developed a passion for the research carried out at the zoological station (a research centre on sea animals); they were to feed the fantastical bestiary of hybrid creatures inhabiting his paintings, especially sea scenes. Böcklin had a very high conception of the artist's destiny and of artistic creation - as testified by his impressive self-portraits, including the Self-portrait in the Workshop, 1893 (Basel, Kunstmuseum) and throughout his life he confronted, often painfully, with the fundamental questions of painting, of illusion, shape and colour. His fellow-countryman Félix Vallotton** recalls in the account in the Revue Blanche of the 50th-anniversary exhibition in Basel in 1897, how much for Böklin "to paint is a task for the elected" as he was "by turns haunted by all dreams, all ambitions: of shape, colour and expression". This perpetual quest was reflected in his traveller's life and the continuous renewal of the form of his work. After stays in Basel, Weimar and Munich, he spent the last ten years of his life in Florence, in Italy that to him was a second homeland, where he achieved Ulysses and Calypso, 1880 (Basel, Kunstmuseum) and the first version of The Isle of the Dead(Basel, Kunstmuseum). Artista di spicco di fine Ottocento, il pittore Svizzero Arnold Böcklin (1827-1901) è poco conosciuto in Francia dove la sua arte è stata spesso limitata soltanto ad uno dei suoi splendidi capolavori, L'Isola dei Morti. Riscoperto negli anni a cavallo tra il 1910-1920 da alcuni pittori surrealisti -primi fra tutti Giorgio de Chirico** Max Ernst**, molto ispirati dalla sua visione fantastica e iconoclasta della mitologia. La pittura di Böcklin, benché per un lungo periodo di tempo sia stata considerata "germanica", pur ispirandosi alle tradizioni artistiche, letterarie ed estetiche della Germania, si distacca da queste fonti. I suoi primi paesaggi impregnati di romanticismo si rifanno alle lezioni di Johann Wilhelm Schirmer e di Carl Friedrich Lessing - Castello in rovina al crepuscolo, 1847 (Berlino, Nationalgalerie). La sua pittura riflette altresì un'interpretazione nordica della latinità condivisa con i Deutsch-Römer, artisti tedeschi stabilitisi a Roma verso la metà del secolo; l'artista, inoltre, avendo a lungo viaggiato, ha subito molto l'influsso di altre correnti della storia della pittura europea: Rubens** ad esempio, il cui ricordo alberga nelle centauromachie e nelle grandi scene di combattimento degli ultimi anni; Poussin e Le Lorrain, i cui paesaggi ideali riecheggiano nella serie delle Ville in riva al mare. Böcklin ha trascorso una parte consistente della sua vita in Italia, subendo il forte influsso dell'arte pompeiana- Ritratto di Angela Böcklin in veste di musa, 1863 (Basilea, Kunstmuseum) - e del Rinascimento** italiano, del quale serba il ricordo nella fastosità dei ritratti e delle allegorie dipinti negli anni settanta del XIX secolo a Monaco - Autoritratto, 1873 (Amburgo, Kunsthalle), La musa di Anacreonte, 1873 (Aarau, Aargauer Kunsthaus). L'artista vedeva nell'antichità mediterranea un'età d'oro per l'umanità che viveva in armonia con la natura. Le sue creature mitologiche - Pan nel canneto, 1859 (Monaco, Neue Pinakothek), Sera di primavera, 1879 (Budapest, Szepmüveszeti Museum) - esprimono la nostalgia dell'artista e il suo profondo scetticismo nei confronti della civiltà moderna non senza affinità con il simbolismo** internazionale degli anni novanta del XIX secolo. Lo stile di Böcklin, tuttavia, completamente originale, non può essere paragonato a quello di nessuno dei maggiori simbolisti**. Con la riscoperta di Böcklin, i surrealisti hanno messo in evidenza la straordinaria creatività del pittore, la sua inventiva iconografica, l'esplorazione erudita ed iconoclastica della mitologia che l'artista metteva in pratica, l'erotismo e la morbosità, fuori da ogni norma, di certe opere, la commistione dei generi e dei registri, tutta una serie di fatti, questi, che si rivelano per il nostro modo si pensare di una sorprendente modernità. Questo eclettismo caratterizza alcune grandi scene raffiguranti paesaggi marini, tra cui Giochi tra le onde, 1886 (Basilea, Kunstmuseum) dove tritoni e naiadi privi di qualsiasi idealità, rivelano la feroce ironia del pittore di fronte agli appetiti terrestri e sensuali della borghesia trionfante dei primi periodi dell'Impero. Durante il suo soggiorno a Napoli, Böcklin si era appassionato alle ricerche della stazione zoologica (centro di ricerche sugli animali marini); questi studi contribuiranno ad ampliare il bestiario fantastico delle creature ibride che popolano i suoi quadri, più in particolare le scene di mare. Böcklin aveva un'altissima concezione del destino dell'artista e della creazione artistica - come testimoniano i suoi impressionanti autoritratti, tra cui L'Autoritratto in bottega, 1893 (Basilea, Kunstmuseum) e per tutta la sua vita si è confrontato, non senza sofferenza, con le questioni fondamentali della pittura, dell'illusione, della forma e del colore. Il suo compatriota Félix Vallotton**, nel resoconto della mostra giubilare di Basilea nel 1897, per la Revue Blanche, ricorda quanto per Böcklin "dipingere sia una missione elettiva", per lui che è stato "di volta in volta ossessionato da tutti i sogni, da tutte le ambizioni: ambizioni di forma, di colore e d'espressione". Questa ricerca perpetua si riflette nella sua vita itinerante e nell'incessante rinnovamento formale della sua opera. Dopo aver soggiornato a Basilea, Weimar e Monaco, l'artista trascorre gli ultimi dieci anni della sua vita a Firenze. Proprio in quest'angolo d'Italia che diventerà per lui una seconda patria, Böcklin lavora alla creazione di Ulisse e Calipso, 1880 (Basilea, Kunstmuseum) e mette mano alla prima versione di L'Isola dei Morti, (Basilea, Kunstmuseum). FOR MORE SUCH ARTWORKS & ARTISTS' FOLLOW SUJITH PUTHRAN
  4. The Sea

    From the album Marine Resonances

    © Oana

  5. Daily Quotes

    The Open-minded see the truth in Different things, the Narrow-Minded see only the Differences
  6. VectorHouseSmall.png

    From the album My Various Works

    A vector recreation of a client's boyhood home.
  7. Calisota Tattoo

    From the album My Various Works

    A tattoo design created for a couple's anniversary.
  8. Well Intentioned copies that went wrong The only thing more memorable than a great work of art is a truly awful one. Every so often a painting or sculpture comes to light that is such an odd likeness, the world’s toes collectively curl. Gathered together, these misfires of imagination and skill would fill a curiously compelling museum of fumbled face and form – one capable of proving, paradoxically, the miracle of any artist ever actually seizing a sitter’s elusive essence or capturing the mysterious music of being in the world. Among the highlights, or lowlights, of any such collection would surely be the so-called ‘Monkey Christ’ of Mercy Church, which reared its hairy head near the town of Zaragoza, Spain in 2012. It was then that a well-intentioned parishioner tried her hand at tidying up a fading fresco of Christ by the early 20th-Century artist Elías García Martínez. After an elderly parishioner attempted to restore Ecce Homo by Elías García Martínez in Borja, Spain, the town became a tourist hotspot (Credit: Alamy) Endeavouring to reverse decades of damage caused by damp, the elderly volunteer accidentally obliterated the subtle brushstrokes with which Martinez had captured the features of Christ’s face – burying them under layers of artlessly applied paint. The resulting portrait, which provoked gasps across the globe when photos of it went viral, appears more simian than sacred: like “a crayon sketch”, so BBC Europe correspondent Christian Fraser described it, “of a very hairy monkey in an ill-fitting tunic”. Plaster surgery Memories of that unfortunate restoration have been swinging their way through popular imagination recently with news of another mangled makeover, this time of a medieval statue in the Romanesque church of San Miguel de Estella in northern Spain. The defenceless victim on this occasion is a 16th-Century wood carving of the legendary warrior, St George, depicted on horseback trampling a defeated dragon under hoof. Though the priceless relic has survived relatively intact for five centuries, St George’s countenance has suddenly slipped from fierce to farce with the flick of an amateur conservator’s wrist. Recently released images show a sculpture of St George at a church in Navarra, Spain – before and after its botched restoration (Credit: EPA) In an effort to return the object to its former lustre, a local art teacher took it upon herself to freshen up the carving’s crumbling complexion with layers of modern plaster and hobby-shop paint. The perky pinkish hue with which St George’s over-polished cheeks are now permanently pinched seems more day-spa facial than dauntless old master. More Botox than Bernini. The carving’s cartoonish appearance has provoked the outrage and concern of experts who fear the defacement may be irreversible. Commenting on the bungled operation, social media users have drawn unflattering comparisons with Pee Wee Herman’s simpering pout. Others have detected a resemblance to Sheriff Woody, the lanky cowboy doll in Toy Story, as St George is left to wander clumsily into eternity and beyond. When it comes to flubbing the human face, amateur restorers with too much time on their hands are not of course the only culprits. Artists themselves routinely miss the mark from the very start. Just ask Portuguese footballer Cristiano Ronaldo, who unveiled a bronze bust of himself by a local sculptor to a chorus of titters last year at Madeira airport. After a new bust of Cristiano Ronaldo (right) was unveiled at Madeira airport, a petition was launched to bring back the derided bust it had replaced (left) (Credit: EPA) The contorted countenance, with its weirdly warped expression and stare so wild-eyed it doesn’t so much follow you around the room as haunt your nightmares, was replaced last month by a fresh attempt by the same artist. Still awkward and unconvincing as an actual likeness of the Real Madrid forward, the do-over is less-obviously ludicrous in its fumbling of Ronaldo’s famously chiselled physiognomy. It’s bad, but in the way that many portraits are bad. No imaginary museum of mismanaged miens would be complete without an entire wing devoted to Louis Tussaud’s notorious collection of frightfully unconvincing wax works. After half a century of inviting visitors to scratch their heads in wonder at who is being portrayed by its misshapen subjects, Tussauds House of Wax closed its doors in Great Yarmouth, Norfolk, in 2014. Since then, the bungled effigies of everyone from a pudgy Sean Connery to a sun-kissed Adolf Hitler have slipped mercifully from public view as if into an artistic protection programme. The House of Wax Museum in Norfolk, UK closed in 2014 – after acquiring cult status for ‘the world’s worst waxworks’, including one of Adolf Hitler (Credit: Rex Features) Tussaud’s slapstick grotesqueries, which attracted a kind of cult following of fans, relied for their “success” on visitors knowing precisely how hilariously wide the gap was between flesh-and-blood subject and waxen send-up. When it comes to assessing the achievement of likenesses of bygone historical figures for whom we have no filmic or photographic record documenting their appearance, it is much more difficult to know how far any given effort has gone astray. Peter Isselburg’s etching of King Henry VIII (after a portrait by Cornelis Metsys) is unflattering – but we can’t be sure how lifelike it was (Credit: Alamy) Take, for instance, Peter Isselburg’s unflinchingly unflattering etching of King Henry VIII (after a portrait by Cornelis Metsys), whose eyes squint sinisterly above a neckless cascade of facial flab. That Henry VIII was never Tudor eye candy is clear enough from the preponderance of contemporary portraiture. But is Isselburg’s unlikeable likeness evidence of artistic malpractice or a subversive assault on the monarch, intended to suggest that it is the sitter’s abrasive spirit that defies palatable representation, not the artist’s skill? If we really undertook to shift into an institute of ineptitude every dubious depiction from art history, what would be left? Is it possible that the rubbish portraits that occasionally stop the world in its tracks are merely exaggerated examples of the rule rather than egregious exceptions to it? Perhaps rather than being outraged by the occasional catastrophe that makes it onto the front page, we ought to awe a little louder at the masterpieces.
  9. The Sorcerer

    I would like to share with some stages of a digital drawing done in Photoshop. Thanks for watching!!
  10. Pyre

    A few months ago, I talked about games like Bastion and Transistor that have really beautiful and inspiring visual styles. Those games were developed by Supergiant Games, and I finally got to play their most recent game Pyre. Once again, I was blown away by the visuals. The game revolves around a group of nomads participating in a sort of spiritual sport where three players have to act as one. On top of having these sections, the game also has a lot of story with interesting (and visually impressive) characters. And just like with Bastion and Transistor, the soundtrack was amazing as well: I strongly recommend you give Pyre a try.
  11. The obscenity of the art world 

    The obscenity of the art world Picasso's Les femmes dAlger You’ve probably heard that we’re in a boom time for the art business, breaking sales records as fast as we can make them. This might seem strange, in a time of such political uncertainty, but look closer: the art world is a fascinating canary in our cultural/social/economic coal mine, an odd liminal zone where profound reflection on the human condition is strung up on a white wall, and traded for increasingly wild sums of money. This ostensibly deep, meditative stuff, most often forged on dirty floors by spiritually hungry oddballs, is being gobbled up by real-estate tycoons, hedge funders and tech giants from every part of the globe, especially, lately, China and the Middle East. There is some debate about how to measure the overall size of the market, but everyone agrees that we’re somewhere in the mid 11 figures, annually ($40bn-70bn). It pays to be rich, in the art world as everywhere else. The most recent figures available show that in 2016, galleries with less than $500,000 in revenue saw their sales decline by 7 per cent. Dealers with revenues of $500,000 to $1 million did just a little better, declining by 5 per cent. Things look different for the big guys. Dealers with business of $1 million to $10 million a 7 per cent increase in sales, while those with sales of $10 million or more grew by 2 per cent. The really big guys – those with business above $50 million – had a bumper year, with a 19 per cent rise in sales. Small and mid-size galleries are closing at alarming rates. There’s much talk in the art world, and some substantial handwringing, about the increasing dominance of mega-galleries like Larry Gagosian, David Zwirner, Hauser & Wirth and PACE. These small corporations each operate several outposts around the wealthy world, and have annual revenues that flirt with a billion dollars. Why this increasing concentration of wealth? Art is a global business in an increasingly globalised world, and blue chip art, sold by blue chip dealers and auction houses, has become a prime currency in the one common culture that extends from Brooklyn to Basel to Beijing: money, and the social prestige that follows upon it. There’s not a ton else that we all share when you spread the boundaries that wide, and this is reflected in the art market. The things that generate high bids generate lust and envy, and the counter-bids soar higher. It was ever thus, but not to the degree we’re seeing now. Sales based on taste, or some desire for spiritual edification, are losing out to sales based on financial speculation or raw status competition. That’s why much of the art world’s growth comes from obscene, record-shattering sales like the $179 million Picasso sold in 2015, or the $500 million Da Vinci sold in 2017. The top ten biggest sales in history, all in excess of $100 million, have taken place in the past seven years. It’s great to show your friends that you have a Warhol or Basquiat, even better if you got it by outbidding all those other obscenely rich sons of bitches peacocking at Sotheby’s, or waiting in line to wine and dine with Larry Gagosian. Life is awash with inducements to stupidity and greed. The bizarre, defiantly anti-utilitarian practice of making and enjoying art can function as a respite, a space for genuine reflection and reevaluation – as R.M. Rilke learned while staring at a broken ancient statue of Apollo, art can help us see that we must change our lives, if we want to live truly well in our short time. In our time that space is being increasingly colonised by the same venal lusts that already run so much of the wider world. That world isn’t ending this year or next, let’s hope, so there’ll be time for correction. The new money pouring out of Asia will calm down eventually. There’s no need for garment-rending, but it is sad for us. We’re living through a moment in art history that will look at least a little gross when we, or our descendants, look back on it. A global gilded age, too busy acquiring to think about much of anything. You can fight back, for yourself and the obsessive, paint-spattered oddballs past and present, by looking – really looking – at the things they’ve produced. If you’re lucky you’ll see that there are better things in heaven and earth than are dreamt of in the social registers of our hyper-competitive, status-obsessed moment.
  12. Founder of Museum of Russian Impressionism flees for the UK Boris Mints’s institution says that exhibitions are continuing to run The Museum of Russian Impressionism in Moscow John McAslan + Partners and the Museum of Russian Impressionism A private museum in Moscow set up by a Russian tycoon who has fled the country will continue to run as normal, its director says. The real estate developer Boris Mints opened the Museum of Russian Impressionism in the former Bolshevik confectionery plant in 2016. At the end of May, news emerged that Mints and his family had fled to London, reportedly to avoid possible criminal investigation in Russia over bank dealings. “Nothing has changed” in the running of Mints’s museum in Moscow, its director, Yulia Petrova, said in an email to The Art Newspaper. She noted that the institution has just opened an exhibition, Impressionism in the Avant-Garde (until 19 September), hosted an international conference, and is planning a survey this autumn of the work of the Futurist artist David Burliuk. Whether Mints will continue to fund his museum from the UK is unclear; Petrova declined to discuss the tycoon’s ongoing support of the institution. Queries were referred to his 01 GROUP company which, in turn, referred them back to the museum. Boris Mints Masha Vlasenko Although the Russian government has increasingly encouraged private museums, for example by promoting legislative initiatives to spur their development, it does not provide any funding. A spokesperson for Russia’s Ministry of Culture says that private museums “do not receive any kind of benefits or financing” from the ministry but that “we understand the necessity of building dialogue with [these institutions, which] make an important contribution to promoting a positive image of Russia abroad” and promoting culture to a domestic audience. The risk of an institution being funded primarily by just one or two wealthy individuals underscores the need to create foundations and endowments that can help them weather contingencies, says Anton Belov, the director of the Garage Museum of Contemporary Art in Moscow which was set up by Dasha Zhukova and Roman Abramovich and is now run by a foundation. The billionaire Leonid Mikhelson, who is building a major museum, GES-2, in a former power plant opposite the Kremlin, runs it through the V-A-C Foundation, which he set up to administer his art collection.
  13. 50 years later, St. Louis’ Gateway Arch emerges with a new name and a skeptical view of western expansion The new entrance to the Gateway Arch is connected to Luther Ely Smith Square and includes a cap over I-44. Before the CityArchRiver project, visitors had to cross six lanes of traffic and the sunken interstate highway to reach the Arch from downtown St. Louis. (Gateway Arch Park Foundation) ST. LOUIS — On July 3, one of this country’s most recognizable landmarks will be reintroduced to the world with a new name, a new museum and a substantial redesign of its urban landscape. A half-century after Eero Saarinen’s Gateway Arch was inaugurated in 1968, it has been reconnected to the city of St. Louis, with a sleek underground entrance facing the city, an expanded and redesigned visitor center and museum, a cleaner landscape and an elevated and more elegant waterfront along the Mississippi River. An old parking garage has been removed and a parklike pedestrian platform over Interstate 44 allows visitors from downtown St. Louis to visit the city’s most popular attraction without having to brave traffic lanes. But it is the new name that encapsulates the larger cultural changes to the National Park Service site, which has been give a $380 million renovation and redesign. What was once known as the Jefferson National Expansion Park has been recast as the Gateway Arch National Park. That change simply reflects how people think about the park, says Eric Moraczewski, executive director of Gateway Arch Park Foundation, a nonprofit group that partnered with the National Park Service to raise funds and oversee the renovation. There is no intention to downgrade Jefferson’s importance or the park’s original purpose, which was to memorialize “the men who made possible the western territorial expansion of the United States,” including “the great explorers, Lewis and Clark, and the hardy hunters, trappers, frontiersmen and pioneers,” according to a 1933 statement by a local civic group that championed the idea of building something monumental on the Mississippi waterfront. The name change, however, also reflects two facts that have long bedeviled the arch and its role within the National Park Service. Saarinen’s soaring arc of steel is an icon of the automobile age, an attraction that has always been more about playing to the passing audience of the interstates than any particular relevance to the idea of national expansion. It also honors historical events that are now understood as deeply problematic within the larger trajectory of American history, including the dispossession of Native American land, cultural genocide, the extension of slavery, centuries of conflict and ill will with Mexico, environmental degradation and the emergence of a myth of American exceptionalism. [A national memorial to the victims of lynching opens in Montgomery] The arch, in short, has always been beloved because it binds together two feel-good ideas that are essential to American identity: a heroic past of grit and conquest, and a triumphant future of innovation. Now, well into the 21st century, the challenge is how to disentangle and even dismantle those ideas while salvaging the arch as a cultural object. The solution, mostly effective, has been to think in terms of connection, both to the city which hosts it, and to the deeper currents of history that led to its creation. Standing on the grassy deck which crosses Interstate 44, Moraczewski points to the nearby Hyatt Hotel, where the concierge used to call taxis to ferry people a few hundred feet to the arch grounds before the renovation. “The arch operated as an island,” he says. “Our island was about roads, not water, but people came to the arch and never went into the city.” A view looking west of the new entrance of the Gateway Arch National Park. Before the CityArchRiver project, visitors had to cross six lanes of traffic and the sunken interstate highway to reach the Arch from downtown St. Louis. (Sam Fentress) The connecting park isn’t terribly wide — just shy of the 300-foot width which would have defined the structure as a tunnel, rather than a bridge, requiring costly ventilation and other mandated changes. But it is wide enough to include trees and benches and arcing paths that attract a lunchtime crowd, dog walkers, joggers and tourists from the nearby hotels. It also emphasizes a connection between the arch and the historic courthouse which faces it, the courthouse where Dred Scott pursued his freedom from slavery, and where a Missouri judge decided that allowing an enslaved person to claim freedom because they resided in a free state would lead to the inevitable “overthrow and destruction of our government.” The arch grounds now flow seamlessly into the plaza that fronts the courthouse and lead visitors to the sunken, glass-walled entrance to the museum. Before the design changes, there was nothing to indicate that the arch park had anything in it other than an arch, and visitors encountered the underground museum as a sideshow to the main attraction, which was a ride in the cramped and clanking elevator cars that deliver people to the observation room atop the 630-foot tall structure. Now, visitors are greeted by a semicircular and embracing entrance, from which they descend into the museum via a large, open atrium with a terrazzo map of North America on the mezzanine floor, showing the main migration routes during the era of westward expansion. Giant video screens project images of buffalo running, and wagon trains moving through a backdrop of mountains and open range. These videos set a slightly odd tone — grand and nostalgic — which isn’t sustained in the rest of the museum. The new exhibitions, created by Haley Sharpe Design, are more substantial, extending the story of westward migration back to the colonial days of St. Louis, and grappling with the fundamental questions posed by the historical narrative. In a gallery devoted to Manifest Destiny, wall panels ask not only “How the West Was Won,” but was the west “stolen,” and what of the North — as Mexico understood the same land — and was it “stolen” too? “After the Louisiana Purchase, women lost many rights . . .” reads another wall panel, noting some of the cultural impacts of the purchase of territory inhabited by Native Americans, then claimed by the French, ceded to the Spanish, reclaimed by Napoleon and ultimately transferred to the United States in 1803. “Does staking claim to land justify national ownership?” asks another exhibit, devoted to the exploration of Lewis and Clark. [A museum to the bible is better than skeptics anticipated] Videos allow Native Americans to address these questions in personal ways, and take stock of the dreadful loss of life, land and culture that came with European incursion into the continent. But these voices are compartmentalized in the usual fashion of contemporary museum design, which tends to an a la carte approach to history. If your understanding of the age of westward expansion is all about free-roaming buffalo, covered wagons, steamboats plying the Mississippi and frontier women baking hearty meals, you can find that too. Haley Sharpe Design, which also created the Democracy galleries for the Smithsonian National Museum of American History, adds texture to the story, makes connections (to trade, and the larger economic and cultural context) and avoids conclusions, even when dark conclusions are ineluctable. Wall panels in the museum ask not only “How the West Was Won,” but was the west “stolen?” (Gateway Arch Park Foundation) The museum concludes with the design and construction of the arch itself, which was an urban renewal project that led to the loss of the colonial-era street grid, and hundreds of buildings, many erected in the 19th century. It was an exercise in branding, a scheme cooked during the Depression and sold on a national scale. It took more than 30 years between the inception and the opening of the arch. Saarinen died in 1961, long after he won the 1947 design competition, and well before construction was completed in 1965. The museum notes that the realization of Saarinen’s futuristic vision happened during the tumultuous years of the civil rights movement and that African Americans protested at the arch site for not having equal access to construction jobs on the project. In the intervening years, Jefferson’s stock has fallen, and Saarinen’s has soared. He is a revered figure of modernism, and the arch is probably his best-known and most-loved project. With the Gateway Arch, he not only created an architectural spectacle grand enough to fill the site, but he helped define one of the essential trends of architecture for the past half-century, the dominance of iconic power over function. The whole idea for a park and a monument to westward expansion was bizarre: Why in St. Louis, when other cities could also claim to be the Western gateway? And why an arch, which suggests the pioneers somehow passed through a giant croquet wicket? But Saarinen finessed the problem rather like corporate architects today finesse the problem of housing large, impersonal, often rapacious organizations in buildings that suggests transparency, openness and idealism. He found a gesture that overwhelmed skepticism, both skepticism about the viability of the project, but also the larger historical skepticism that Americans have traditionally found inconvenient and dispiriting. His arch stole the show, which made it possible to avoid the history, except as a passing entertainment. Saarinen understood how essentially American the arch form was, a symbol of triumph and conquest that is hollow at its core.
  14. New to Artbyte

    Hello Artbyte Community! Just joined this forum, think it´s a great idea we use internet to publish our artworks. Am curious about the developments planned for the upcoming future! Am happy to be part of this! my pages where you can see some of my artwork are here: http://www.zolart.de http://www.flickr.com/zolarone check out my first artist entry here : Greetings Zolar AJ7AHNNgoHptWwdVYcxLJg8F98EP7wnJpz
  15. Congratulations to Strawberry Singh, this week's ArtByte Artist Showcase Winner! She has been a resident of the virtual world Second Life™ since May 9th, 2007. She is an award winning blogger and vlogger, covering fashion, lifestyle and culture via her Second Life blog. She is the winner of 5,000 ArtByte and will be featured all week on our 150,000+ social media community! See more of her work on the ArtByte Forum here:
  16. Yana Movchan, 1971 | Magic Realism painter

    Yana Movchan, 1971 | Magic Realism painter Ukrainian-born Canadian painter* Yanina (Yana) Movchan was born in Kiev. Yana’s sublime mastery of the technique and structure of Renaissance painting* combines with the instinctive symbolism* of "magical realism" to create a personal neo-realist idiom. Her work is formal, yet playful; contemporary, yet timeless; and joyous, yet mysterious, evocative and dreamlike. In Yana’s paintings, the intellectual and the emotional synthesize to form images that touch the viewer’s heart whilst issuing a challenge: there are deeper meanings to be unraveled, hidden clues amongst the hyper-real still lives, portraits and animal scenes; meanings which echo deep in the unconscious mind. Reviewers have compared Movchan’s work to Velasquez, Colville and Magritte*. Yana trained at the Ukrainian Art Academy. Her master’s thesis project (a triptych entitled "Life on Earth") won the Golden Fund Prize, the Academy’s highest art award*. Her work has featured in solo and group exhibitions in the Ukraine, Prague, London and Canada. She is based in Halifax, Canada, where she lives with her husband and two young sons. AWARDS 2007 - Glenn Gould Foundation commission. Commemorative portrait of the celebrated pianist to mark the 75th anniversary of his birth. 2001 - Best Painting Award*, Annual Juried Show, Toronto Outdoor Art Exhibition. 1995 - Golden Fund Prize (the highest art award in the Ukrainian Art Academy) for "Life on Earth" (triptych, oil on canvas). 1989 - Ukrainian Art Academy Award* of Excellence for "Thoughts of Harmony" (oil on canvas). Painting accepted into the National Art Museum of Ukraine collection. "Thoughts of Harmony" received the highest possible marks and was later purchased by the Museum. La pittrice Yanina (Yana) Movchan è nata a Kiev, Ucraina. La sua pittura di stampo rinascimentale si combina col "realismo magico" creando un personalissimo stile neo-realista. Il suo lavoro è stato paragonato da molti critici a quello di Velasques, Colville e Magritte. Ha tenuto mostre personali e collettive in Ucraina, Praga, Londra e Canada. Ha sede a Halifax, Canada, dove vive con il marito e due figli. FOR MORE SUCH ARTWORKS & ARTISTS' FOLLOW SUJITH PUTHRAN
  17. Adolphe Valette | Urban landscapes of Manchester Pierre Adolphe Valette (1876-1942) was a French Impressionist painter. His most acclaimed paintings are urban landscapes of Manchester, now in the collection of Manchester Art Gallery. Today, he is chiefly remembered as L. S. Lowry's tutor. Born in St Etienne in 1876, he trained at the Ecole Municipale de Beaux-Arts et des Arts Decoratifs in Bordeaux. Valette arrived in England for unknown reasons in 1904 and studied at the Birkbeck Institute, now part of the University of London. In 1905 he travelled to the North West of England where he designed greetings cards and calendars for a Manchester printing company. He attended evening classes at Manchester Municipal School of Art and in 1907 he was invited to join the staff as a teacher. His French teaching style, painting by demonstration, was new to the United Kingdom. Lowry expressed great admiration for Valette, who taught him new techniques and showed him the potential of the urban landscape as a subject. He called him "a real teacher … a dedicated teacher". Lowry added: "I cannot over-estimate the effect on me of the coming into this drab city of Adolphe Valette, full of French impressionists, aware of everything that was going on in Paris". In 1920 Valette resigned from the Institute owing to ill health. He stayed in Lancashire for eight more years, teaching privately and painting in Manchester and Bolton. In 1928 he returned to Paris, and subsequently moved to Blacé en Beaujolais where he died in 1942. Valette's paintings are Impressionist, a style that suited the damp fogginess of Manchester. Manchester Art Gallery has a room devoted to him, where the viewer may compare some of his paintings with some of Lowry's, and judge to what extent Lowry's own style was influenced by him and by French Impressionism generally. The Lowry hosted an exhibition of about 100 works by Valette alongside works by his pupil L. S. Lowry between October 2011 and January 2012. It included paintings of Manchester from Manchester Art Gallery and loans from private owners. FOR MORE SUCH ARTWORKS & ARTISTS' FOLLOW SUJITH PUTHRAN
  18. Introspection, oil painting

    Hi, I would like to share with you some stages of the painting process of my work called Introspection. Introspection Oil painting 40 x 5 cm. 2016 Drawing Grisaille Overpainting Finished work Detail Detail Framed Hanged Best regards to you all!! My wallet if you feel motivated to donate: AKgD6DN9N2YVPQ59Faa4sy5e1dMG9Z8Tm4 Thanks !!
  19. Check out the Art Installations on the LEA sims in Second Life, details on my blog: https://strawberrysingh.com/2018/06/17/art-installations-at-lea-sims
  20. Franz Richard Unterberger | Romantic landscape painter FOR MORE SUCH ARTWORKS & ARTISTS' FOLLOW SUJITH PUTHRAN
  21. Hello Everybody! My Name is Fabian Zolar. I am freelance visual artist from Germany. My work is all about the contemporary world we live in. Starting with Graffiti and Streetart in 1995, my style is heavily influenced by that. As well , still working on the streets with the direct connection to people, who don´t have to cross a gallery door to see my artwork, is a big inspiration and part of my work. Last years I spent many hours on working to find abstract patterns that underly letter Graffiti, found different patterns, and one of these you can see in the image posted. It is painted with acrylics on canvas and measures about 150x150 cm. But this is not my only topic as my thinking and artistic work is about finding ways to express the contemporary world I am living in. (the patterns described above are one more tool on my way to get my vision materialized) You can see some of my artworks here : http://www.zolart.de http://www.flickr.com/zolarone http://www.steemit.com/@art21 Greetings! Zolar AJ7AHNNgoHptWwdVYcxLJg8F98EP7wnJpz
  22. This week's ArtByte Artist Showcase Winner is painter, Fabian Zolar from Germany! He is the winner of 5,000 ArtByte and will be featured all week on our 150,000+ art community! Street Art How Fabian describes his work: "I am freelance visual artist from Germany. My work is all about the contemporary world we live in. Starting with Graffiti and Streetart in 1995, my style is heavily influenced by that. As well , still working on the streets with the direct connection to people, who don´t have to cross a gallery door to see my artwork, is a big inspiration and part of my work. Last years I spent many hours on working to find abstract patterns that underly letter Graffiti, found different patterns, and one of these you can see in the image posted. It is painted with acrylics on canvas and measures about 150x150 cm." You can see more of his work on the ArtByte Forum here.
  23. Francesco Hayez / Shakespeare | The Kiss, 1859 | Art in Detail Let me not to the marriage of true minds Love is not love Which alters when it alteration finds, Or bends with the remover to remove: O no! it is an ever-fixed mark That looks on tempests and is never shaken; Non sia mai ch'io ponga impedimenti all'unione di anime fedeli; Amore non è Amore se muta quando scopre un mutamento o tende a svanire quando l'altro s'allontana. Oh no! Amore è un faro sempre fisso che sovrasta la tempesta e non vacilla mai; It is the star to every wandering bark, Whose worth's unknown, although his height be taken. Love's not Time's fool, though rosy lips and cheeks Within his bending sickle's compass come: Love alters not with his brief hours and weeks, But bears it out even to the edge of doom. If this be error and upon me proved, I never writ, nor no man ever loved. Non sia mai ch'io ponga impedimenti all'unione di anime fedeli; Amore non è Amore se muta quando scopre un mutamento o tende a svanire quando l'altro s'allontana. Oh no! Amore è un faro sempre fisso che sovrasta la tempesta e non vacilla mai; è la stella-guida di ogni sperduta barca, il cui valore è sconosciuto, benché nota la distanza. Amore non è soggetto al Tempo, pur se rosee labbra e gote dovran cadere sotto la sua curva lama; Amore non muta in poche ore o settimane, ma impavido resiste al giorno estremo del giudizio: se questo è errore e mi sarà provato, io non ho mai scritto, e nessuno ha mai amato. FOR MORE SUCH ARTISTS' & ARTWORKS FOLLOW SUJITH PUTHRAN
  24. Colouring in Photoshop

    Hi, I would like to share with you a time-lapse demo of the process of colouring a page from my book "Oceana". This adult colouring book is available on Amazon if you enjoy colouring. In this case, I show you how to colour using Photoshop. Thanks for watching!!!