My new-to-me artist of the day is Alex Alemany, of Spain.
From the artist’s website:
Pintar En Defensa Propia
Vivimos en una estructura cultural, cuya complejidad es superior a nuestra capacidad individual para entenderla. La hemos construido nosotros; pero quienes deberían organizar, legislar y gestionar las sociedades liberal-democráticas y todos sus problemas culturales ya no tienen los recursos, conocimientos y capacidad necesarios, para entender lo que está pasando y lo que se puede hacer para resolverlo. El ser humano, ya no puede entender el mundo que ha creado.
En lo concerniente al Arte, soportamos mansamente la continua victoria de la promoción y el marketing sobre el conocimiento y los valores.
La pobreza de la preparación artística, se ha convertido por la alquimia del mercado, en un instrumento poderoso para la mejor “expresividad artística” del momento, entendido en términos consumistas.
Este es un momento caracterizado por la ausencia de tendencias claras, debido a la exhaustiva proliferación de propuestas e informaciones convulsas que somos incapaces de procesar y, que bloquean la selección, provocando la necesidad de buscar refugio personal. Quizá sea el momento del individualismo y la práctica del oficio como defensa mística ante la incertidumbre y desorientación. Al menos es la opción que he escogido.
Painting In Self Defense
We live in a cultural structure, whose complexity is greater than our individual capacity to understand. We’ve built us, but who should organize, legislate and manage the liberal-democratic societies and all its cultural problems and lack the resources, knowledge and skills needed to understand what is happening and what can be done to solve it. Human beings can no longer understand the world you created.
With regard to Art, meekly endure the continued victory of the promotion and marketing on knowledge and values.
The poverty of artistic training has become the Alchemy of the market, a powerful tool for the best “artistic expression” of the moment, understood in terms of consumerism.
This is a time characterized by the absence of clear trends due to the extensive proliferation of proposals and information that we are unable convulsive process and to block selection, causing the need to seek shelter staff. It may be time of individualism and practice of the profession as a defense mystical face of uncertainty and disorientation. At least that is the option you have chosen.
Katsushika Hokusai (1760–May 10, 1849) was a Japanese artist, ukiyo-e painter and printmaker of the Edo period. In his time he was Japan’s leading expert on Chinese painting. Born in Edo (now Tokyo), Hokusai is best-known as author of the woodblock print series Thirty-six Views of Mount Fuji (c. 1831) which includes the iconic and internationally recognized print, The Great Wave off Kanagawa, created during the 1820s.
Hokusai created the “Thirty-Six Views” both as a response to a domestic travel boom and as part of a personal obsession with Mount Fuji. It was this series, specifically The Great Wave print and Fuji in Clear Weather, that secured Hokusai’s fame both within Japan and overseas.
As historian Richard Lane concludes, “Indeed, if there is one work that made Hokusai’s name, both in Japan and abroad, it must be this monumental print-series…” While Hokusai’s work prior to this series is certainly important, it was not until this series that he gained broad recognition and left a lasting impact on the art world. It was The Great Wave print that initially received, and continues to receive, acclaim and popularity in the Western world.
I’ve included several other works of his that caught my eye, both due to composition and color. His complete body of work can be studied at www.katsushikahokusai.org
(I can’t stop staring at them…see more of her work here.)
Born in 1979, Fuco Ueda is a rising star artist from Japan who paints beautiful images of women in various states of surrealism.
“Fuco paints with acrylic and powdered mineral pigments on paper, or on cloth on wood. Her gallery of paintings dates back to as early as 1998, yet surprising, the style and quality of works remain consistent. The heroines of Fuco Ueda’s paintings are often on the brink of danger. These beauties are at once victioms and agents. But whether the threats are self-inflicted or not, they make for fierce and beautiful narratives.” — StartDrawing.org
My new-to-me artist of the day is
Sir George Clausen
‘The Girl at the Gate’
CLAUSEN, GEORGE (1852-1944), English painter, was born in London, the son of a decorative artist. He attended the design classes at
the South Kensington schools from 1867-1873 with great success. He then worked in the studio of Edwin Long, RA., and subsequently in Paris under Bouguereau and Robert-Fleury. He became one of the foremost modern painters of landscape and of peasant life, influenced to a certain extent by the impressionists with whom he shared the view that light is the real subject of landscape art. His pictures excel in rendering the appearance of things under flecking outdoor sunlight, or in the shady shelter of a barn or stable. His Girl at the Gate was acquired for the nation by the Chantrey Trustees and is now at the National Gallery of British Art (Tate Gallery). He was elected associate of the Royal Academy in 1895, and as professor of painting gave a memorable series of lectures to the students of the schools, published as Six Lectures on Painting (1904) and Aims and Ideals in Art (1906). (Source)
fun being Creative Director
for Kinetic Consulting, too
(but the views expressed
here are wholly my own and are not those of my employer, cool?).
Somewhat Interesting Tidbits:
I am a gutsy critical thinker,
a passionate dance and yoga lover, exuberant (but not always successful) reverse-engineer in the kitchen, wifey to the magically delishous Mister @kid_ish, and proud Mom to my kiddo and
two kickass ocicats.