April, Entangled. 2014.
15" x 10"
Pastel
Casey Klahn
29 April, 2014
26 April, 2014
Blue Era
A Blue Room in the Forest. 2014.
@ 10" x 13"
Pastel
Casey Klahn
I love seeing young musicians doing well and being hip. Enjoy this live ensemble performing Erik Satie's Gn no.1.
Erik Satie - Gnossienne No.1 - Seth Ford-Young
25 April, 2014
24 April, 2014
Blue Certainty
"A certain blue enters your soul...a new era is coming. " Henri Matisse. 1952.
From the Tate:
A giant of modern art, this landmark show explores the final chapter in Matisse’s career as he began ‘carving into colour’ and his series of spectacular cut-outs was born.
Cinema event in the UK.
23 April, 2014
Matisse - Video Support
Henri Matisse's groundbreaking cut-outs were rendered in the last decade of his life, from about 1943 in Nazi-occupied France, till about 1953, when Snail was completed, and are in London now and will be in New York in October. My post from yesterday regarding the exhibit.
One of the enjoyable aspects of this exhibit is the film support that illuminates the story of Matisse's process in making these great collages. Posted today: Alastair Sooke and A Cut Above the Rest.
One of the enjoyable aspects of this exhibit is the film support that illuminates the story of Matisse's process in making these great collages. Posted today: Alastair Sooke and A Cut Above the Rest.
Study notes for Henri Matisse.
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22 April, 2014
Henri Matisse: The Cut-Outs at Tate Modern
Henri Matisse: The Cut-Outs.
Current Exhibition at the Tate Modern, London, and in October at the MoMA in NYC.
Dates:
21 April, 2014
19 April, 2014
18 April, 2014
13 April, 2014
Nobody Was Harmed In The Making Of This Artwork
Hanging Tree in Color
@7" x 15"
Pastel
Casey Klahn
How many people consider nostalgia to be the pinnacle of art? An astounding number in your circle, no doubt, see the number one function of paintings and drawings to be taking them back to a bygone era. The Victorian era, perhaps. Roaring Twenties, anyone?
Once upon a time, I showed a drawing of a tree that I had just rendered to this man I barely knew. He thought to compliment me by suggesting that there, on the branch, I ought to place a man hanging. That would amp the emotional appeal, I suppose.
That is precisely what practitioners of fine art are supposed to avoid: the appeal to sympathy or nostalgia. The reason is that it is an attempt to recruit the viewer based on an appeal to his feelings about something. How in Bloody Sunday am I supposed to guess people's feelings? Is it wisest for the artist to take a pole of the relatively specific feelings of the greatest majority of rubes who might wander past his artwork as it hangs, in perpetuity, seeking those whom it will conquer?
It's a rather progressive approach to marketing art, and altogether wrongheaded for lots of reasons. The most important reason it is wrong is that contemporary art should be my soapbox - my ideas. Not Aunt Sweeney's, and not Joe Q. Public's sympathies. My ideas are universal enough to appeal and conquer plenty fine, thank you.
No criminal needs to hang in a tree for the advancement of my art today. Live and let live, I say.
01 April, 2014
Italy!
Riva Sole Reviso
8" x 9.75"
Pastel
Casey Klahn
Here is a blurb from their website:
La Romita School of Art first opened in 1966, under the guidance of Enza Quargnali, as the summer art program of Rockford College in Illinois. For over 50 years people have stayed at La Romita, painting the landscape, people, and towns in the beautiful Umbrian hill country, whose radiant golden light has charmed artists since the days of Perugino and his famous pupil, Rafael.