My guess is that to stand in a gallery at the Clyfford Still Museum surrounded by the likes of 1954 – PH 1123 will be among the best art-museum experiences anywhere. The effect is a stunning first notice, a rhythmic horizontal read and then a deep plunge into the painting’s inner structure. He used varying amounts of linseed oil to achieve differences in gloss, and worked with a palette knife as much as a brush, lavishing attention on his cascading ragged edges. 1954 – PH 1123 does that, thanks to his control of vertical shapes, with undulating paint within a given color. There’s an introduction, with that orange “character” getting your attention a white-on-gray transition to the black, meat-of-the-matter second act then a white climax followed by a black denouement.īut Still’s paintings aren’t narratives: They’re supposed to hit the viewer all at once. The painting can be read from left to right, in a sequence similar to a three-act play. In the roughly 9- by 13-foot canvas titled 1954 – PH 1123, Still’s handling of shape and paint itself is what makes the bright colors-the waterfall of orange, the semi-hidden tear of blue-register not only as beautiful, but as awesome in the literal, looking-out-at-the-Grand-Canyon sense of the word. Best known for his sweeping vistas of the American West, Bierstadt began his career painting in the Hudson Valley and New England area before setting out on his first expedition to the Rocky Mountains in 1859. It’s stark, harsh, often accompanied by vast areas of black, but not unpleasant. In the case of Albert Bierstadt, this quality is contemplative, scenic, and overall pleasing to the eye. Still, who was born in North Dakota, took color by the throat, but his chroma is not French or perfumey, like that associated with Monet or Matisse. Its collection comprises more than 800 paintings and some 1,600 works on paper. Easter Morning, 1828–1835 Walk at Dusk, 1837–1840 The Monk by the Sea, 1808–1810 Reefs by the Seashore, c.1824 Sea Beach in the Fog, 1807 Moonrise over the Sea, c.1821 Northern Sea in the Moonlight, 1823–1824 The times of day: The evening, 1821–1822 The times of day: The morning, 1821–1822 The times of day: The afternoon, 1821–1822 The Grosse Gehege near Dresden, 1832 Giant Mountains (Riesengebirge), 1830–1835 Memories of the Giant Mountains, c.The American painter Clyfford Still (1904-1980) thought he was un-categorizeable, but many experts consider him to be, along with Mark Rothko and Barnett Newman, one of the few who painted the “abstract sublime.” The art critic and historian Irving Sandler says, “Jackson Pollock may have been the more important artist, but Still was, in my opinion, the greater innovator.” Still’s reputation is about to get a boost from the $29 million Clyfford Still Museum, designed by the star architect Brad Cloepfil and due to open November 18 in Denver. During his time, most of the best-known paintings were viewed as expressions of a religious mysticism.
He often used the landscape to express religious themes.
Sublime art full#
The viewer is encouraged to place himself in the position of the Rückenfigur, by which means he experiences the sublime potential of nature, understanding that the scene is as perceived and idealised by a human. Friedrich created the notion of a landscape full of romantic feeling- die romantische Stimmungslandschaft. His art details a wide range of geographical features, such as rock coasts, forests, and mountain scenes. Friedrich was instrumental in transforming landscape in art from a backdrop subordinated to human drama to a self-contained emotive subject. Friedrich’s paintings commonly employed the Rückenfigur-a person seen from behind, contemplating the view. He sought not just to explore the blissful enjoyment of a beautiful view, as in the classic conception, but rather to examine an instant of sublimity, a reunion with the spiritual self through the contemplation of nature. The visualisation and portrayal of landscape in an entirely new manner was Friedrich’s key innovation.
Friedrich’s paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs “the viewer’s gaze towards their metaphysical dimension”. His primary interest was the contemplation of nature, and his often symbolic and anti- classical work seeks to convey a subjective, emotional response to the natural world. Caspar David Friedrich (5 September 1774 – ) was a 19th-century German Romantic landscape painter, generally considered the most important German artist of his generation. He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic ruins.
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