Sculpture This and Sculpture That: Franz West, Lemur Head, 1994

Sculpture This and Sculpture That: Franz West, Lemur Head, 1994

Sculpture This and Sculpture That: Walter De Maria installations combined the simplic...

Sculpture This and Sculpture That: Walter De Maria installations combined the simplic...

Sculpture This and Sculpture That: Edward Kienholz and Nancy Reddin Kienholz, The Blu...

Sculpture This and Sculpture That: Edward Kienholz and Nancy Reddin Kienholz, The Blu...

Edward Wadsworth. Dazzle-ships in Drydock at Liverpool, 1919. Oil on canvas

Everett Shinn, “Over the Audience,” 1934-1940, pastel on blue paper

Germination by Rosemary Cooley

Kerry James Marshall's Gulf Stream was inspired by Winslow Homer's The Gulf Stream

Marcel Duchamp, Fresh Widow original 1920, fabricated 1964, painted wood, glass, black leather, paper, and transparent tape

Ivan Aivazovsky

Ivan Aivazovsky (July 29, 1817 – May 5, 1900) was an Armenian-Russian world-renowned painter living and working in Crimea, most famous for his seascapes, which constitute more than half of his paintings. Aivazovsky is widely considered as one of the greatest seascape painters of all time

Aivazovsky was deeply affected by the Hamidian massacres of Armenians in Asia Minor in 1895, painting a number of works on the subject such as "The Expulsion of the Turkish Ship," and "The Armenian Massacres at Trevizond." and renouncing a medal which had been awarded to him in İstanbul.

He spent his last years in Feodosia where he supplied the town with water from his own estate, opened an art school, began the first archaeological excavations in the region and built a historical museum. Due to his efforts a commercial port was established at Feodosiya and linked to the railway network. Aivasovsky died in Feodosiya in 1900.

Aivazovsky is best known for his seascapes and coastal scenes. His technique and imagination in depicting the shimmering play of light on the waves and seafoam is especially admired, and gives his seascapes a romantic yet realistic quality that echoes the work of English watercolorist J. M. W. Turner and Russian painter Sylvester Shchedrin.

Especially effective is his ability to depict diffuse sunlight and moonlight, sometimes coming from behind clouds, sometimes coming through a fog, with almost transparent layers of paint. A series of paintings of naval battles painted in the 1840s brought his dramatic skills to the fore, with the flames of burning ships reflected in water and clouds. He also painted landscapes, including scenes of peasant life in Ukraine and city life in İstanbul. Some critics have called his paintings from İstanbul Orientalist, and others feel the hundreds of seascapes can be repetitive and melodramatic.

Aivazovsky became the most prolific Russian painter of his time. Early in his career, he was elected a member of five Academies of Fine Arts, including those of St. Petersburg (his Alma Mater). Rome, Florence, Stuttgart and Amsterdam.

Aivazovsky left over 6,000 works at his death in 1900. The funds earned during his successful career as an artist enabled him to open an art school and gallery in his hometown of Feodosiya.

Grant Wood

 File:Grant Wood.jpg

Grant Wood is best known for his work American Gothic.  The painting shows a farmer standing beside his spinster daughter, figures modeled by the artist's dentist and sister, Nan (1900-1990). The dentist, Dr. Byron McKeeby (1867-1950) was from Cedar Rapids, Iowa. The woman is dressed in a colonial print apron mimicking 19th century Americana and the couple are in the traditional roles of men and women, the man's pitchfork symbolizing hard labor.

File:Grant Wood - American Gothic - Google Art Project.jpg

Gothic is one of the most famous paintings in American art and one of the few images to reach the status of universally recognised cultural icon, comparable to Leonardo da Vinci's Mona Lisa and Edvard Munch's The Scream.

It was first exhibited in 1930 at the Art Institute of Chicago, where it is still located. Art critics who had favorable opinions about the painting, such as Gertrude Stein and Christopher Morley, wrongly assumed the painting was meant to be a satire of repression and narrow-mindedness of rural small-town life since it was produced at a time when there was a trend toward increasingly critical depictions of rural America, along the lines of Sherwood Anderson's 1919 Winesburg, Ohio, Sinclair Lewis' 1920 Main Street, and Carl Van Vechten's The Tattooed Countess in literature.

Wood's inspiration came from Eldon, southern Iowa, where a cottage designed in the Gothic Revival style with an upper window in the shape of a medieval pointed arch, provided the background and also the painting's title. Wood decided to paint the house along with "the kind of people I fancied should live in that house."
The house had once been a brothel.

Andrew Wyeth

I dream a lot. I do more painting when I'm not painting. It's in the subconscious. Andrew Wyeth

I prefer winter and fall, when you feel the bone structure of the landscape. Something waits beneath it; the whole story doesn't show. Andrew Wyeth

It's all in how you arrange the thing... the careful balance of the design is the motion. Andrew Wyeth

“One's art goes as far and as deep as one's love goes.” Andrew Wyeth, Cushing, Maine  

Physical vision

Physical vision is responsible for nearly everything in art, not the power to see but the way to see. It is the eye perfect or the eye defective that determines the kind of thing seen and how one sees it." Marsden Hartley

la rue mosnier aux drapeaux