• “The Assumption of the Virgin with St. Thomas and Two Donors (Ser Palamedes and his Son Matthew) (c. 1390s) by Andrea di Bartolo • “In this imposing, majestic painting, Andrea di Bartolo depicts the miraculous Assumption of the Virgin Mary to heaven, aided by angels three days after her death...Andrea’s sensitively delineated figures, subtle colors, and harmonious composition are characteristics of 14th-century Sienese painting.” —gallery sign #admiringart
How exquisite...perhaps Matthew had a custom set of trenchers at the Old Lodge. What a festive and fun Elizabethan pastime that could be recreated today!
Ashmolean Advent Calendar Day 18: Decorated Elizabethan Trenchers
These painted wooden cutting-boards, made around AD 1600, would have been placed face down on a table and have held sugared fruits, marzipan or other sugary delicacies. After the food was eaten the trenchers were turned over to reveal the decoration and verses which would have been read aloud as entertainment.
Originally a trencher was a flat piece of stale bread which would have been used as a plate and then either eaten at the end of the meal or given to the poor. Trenchers later evolved into small plates of metal or wood. Read more at: bit.ly/2jWxPTh
The type of paint DiVinci likely used, Ripolin. Was honored to have been invited for a rbehind the scenes tour at NGA. Archiving artists’ tools is an important part of history and a civilization’s culture.Fascinating. #paint#artist#tools#history#art#arthistory#aigadc
1. "… I’m often asked to justify the need for a gallery that exclusively features work by queer, lesbian, gay, bisexual, and transgender (LGBT) artists. Aren’t they just artists? Shouldn’t we try to support queer artists by legitimizing them beyond their queerness? Should an artist’s sexuality even be a part of the academic and public dialogue? If an artist’s work is not explicitly queer in content, does it matter if he or she is LGBT-identified? Yes, yes, yes, and yes. The Civil Rights Movements of the past 60 years have not quite taken us to Utopia, and it is important to remember our struggles and celebrate our differences to remind ourselves, particularly in the United States, that we still have far to go. We need spaces for dialogue, processing, and action; lumping all the colors of the rainbow together leads to a dull and stagnant society. There is often a fine line between acceptance and assimilation that leads some to argue for blending in, but that never solves the underlying issues."
2. Words: “Does It Matter If Artists Are Queer?” written by Katie Poltz for The Getty's Blog, Iris, in 2014.
3. Image: Deborah Kelly, Lying Women, 2016.
We’re thrilled to have TWO of our titles named among the #BestArtBooks of the Year by the @nytimes, including Chinese Painting and its Audiences by @oxford_uni professor Craig Clunas and William Blake and the Age of Aquarius, published in association with the @nublockmuseum
Did you know that today is Arabic Writing Day? Neither did I ;) But thanks to Elena Olkhovskaya @apriori.life who invited us to Montblanc I saw a gorgeous Wassily Kandinsky pen and got this card. Isn't it art? The art of writing. When did you last get a hand written letter or at least a card? It used to be an integral part of our lives... not any more, I'm afraid. I didn't mean to write a sad post... On the contrary, it is time to admire Arabic calligraphy. I know how to read Arabic letters and you? 😜#baginskaya#art_education_baginskaya#arthistory#artappreciation#sharethemagic @montblanc_arabia
The anonymous holiday snaps of a whole generation are finding a new audience through the work of artist Annette Pugh.
Art historian and blogger RUTH MILLINGTON explores how photographs found in charity shops and flea markets are being reinterpreted to create art playing with place, time and narrative…
. “I wondered why it was that places are so much lovelier when one is alone”
Daphne Du Maurier
Annette Pugh paints the places she visited as a child: the pleasure gardens of Somerset; the holiday camps and coastline of Devon; the English Riviera.
Encapsulating the typical haunts of the British working class, she creates both a personal and collective memory, invoking in viewers a sense that they too once went ‘somewhere like that.’
Read the full post at the ARTS FOUNDRY. Link in bio.
Exploiting the method he invented in 1958, Yves Klein created a work of great intensity, using young women as “living brushes”, directing them as they rolled their naked, paint-covered bodies against the canvas. An artist fascinated with cannibalism, seeing in it a parallel to the moral condition of modern society, in this “anthropometric” painting Klein suggests a violent encounter. The title Hommage à Tennessee Williams alludes to Williams’s play Suddenly Last Summer, written in 1958 and later filmed by Joseph L. Mankiewicz, which centres on the story of a young man torn apart and eaten by a gang of boys. @centrepompidou
Yves Klein “ANT 76, Grande anthropophagie bleue, Hommage à Tennessee Williams”
Pure Pigment and synthetic resin on paper mounted on canvas (275 x 407 cm)
Centre Pompidou – Paris, France