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Posts Tagged ‘artist’

Oh, boy, what a cool site! Modern Hieroglyphics started following me after my last Banksy post, so I clicked and took a look at his site. It’s all about street art. I especially loved this post on “reverse graffiti.”

Says Modern Hieroglyphics, “Paul Curtis (Moose) uses a powerwasher to remove dirt and grime off of walls, resulting in the creation of stunning images and patterns. The new art form is known as ‘reverse graffiti’ or ‘clean tagging,’ and is growing in popularity all over the world. This is the story of Moose. …

” ‘I became an artist by accident really, I was promoting music that my label was releasing by using reverse graffiti. I created it for that purpose, then I would do large pieces for fun or like a strange hobby, then people started to ask me to work for them… and the Internet happened and I became notorious. …

” ‘I discovered reverse graffiti one day when I was a teenager working as a dishwasher in a restaurant. I aimlessly wandered out of the kitchen one day to just be in the restaurant section. I’d cleaned everything I could in the kitchen, and felt like I owned the place. So when I saw a small mark on the wall, I reached for the my cloth and wiped it off, only to find that in the process of wiping the mark off the wall, I made a much bigger mark by cleaning the original mark with the cloth.

” ‘In those days people smoked freely in establishments and the wall was brown with nicotine. I had always thought that the wall was painted that color, and now this almost-white cleaning stripe was shining out of the wall like I had a tin of white spray paint and started to write. It was quite a shock for me, and I spent a long time trying to rectify what looked like damage but was only cleaning.

” ‘Years later, while gazing out of the window on a bus, I saw that in the road tunnels in Leeds, these clean marks appeared everywhere, drunks sliding home along the tiled walls left long streaks that looked like chrome in the car lights. Later on, I finally did something with that observation.’ ”

More samples of Moose’s art are at Modern Hieroglyphics.

Art by Paul Curtis (Moose), creator of reverse graffiti

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Artist Sarah Hall is killing two birds with one stone. Or solving two challenges with one creation. According to Canadian Public Broadcasting, Hall has made stained glass windows that can convert the sun’s rays into energy for the building the stained glass embellishes.

Emily Chung writes, “Lux Gloria by Sarah Hall, at the Cathedral of the Holy Family in Saskatoon, is currently being connected to Saskatoon Light & Power’s electrical distribution network, confirmed Jim Nakoneshny, facilities manager at the cathedral.

“The artwork, which consists of solar panels embedded in brightly coloured, hand-painted art glass, had just been reinstalled and upgraded after breaking and falling into the church last year.

“Once it is connected, the cathedral will be able to use the solar power produced by the art installation to offset its own power consumption from the regular grid, Nakoneshny added.

“According to Kevin Hudson, manager of metering and sustainable electricity for Saskatoon Light & Power, the solar panels are expected to produce about 2,500 kilowatt hours annually or about a third to a quarter of the 8,000 to 10,000 kilowatt hours consumed by a typical home in Saskatoon each year.”

Read all about it at the CBC, here.

Photo: Sarah Hall on Popsci.com website
Lux Gloria: The solar-stained glass installment features dichroic glass and will be connected to the electrical grid in Saskatoon, Saskatechewan.

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Photo: Getty Popperfoto
L.S. Lowry, (pictured in 1957), the artist from Manchester, is the subject of a major new show at the Tate Britain gallery.

Some years ago when my husband was in England on business, he acquired a print of workers coming and going outside a factory. The original was by L.S. Lowry, whose paintings of industrial Britain turn out to be very popular in the UK.

Popularity, however, is not a ticket to being shown at the Tate Britain. Belatedly, Lowry will receive a retrospective in 2014.

Oliver Wainwright at the Daily Mail writes, “Clouds of smoke belch from forests of chimneys, while armies of spidery figures scuttle to and fro between narrow terrace houses and imposing factory gates.

“Crowds of fans shiver on the edge of a football field, a fist-fight breaks out, and barefoot children tease a stray cat on the street corner.

“These are the scenes depicted in the haunting paintings of L.S. Lowry who, more than any other artist, managed to capture the strange, bleak beauty of daily life in northern industrial towns.

“His dream-like images captured the popular imagination, adorning chocolate boxes and biscuit tins, tea towels and jigsaws.

“Yet they are scarcely to be found on the walls of our major national galleries. The Tate owns 23 of his works, but has only ever exhibited one on its walls in the past 20 years — and then only briefly. …

“Why has it taken so long?

” ‘He’s a victim of his own fan base,’ said Chris Stephens, Tate Britain’s Head of Displays. ‘What makes Lowry so popular is the same thing which stops him being the subject of serious critical attention. What attracts so many is a sort of sentimentality about him.’

“This is a strangely inverted piece of art world logic,” Wainwright comments, “where the popularity of an artist is seen as an obstacle to showing their work.”

If you’re an artist, be careful to stay off “chocolate boxes and biscuit tins, tea towels and jigsaws” — or wait to be discovered by art experts of a future generation.

More here and here.

 © The estate of L.S. Lowry
L.S. Lowry, Coming out of School, 1927

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When I was little, I liked to look at the cartoons in my parents’ New Yorker, and the ads, too if the pictures were interesting.

I loved the old ads for the Philadelphia Bulletin, in which one skinny, anxious guy in black, like a modern day Cassandra, tried to get people’s attention about something going wrong. Cassandra’s fate was to see the future and never be believed. His was never to be heard.

Usually what he saw was something that had me worried, too, like a shark coming onto the beach. I really couldn’t understand why all those beachgoers were reading the paper instead of paying better attention. On some level, I sensed that the ad might not hit its mark: it might make people wary of reading the Bulletin and maybe getting eaten by a shark.

My husband remembers those ads, too, and when we were reminiscing about them in a restaurant Saturday, he did some Googling and turned up the artist’s name and the cartoon below.

The cartoonist was Richard Decker. Wikipedia writes about him here.

From his obit: “Mr. Decker worked nearly four decades as a contract cartoonist at the New Yorker, starting with the magazine in 1929 and becoming well-known on its pages for his detailed cartoons and lush washes. …

“Those cartoons Mr. Decker crafted that did not appear in the New Yorker often found their way into such magazines as the Saturday Evening Post, Look, Colliers and Playboy.

“And over the years, he also did illustrations for advertising campaigns. Among the best known was a 28-year Philadelphia Bulletin series, which ran until the 1960s, that centered on the slogan, ‘In Philadelphia, nearly everybody reads the Bulletin.’ A major feature of the campaign was ‘Mr. Nearly’ – the only man around not reading the paper.” Decker’s full obit is here.

The cartoon character Mr Nearly is no more. But I can’t help hoping that sometime before his demise, someone heard his warnings.

Photo from the University of Pennsylvania

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Suzanne is in Denmark at the moment and sent me a website for something unusual she saw there: a modern Stonehenge.

“The idea of creating The DODECALITH arose in 2006 when the composer Gunner M. Pedersen saw sculptor Thomas Kadziola’s land art project Anemarken (Ancestors’ field) … on the island of Lolland.

“The composer suggested that he and the sculptor create a Stonehenge on Lolland, consisting of a circle of twelve huge menhirs with heads in the open countryside.”

The creators write, “On a hill overlooking the sea, we are creating a singing monument … that will give everyone from near and far an experience of greatness, closeness and beauty, of time’s migrations and settlements. It will express pride and humbleness, times gone by, the present, and, importantly, time coming. …

“The stone figures will stand on invisible foundations and they will sing!
Under a circle of natural sitting stones, a 12 channel sound system will be installed. This system will allow spatial electro acoustic song and music specially created for The DODECALITH to sound inside the circle at intervals every day, all year round. …

“The ancestors [came] from afar, from the land to the south where the waters rose 7,500 years ago and sent the Lolers on their long journey. … Along the coast from Ravnsholt to Ravnsby alone, over 70 burial mounds have survived, several of which are passage graves. … There are now only four mounds … It is here we are re-erecting the Ring of the Lolers, The DODECALITH, to let the new Lolers ancestors sing.” More.

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There is always so much to share from Andrew Sullivan’s site.  In a recent entry he pointed to a book called The Art Instinct, by Denis Dutton.

“Micah Mattix reviews

“The first feature of our inclination toward art is that we seem to have a universal love of landscape paintings — and not just any landscape, but landscapes similar to those our ancestors would have encountered on the African savanna. A central pillar of evidence for his argument is a 1993 study commissioned by Russian painters Vitaly Komar and Alexander Melamid that surveyed people from ten diverse countries and found a surprising number of consistent aesthetic preferences. …

“Dutton suggests that this seemingly universal preference for paintings depicting open spaces, trees, water, and animals is related to our ancestors’ search for food and safety. Such landscapes would have presented opportunities for cultivation; and the presence of water and climbable clusters of trees — which could have served as lodgings for game and provided safety from predators — would have been preferred by hunter-gatherers to either a dark forest or desolate plains.” More.

Evolutionary psychology often seems like a stretch, but it’s fun to think about. I do like landscapes.  I also like abstraction. In any case, I’m sure my ancient Picts and Celts ancestors, if such they were, would have liked the 19th century painting Andrew picked to go with his entry.

Who can resist a Turner?

Image: Petworth Park: Tillington Church in the Distance, J. M. W. Turner, c. 1830, via Wikimedia Commons

 

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Wish I could have captured the transformation of the sky over Boston about 4:30 this afternoon. It was like a sci-fi flic of a force from outer space taking over the world in one fell swoop. One minute the sky outside my window was all blue sunshine and puffy white clouds — the next, an ominous dark front was racing out of the northeast and eating everything in its path.

I would have liked a picture to contribute to Sharon Silverman’s art installation. She is building one in December and needs sky photos in a 4″x6″ print form (only sky, no buildings or trees or anything else in the picture): Sharon Silverman, P.O. Box 1212, Haverhill, MA 01831, silvermanarts@comcast.net.

Sharon says, “Remember to put your name and address on a separate piece of paper so that you can be added to the list of artists who are contributing their work to this project.” It sounded like a rare chance to be an “artist.”

I have quite a few sky pictures, but could round up only two for Sharon that didn’t have anything else in them. (Maybe only one, since a bird showed up in a print.)

Here are a few recent sky photos — two that are just sky.

And check my previous post on ForSpaciousSkies.com.

rainbow-in-June

boston-harbor-clouds

more-clouds

clouds-sun-lampost

clouds

just-clouds

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How delightful! Suzanne told me that Georgia’s childhood friend Jules calls his Rhode Island oyster business Walrus and Carpenter.

Lewis Carroll’s poem “The Walrus and the Carpenter” was the first poem I memorized in school. I was 11. It was a long poem but not too hard after memorizing the script of Alice in Wonderland at 10 (I was Alice’s understudy).

Here’s where oysters come in:

“O Oysters, come and walk with us!”
The Walrus did beseech.
“A pleasant walk, a pleasant talk,
Along the briny beach:
We cannot do with more than four,
To give a hand to each.”

The oldest oyster is wary and has no intention of leaving his oyster bed. But a slew of young oysters jump up, ready for a pleasant walk and talk. After many verses:

“O Oysters,” said the Carpenter,
“You’ve had a pleasant run!
Shall we be trotting home again?’
But answer came there none–
And this was scarcely odd, because
They’d eaten every one.

Read the whole poem, here.

And if you are in Rhode Island, please check out Walrus and Carpenter Oysters. On their website, you will find bios about the oyster cultivators on the team and information on where to show up for their current dinner series.

Suzanne particularly recommends reading some of the links on the company’s press page, especially the one to the New Yorker article (here) about how a dismantled bamboo art installation from the roof of the Metropolitan Museum of Art called Big Bambú ended up making oysters happy in Rhode Island.

Photo of the original John Tenniel art: wikimedia.org

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An artist discovered at 64 has a gallery show in New York.

Jim Dwyer writes at the NY Times, “For more than three decades, [Rafael Leonardo] Black, 64, has made a portal to the world in dense, miniature renderings of ancient myth and modern figures: Frank Wills, the security guard who discovered the Watergate break-in; Shirley Temple as a sphinx; the head of the surrealist André Breton as the head of John the Baptist; Marianne Faithfull in multiple incarnations.

“Until recently, few people ever saw his work because he had almost no visitors. He held paying jobs as a typist in a law firm, a salesman at Gimbels and then Macy’s, and as a secretary in a school. Most recently, he has worked mornings as a part-time receptionist in a hospital. …

“ ‘I just never made the effort to sell it,’ Mr. Black said. ‘I never expected to be able to make a living at it, but I’ve always done it since — well, I guess, since I’ve known my self.’

“Then [in May], a Manhattan gallery owner, Francis M. Naumann, mounted ‘Insider Art,’ an exhibition of 16 works by Mr. Black. Ten of them sold within days, at prices ranging from $16,000 to $28,000.

“ ‘People liked them, people who know art,’ Mr. Black said. ‘It makes me very happy.’ …

“Late last year, [his friend John] Taylor passed along Mr. Black’s number to [another] friend, Tej Hazarika, who publishes in the art world. Mr. Hazarika urged Tom Shannon, an artist and inventor, to look at the work. In turn, he brought it to Mr. Naumann’s attention. …

“ ‘If you are going to make a picture, you have to make something that’s in concert with the way the world operates,’ Black said. ‘There’s a line from the Lovin’ Spoonful: “You came upon a quiet day, and simply seemed to take your place.” ‘ ” More.

Photo: Victor J. Blue for the NY Times
“There’s a saying: ‘Everybody writes poems at 15; real poets write them at 50,’ ” said Rafael Leonardo Black, who draws miniature figures.

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There’s an in-demand artist who goes to Wal-mart to find subjects. His name is Brendan O’Connell. Maria Godoy writes about him at National Public Radio.

“Most people would be hard-pressed to call Wal-Mart a source of artistic inspiration. … Yet that’s exactly what artist Brendan O’Connell sees in the sprawling big-box stores. For the past decade, O’Connell has been snapping photographs inside dozens of Wal-Marts. The images have served as inspiration for an ongoing series of paintings of everyday life — much of which involves shopping, which O’Connell calls ‘that great contemporary pastime.’ …

“Wal-Mart stores, he notes, are ‘probably one of the most trafficked interior spaces in the world.’ In the tall, open, cathedral-like ceilings of Wal-Mart’s big-box stores, he sees parallels to church interiors of old. …

“As artistic matter, [Wal-mart is] a part of everyday life that seems to have resonated with lots of people. Since [a February New Yorker profile began a] media blitz …  sales of O’Connell’s work have jumped dramatically, he told me [in April]. ‘I sold more in a week than I did in some years,’ he says. …

“The people doing the buying, he says, come from all over the country.

” ‘What I’m struck by is this relationship to brands,’ he says, noting that buyers have called to inquire about specific paintings: ‘ “Do you still have the Corn Flakes? … I want the Maxwell House.” Whatever brand it is that they have a personal relationship with. And that, to me, is fascinating.’ ”


“O’Connell’s work is probably out of the price range of the average Wal-Mart shopper,” adds Godoy. “But he’s passionate about a project to bring art to the masses. The idea behind everyartist.me is to create a collaborative art project involving 1 million elementary school kids across the country. And all the recent attention on his Wal-Mart series has helped jump-start funding for the project … he says.”

(Thank you, Andrew Sullivan, for the lead.)

Image: http://www.brendanoconnell.com
Blond with yams

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Another good lead from the voracious reader of magazines in my household.

This Smithsonian story shows how a relatively simple invention made it possible for the Impressionists to do much more painting outdoors, en plein air.

Perry Hurt writes, “The French Impressionists disdained laborious academic sketches and tastefully muted paintings in favor of stunning colors and textures that conveyed the immediacy of life pulsating around them. Yet the breakthroughs of Monet, Pissarro, Renoir and others would not have been possible if it hadn’t been for an ingenious but little-known American portrait painter, John G. Rand.

“Like many artists, Rand, a Charleston native living in London in 1841, struggled to keep his oil paints from drying out before he could use them. At the time, the best paint storage was a pig’s bladder sealed with string; an artist would prick the bladder with a tack to get at the paint. But there was no way to completely plug the hole afterward. And bladders didn’t travel well, frequently bursting open.

“Rand’s brush with greatness came in the form of a revolutionary invention: the paint tube. Made from tin and sealed with a screw cap, Rand’s collapsible tube gave paint a long shelf life, didn’t leak and could be repeatedly opened and closed.

“The eminently portable paint tube was slow to be accepted by many French artists (it added considerably to the price of paint), but when it caught on it was exactly what the Impressionists needed to abet their escape from the confines of the studio, to take their inspiration directly from the world around them and commit it to canvas, particularly the effect of natural light.

“For the first time in history, it was practical to produce a finished oil painting on-site, whether in a garden, a café or in the countryside.” More.

Dear artist friends, I can picture what it would have been like for you traveling by train after an outing to some scenic spot before this invention. “Oh, Madame, I am so terribly sorry. I’m afraid my cobalt pig’s bladder burst!”

Photo: Chrysler Museum of Art
The tin tube, below, was more resilient than its predecessor (the pig bladder), enabling painters to leave their studios.

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The 13th Fort Point Artwalk was 4 to 7 today. (Saturday and Sunday, the Artwalk will be 12 to 5.)

We got started a little late because we had dinner first at Trade, but we definitely enjoyed what we had time to see.

The Boston Design Museum at the corner of Melcher and A streets had art made of moss in frames that caught my eye. We also liked seeing the models for the Street Seats contest that I blogged about a while back.

Across the way, Ari Hauben’s show was energetic and amusing. Hauben teaches art to kids with special needs in Boston, and he has strong feelings about the country’s current emphasis on standardized tests — especially for the student population he knows best.

He and an optical-engineer friend from Rochester, NY, acquired 50 Melcher Street, and for the current show, Hauben papered the floor with standardized tests. He put up large, green chalk boards with pedagogical insights and opportunities for guest commentary.

And he was eager to explain just how he creates the current works from Instagrams sent him by friends. The website says,  “His style could be defined as blending pop and street art techniques into mixed media works. The process predominantly involves newspaper, epoxy, spray paint, and layering techniques that are integrated into a variety of visual platforms.”

The prices are indicated by grades: A, B, C, D, F. I especially liked a picture of weathered yellow sheds and the work called Peach Farm, below. Lots more variety, here.

WCVB’s Chronicle interviewed Hauben here.

Art: Peach Farm by Ari Hauben

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Author-illustrator Jarrett Krosoczka knows the power of a kind word. He found his calling largely because of two words from a children’s book author who visited his elementary school class.

And he got through a difficult childhood nourished on the kindness of strangers, including lunch ladies, an unjustly maligned species he has honored in a superhero series. (“Serving justice! And serving lunch!)

Linda Matchan has a lovely story at the Boston Globe about Krosoczka.  (I want to call your attention to how nicely she describes him, here: “with impossibly spiky hair that looks as though he penciled it in himself.”)

“Until recently,” writes Matchan, “Krosoczka was very guarded about his childhood. That changed last October when he got a call from the organizer of a TEDx program at Hampshire College, modeled after the TED Talks series. …

“Scrambling for a topic, his wife urged him to talk candidly about his childhood. With no time to come up with other options, he delivered a moving talk about his early years and the people who inspired and encouraged him. The talk caught the attention of the TED editorial team, which featured it in January on TED.com.

“He spoke in his talk about his mother — ‘the most talented artist I knew’ — who was addicted to heroin and often incarcerated. ‘When your parent is a drug addict it’s kind of like Charlie Brown trying to kick the football … Every time you open your heart, you end up on your back.’ …

“Third grade was the year something ‘monumental’ happened. Children’s book author Jack Gantos came to his school to talk about what he did for a living. He wandered into the classroom where Krosoczka was drawing, stopped at Krosoczka’s desk and studied his picture.

“ ‘Nice cat,’ Gantos said.

“ ‘Two words,’ said Krosoczka, ‘that made a colossal difference in my life.’ ”

More.

Photo: Bill Greene
Jarrett Krosoczka declared May 3 (his favorite lunch lady’s birthday) “School Lunch Superhero Day.”

Author-illustrator Jarrett Krosoczka knows the power of a kind word. He found his calling largely because of two words from a children’s book author who visited his elementary school class.
And he got through a difficult childhood nourished on the kindness of strangers, including lunch ladies, an unjustly maligned species he has honored in a superhero series. (“Serving justice! And serving lunch!)
Linda Matchan has a lovely story at the Boston Globe about Krosoczka.  (I want to call your attention to how nicely she describes him, here: “with impossibly spiky hair that looks as though he penciled it in himself.”)
“Until recently,” writes Matchan, “Krosoczka was very guarded about his childhood. That changed last October when he got a call from the organizer of a TEDx program at Hampshire College, modeled after the TED Talks series. …
“Scrambling for a topic, his wife urged him to talk candidly about his childhood. With no time to come up with other options, he delivered a moving talk about his early years and the people who inspired and encouraged him. The talk caught the attention of the TED editorial team, which featured it in January on TED.com.
“He spoke in his talk about his mother — ‘the most talented artist I knew’ — who was addicted to heroin and often incarcerated. ‘When your parent is a drug addict it’s kind of like Charlie Brown trying to kick the football … Every time you open your heart, you end up on your back.’ …
“Third grade was the year something ‘monumental’ happened. Children’s book author Jack Gantos came to his school to talk about what he did for a living. He wandered into the classroom where Krosoczka was drawing, stopped at Krosoczka’s desk and studied his picture.
“ ‘Nice cat,’ Gantos said.
“ ‘Two words,’ said Krosoczka, ‘that made a colossal difference in my life.’ ”

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Check out Big, Red & Shiny, “a non-profit arts organization and online art journal [set up to] commission and publish articles, essays and reviews that explore the theory, history and reception of art in its current conditions.”

A tweet sent me to BR&S, where I learned about a special art installation that was hung in the MassArt courtyard on Tuesday.

Stephanie Cardon of BR&S writes, “This is the story of how one student’s year long effort has brought solace and joy to a community when it is most needed. In spite of the crystalline air and brilliant sunshine, Tuesday morning was dark for Bostonians near and far. … Yet, serendipitously, it was on this day that Leah Medin poured a sheet of gold, soft as a caress and reaffirming as a cheer, onto many wounded hearts.

“Her gesture was simple, but took months of planning and painstaking work. While carefully conceived, her sculpture unintentionally came to represent the soaring expression of spirit many of us so desperately needed to find that very day.

“I met with Medin to talk about the timely unfurling of her piece, The Gold Divide, in MassArt‘s central courtyard. For those who witnessed it, the hushed voices spoke of awe and wonder and hope. I was curious to hear how the sculpture had come about, and how its transformation into a symbol affected her.

” ‘What happened Tuesday was everything I wasn’t expecting,’ she said about the overwhelming public response. After all, Medin had been planning this piece for over a year. It all started during her junior year abroad in Amsterdam, where she would ride her bike all around the city. As she biked, she took in the sun and the air.

“The fabric — 440 yards of gold crystal nylon organza stitched in 57 foot long panels — was inspired by these outings, by the sense of freedom and exhilaration they contained, by the light.  …

“On the day of the Boston Marathon, Leah Medin was still hard at work in an empty school, putting the finishing touches on the cloth, reinforcing its seams. When she heard what had happened off campus, while she was quietly and solitarily working to meet her deadline, she had a moment of doubt. ‘I called my mom. I wasn’t sure I should stick with it. She told me that now more than ever it was important to bring something beautiful to people.’

” ‘I’ve been waiting for this for a long time. Then, all of a sudden, there were all these eyes on it. On my baby! It was touching the surface and reaching inside the buildings, caressing the people, running along the ground.’ …

” ‘A lot of people have come up to me and said thank you. I don’t even know many of them. We give each other hugs.’ ” More.

See more of Leah’s work at leahmedin.com

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Anna%20Ancher.%20%22Breakfast%20before%20the%20hunt%2C%22%201903.%20On%20view%20at%20the%20%22A%20World%20Apart%3A%20Anna%20Ancher%20and%20the%20Skagen%20Art%20Colony%22%20exhibit%20at%20the%20National%20Museum%20of%20Women%20in%20the%20Arts.%20%28Courtesy%20Skagens%20Museum/%29

Anna Ancher painting from the Skagens Museum: “Breakfast before the hunt,” 1903.

Kristina often gives me her Women in the Arts magazine after she’s done with it. This time I was particularly taken with a story on a show in Washington called “A World Apart: Anna Ancher and the Skagen Art Colony.”

DeNeen L. Brown writes that among the 64 paintings and oil sketches, the depiction of light is breathtaking.

She says, “At its height in the 1880s and ’90s, Denmark’s Skagen Art Colony attracted dozens of artists who were drawn to the isolated fishing village by the light and the unspoiled land- and seascapes.

“While the exhibition focuses on Ancher, the most prominent woman, it also includes works by her husband, Michael Ancher, as well as Laurits Tuxen, Viggo Johansen, Christian Krohg, Oscar Bjorck, Holger Drachmann, Carl Locher and P.S. Kroyer, whose large-scale oil paintings capture the ‘heroic’ life of fishermen in Skagen. …

“Ancher, who was the only native of Skagen among the artists in the colony, became an icon in Denmark not only for her art but for breaking social boundaries. She was a wife and mother who painted at a time when most women abandoned work after they married and had children. She also painted during an era when women were prohibited from studying at the Royal Danish Academy of Fine Arts. …

“The Skagen colony artists became known as part of the modern breakthrough movement, shrugging off the academic tradition of neoclassical painting styles preferred at the Academy of Fine Arts in Copenhagen and building on realist, naturalist and impressionist movements to depict everyday life and everyday people in an unidealized way.” More.

In case you should be in Washington in the next few weeks, the show runs through May 12 at the National Museum of Women in the Arts.

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