Showing posts with label fabrics. Show all posts
Showing posts with label fabrics. Show all posts

Saturday, December 14, 2019

Studies of Drapery – Artistic Drawings (1600-1900)

Charles West Cope
Drapery Study
before 1890
drawing
Cooper Hewitt, Smithsonian Design Museum

Charles West Cope
Drapery Study
before 1890
drawing
Cooper Hewitt, Smithsonian Design Museum

Anonymous Italian Artist
Drapery Study
17th century
drawing
Cooper Hewitt, Smithsonian Design Museum

Anonymous Italian Artist
Drapery Study
17th century
drawing
Cooper Hewitt, Smithsonian Design Museum

Elihu Vedder
Drapery Study
ca. 1890
drawing
Cooper Hewitt, Smithsonian Design Museum

Francis Augustus Lathrop
Drapery Study
ca. 1895
drawing
Cooper Hewitt, Smithsonian Design Museum

Anonymous Italian Artist
Drapery Study
17th century
drawing
Cooper Hewitt, Smithsonian Design Museum

Fairy-Land

Dim vales – and shadowy floods –
And cloudy-looking woods,
Whose forms we can't discover
For the tears that drip all over:
Huge moons there wax and wane –
Again – again – again –
Every moment of the night –
Forever changing places –
And they put out the star-light
With the breath from their pale faces.
About twelve by the moon-dial,
One more filmy than the rest
(A kind which, upon trial,
They have found to be the best)
Comes down – still down – and down
With its centre on the crown
Of a mountain's eminence,
While its wide circumference
In easy drapery falls
Over hamlets, over halls,
Wherever they may be –
O'er the strange woods – o'er the sea –
Over spirits on the wing –
Over every drowsy thing –
And buries them up quite
In a labyrinth of light –
And then, how, deep! – O, deep,
Is the passion of their sleep.
In the morning they arise,
And their moony covering
Is soaring in the skies,
With the tempests as they toss,
Like – almost any thing –
Or a yellow Albatross.
They use that moon no more
For the same end, as before,
Videlicet, a tent –
Which I think extravagant:
Its atomies, however,
Into a shower dissever,
Of which those butterflies
Of Earth, who seek the skies,
And so come down again
(Never-contented things!)
Have brought a specimen
Upon their quivering wings.

– Edgar Allan Poe (1831)

Anonymous Italian Artist
Drapery Study
ca. 1675
drawing
Cooper Hewitt, Smithsonian Design Museum

Anonymous Italian Artist
Drapery Study
ca. 1675
drawing
Cooper Hewitt, Smithsonian Design Museum

Anonymous Italian Artist
Drapery Study
ca. 1650-75
drawing
Cooper Hewitt, Smithsonian Design Museum

François Lemoyne
Drapery Study
ca. 1720
drawing
Metropolitan Museum of Art, New York

Kenyon Cox
Drapery Study
ca. 1900
drawing
Cooper Hewitt, Smithsonian Design Museum

Anonymous Italian Artist
Drapery Study of Sleeve
17th century
drawing
Cooper Hewitt, Smithsonian Design Museum

Anonymous Italian Artist
Drapery Study of Sleeve and Studies of Hands
17th century
drawing
Cooper Hewitt, Smithsonian Design Museum

Monday, November 18, 2019

Modernist Narratives, Encounters, Designs

Giorgio de Chirico
The Philosopher's Conquest
1913-14
oil on canvas
Art Institute of Chicago

Giorgio de Chirico
Horses
before 1947
color stencils on paper
Art Institute of Chicago

Jacques Lipchitz
Combat
ca. 1940-50
etching
Art Institute of Chicago

Jacques Lipchitz
Study
ca. 1947
drawing
Art Institute of Chicago

On the Endurance of the Flesh of the World

Miraculously, weather continued its patterns – daylight
               Entered each window on its vast singular

               Mission: clouds rose majestic on the distant
                        Horizon, carrying with them libations for

The far-flung provinces. Not all storms stayed, but some
               Storms lingered. Which is to say day had

               Not been deformed by grief's arduous trials.
                        Warmth in April was again undercut by

A cool blade of wind. Autumn's return stayed rugged,
               The russet, parched leaves curling; at nightfall

               Soot still hung in air, and the young birches
                        Amid oak, shone forth like rooted lightning.

And all knowledge was still temporary, and demanded
               Renewal. But the body, bearing as it did joy's

               Eclipse, remained skeptical listening to the news,
                        Insistently denying that seas still rushed

Impatient to the harbors of the world, and that the equator
               Remained reconciled to its miraculous girth.

               Yes, despite sorrow's gravity, twilight still
                        Lay liquid – slate-grey – in deep shadow,

And morning's return was luminous, in its own fashion.
               As reported to the ear, drizzle's voice endured

               Discreetly, rain's temper, incessant. Unseen,
                        Water rose briefly in towers against a siege

Of wind; and sand persisted – pressed its hand into all
               The crevices of the hours: for turning as it did

               In its own tight ether, the soul knew not that,
                        Even in seclusion, the elements beat true

                        Against the hard frame of the mind.

– Ellen Hinsey (The White Fire of Time, Wesleyan University Press, 2002)

Pablo Picasso
Abstraction - Background with Blue Cloudy Sky
1930
oil on panel
Art Institute of Chicago

Pablo Picasso
Minotaur and Wounded Horse
1935
drawing (ink, crayon, graphite)
Art Institute of Chicago

Pablo Picasso
The Minotaur
1933
wash drawing
Art Institute of Chicago

Pablo Picasso
Centaur Nessus abducting Dejanira
1920
drawing
Art Institute of Chicago

Henri Matisse
Daisies
1939
oil on canvas
Art Institute of Chicago

Lovis Corinth
Odysseus and Nausicaä
1918
lithograph
Art Institute of Chicago

Lovis Corinth
Flight into the Ark
1923
lithograph, with added watercolor
Art Institute of Chicago

Lovis Corinth
Freedom from the Ark
1923
lithograph, with added watercolor
Art Institute of Chicago

Saul Steinberg
Cornices
1952
drawing
Art Institute of Chicago

Raoul Dufy
Flowers, Oranges and Cherries
(fabric design for Bianchini Férier, Lyon)
ca. 1911
block-printed silk
Art Institute of Chicago

Monday, November 4, 2019

Plants & Flowers Rendered by Artists in Two Dimensions

Anonymous Artist working in England
Lady's Slipper Orchid
1906
watercolor
Wellcome Collection, London

Jan van den Hecke
Anemones in a Glass Vase
ca. 1650-56
oil on canvas
Kunsthistorisches Museum, Vienna

Jan Anton van der Baren
Roses in a Glass Vase
ca. 1659
oil on vellum
Kunsthistorisches Museum, Vienna

Wolfgang Tillmans
Affinity
2009
inkjet print
Art Institute of Chicago

Vase Poppies

Lavenderish dusk
strapped for stays,
pomegranates under the rubberband
chucked for a glass Oz,

letdown
splayed by the pillar-shelves
to page upon the Ottoman:

his talk has wrought suit
amid citrus gapes
and pall dunked in the bowl
and grated sage
or cleaved clear paleo-pines.

Postgeist, upcast
California upon weed,
what banker yields
so fragrant a cant
as this vagrant cant?

– Jennifer Scappettone (2010)

Raoul Dufy
Les Altheas
(fabric design for Bianchini Férier, Lyon)
ca. 1914-20
screen-printed silk
Art Institute of Chicago

Eliot Porter
Frostbitten Apples, Tesuque, New Mexico
1966
dye imbibition print
Art Institute of Chicago

Eliot Porter
Moss, Waterfall, Cinders near Mt Hekla, Iceland
1972
dye imbibition print
Art Institute of Chicago

Daniel Seghers
Madonna and Child framed by Flowers
(figures in grisaille by Erasmus Quellinus the Younger)
ca. 1645
oil on canvas
Kunsthistorisches Museum, Vienna

Jan Philips van Thielen
Madonna and Child framed by Flowers
(figures in grisaille by Erasmus Quellinus the Younger)
1648
oil on canvas
Kunsthistorisches Museum, Vienna

John Singer Sargent
Thistles
ca. 1883-89
oil on canvas
Art Institute of Chicago

Henri Matisse
Still Life with Geranium
1906
oil on canvas
Art Institute of Chicago

Charles Sheeler
Geraniums, Pots, Spaces
1923
drawing
(charcoal, Conté crayon, colored pencils)
Art Institute of Chicago

Henri Fantin-Latour
Still Life with Flowers
1881
oil on canvas
Art Institute of Chicago

Henri Fantin-Latour
Roses in a Bowl
1881
oil on canvas
Art Institute of Chicago

Friday, August 2, 2019

Keith Vaughan (1912-1977) - Illustrations, Prints, Textiles

Keith Vaughan
I wedged myself into a fork and waited
(book illustration)
1947
ink and gouache on paper
Aberystwyth University School of Art Museum and Galleries (Wales)

Keith Vaughan
A Youth
(book illustration)
1947
ink and gouache on paper
Aberystwyth University School of Art Museum and Galleries (Wales)

"Keith Vaughan was born in 1912 at Selsey Bill in Sussex, and attended Christ's Hospital, where he was badly bullied.  He received no formal instruction in art, but was apprenticed at the Lintas advertising agency, which gave him some understanding of form and composition.  During this period he painted small artworks, leaving Lintas in 1939 to paint full time, a career that was interrupted by the outbreak of World War II.  Vaughan registered as a Conscientious Objector, eventually ending up as an assistant and interpreter at a German POW camp.  After the war, he returned to painting, and took up a part time role teaching illustration at Camberwell School of Art.  Also around this period he started illustrating for The Hogarth Press, John Lehmann, and Paul Elek, amongst others."  

– from biographical notes published by the Redfern Gallery, London

Keith Vaughan
Figure in a Churchyard
1948
monotype
Tate Gallery

Keith Vaughan
Landscape
1949
lithograph
Victoria & Albert Museum

Keith Vaughan
The Woodman
1949
lithograph
Victoria & Albert Museum

Keith Vaughan
Figure with a Boat
1950
lithograph
Tate Gallery

Keith Vaughan
The Walled Garden
1951
lithograph
private collection

Keith Vaughan
Fisherman
(fabric design for Edinburgh Weavers, Carlisle)
1956
screen-printed cotton
Victoria & Albert Museum

Keith Vaughan
Suffolk
(fabric design for Edinburgh Weavers, Carlisle)
ca. 1950-60
screen-printed cotton
Victoria & Albert Museum

Keith Vaughan
The Bough
(fabric design for Edinburgh Weavers, Carlisle)
ca. 1950-60
screen-printed cotton
Victoria & Albert Museum

Keith Vaughan
Loam
(fabric design for Edinburgh Weavers, Carlisle)
1958
screen-printed cotton
Victoria & Albert Museum

Keith Vaughan
Adam
(fabric design for Edinburgh Weavers, Carlisle)
1958
brocaded cotton and rayon
Victoria & Albert Museum

Keith Vaughan
Self-portrait
ca. 1941-42
drawing
Tate Gallery

Felix H. Man
Keith Vaughan in his studio, Hamilton Terrace, London
1948
photograph
National Portrait Gallery, London

Keith Vaughan
Self-portrait
1950
ink, crayon and gouache on paper
National Portrait Gallery, London