# data[].attributes.attachment_link.title
Past exhibition: Orly Cogan, ‘Go Your Own Way’ - Department of Visual Arts

# data[].attributes.attachment_link.description
Wagner College Union Gallery is pleased to present this selection of work from the fiber and multi-media artist Orly Cogan. Through her tapestries, drawings and collages, Cogan explores feminism and the changing roles of women in our society through repurposing vintage fabrics (often previously embroidered by women). With humor, candor and a sophisticated sense of …

# data[].attributes.headline
Dong Woo Kim- Family, 2014 Yellow sandstone

# data[].attributes.subject
Dong Woo Kim- Family, 2014 Yellow sandstone

# data[].attributes.attachment_link.readable_text
Perhaps the most influential artist of the 20th century, Pablo Picasso may be best known for pioneering Cubism and fracturing the two-dimensional picture plane in order to convey three-dimensional space. Inspired by African and Iberian art, he also contributed to the rise of Surrealism and Expressionism. Picasso's sizable oeuvre grew to include over 20,000 paintings, prints, drawings, sculptures,ceramics, theater sets, and costume designs. He painted his most famous work, Guernica (1937), in response to the Spanish Civil War; the totemic grisaille canvas remains a definitive work of anti-war art. At auction, a number of Picasso's paintings have sold for more than $100 million. The indefatigable artist has been the subject of exhibitions at the world's most prestigious institutions, from the Museum of Modern Art and Centre Pompidou to the Stedelijk Museum and Tate Modern.

# data[].attributes.attachment_link.title
Dong Woo Kim | Family (2014) | Available for Sale | Artsy

# data[].attributes.attachment_link.description
Perhaps the most influential artist of the 20th century, Pablo Picasso may be best known for pioneering Cubism and fracturing the two-dimensional picture plane in order to convey three-dimensional space. Inspired by African and Iberian art, he also contributed to the rise of Surrealism and Expressionism.

# data[].attributes.body
https://www.artsy.net/artwork/mike-brodie-number-4353-1

# data[].attributes.attachment_link.readable_text
Perhaps the most influential artist of the 20th century, Pablo Picasso may be best known for pioneering Cubism and fracturing the two-dimensional picture plane in order to convey three-dimensional space. Inspired by African and Iberian art, he also contributed to the rise of Surrealism and Expressionism. Picasso's sizable oeuvre grew to include over 20,000 paintings, prints, drawings, sculptures,ceramics, theater sets, and costume designs. He painted his most famous work, Guernica (1937), in response to the Spanish Civil War; the totemic grisaille canvas remains a definitive work of anti-war art. At auction, a number of Picasso's paintings have sold for more than $100 million. The indefatigable artist has been the subject of exhibitions at the world's most prestigious institutions, from the Museum of Modern Art and Centre Pompidou to the Stedelijk Museum and Tate Modern.

# data[].attributes.attachment_link.title
Mike Brodie | #4353 (2006-2009) | Available for Sale | Artsy

# data[].attributes.attachment_link.description
Perhaps the most influential artist of the 20th century, Pablo Picasso may be best known for pioneering Cubism and fracturing the two-dimensional picture plane in order to convey three-dimensional space. Inspired by African and Iberian art, he also contributed to the rise of Surrealism and Expressionism.

# data[].attributes.headline
Marisol-"The Family" 1962, made of painted wood, sneakers, a door knob and a plate.

# data[].attributes.subject
Marisol-"The Family" 1962, made of painted wood, sneakers, a door knob and a plate.

# data[].attributes.body
“The Family,” exhibited at the Stable Gallery in 1962, showed a painted-wood family reminiscent of Dorothea Lange’s photographs of the Dust Bowl: a seated mother holding a baby, her three children standing at her side, all staring stiffly at the viewer. They wore real shoes and sneakers. It was a down-market counterpart to her 1960 work “The Kennedy Family,” which made the first family look like a set of tribal totems.

# data[].attributes.headline
George Segal- Abraham’s Farewell to Ishmael, 1987 Painted plaster sculpture

# data[].attributes.subject
George Segal- Abraham’s Farewell to Ishmael, 1987 Painted plaster sculpture

# data[].attributes.attachment_link.readable_text
Perhaps the most influential artist of the 20th century, Pablo Picasso may be best known for pioneering Cubism and fracturing the two-dimensional picture plane in order to convey three-dimensional space. Inspired by African and Iberian art, he also contributed to the rise of Surrealism and Expressionism. Picasso's sizable oeuvre grew to include over 20,000 paintings, prints, drawings, sculptures,ceramics, theater sets, and costume designs. He painted his most famous work, Guernica (1937), in response to the Spanish Civil War; the totemic grisaille canvas remains a definitive work of anti-war art. At auction, a number of Picasso's paintings have sold for more than $100 million. The indefatigable artist has been the subject of exhibitions at the world's most prestigious institutions, from the Museum of Modern Art and Centre Pompidou to the Stedelijk Museum and Tate Modern.

# data[].attributes.attachment_link.title
George Segal | Abraham's Farewell to Ishmael (1987) | Artsy

# data[].attributes.attachment_link.description
Perhaps the most influential artist of the 20th century, Pablo Picasso may be best known for pioneering Cubism and fracturing the two-dimensional picture plane in order to convey three-dimensional space. Inspired by African and Iberian art, he also contributed to the rise of Surrealism and Expressionism.

# data[].attributes.headline
Jose Gonzales-Torres "Perfect Lovers" 1991

# data[].attributes.subject
Jose Gonzales-Torres "Perfect Lovers" 1991

# data[].attributes.body
"Untitled" (Perfect Lovers) is an installation of two identical, battery-operated clocks, synchronized and hanging side-by-side. As ordinary objects elevated to the level of fine art, the clocks undoubtedly reference the Duchampian readymade, serial repetition, Minimalist sculpture. Like all of Gonzalez-Torres's works, however, mundane materials are springboards for subtle personal and political meanings that vary with their context. The viewer's response to the clocks shifts dramatically knowing that the artist created the installation while his partner Ross Laycock was dying from AIDS. Gonzalez-Torres acknowledged that clocks would fall out of synch, one eventually stopping first. "Time is something that scares me . . . or used to. This piece I made with the two clocks was the scariest thing I have ever done. I wanted to face it. I wanted those two clocks right in front of me, ticking."

On the other hand, the clocks exemplify his desire to create works with multiple possible meanings. Although it obviously reflects his own homosexual relationship, the abstract nature of the clocks' substitution for bodies allows it to be read generally, as a metaphor for love. Gonzalez-Torres explained how he resisted the label of "gay art" during a period of increased censorship and furor over the NEA funding for Robert Mapplethorpe: "Two clocks side by side are much more threatening to the powers that be than an image of two guys sucking each other's dicks, because they cannot use me as a rallying point in their battle to erase meaning. It is going to be very difficult for members of Congress to tell their constituents that money is being expended for the promotion of homosexual art when all they have to show are two plugs side by side, or two mirrors side by side..."

Gonzalez-Torres often produced multiple versions of his installations, and his detailed instructions for their display became an important element of the piece itself. For "Untitled" (Perfect Lovers), the instructions require the commercial clocks to be of exact dimensions and design and that they touch; before the exhibition opens the hands are set to the same time; an essential part of the work is that the clocks can be perpetually reset and, therefore, the work is infinite. A rule around the work is that the clocks can fall out of sync but if one of the clocks stop, they are fixed or replaced, as the case may be. With such directions, Gonzalez-Torres created the basic boundaries of the work, while still allowing for certain flexibility in any given exhibition or installation.

Dallas Museum of Art

# data[].attributes.body
What do you see which is similar in each artwork? Pose? Eye contact? Scale of Mother to child?

# data[].attributes.attachment_link.readable_text
Even though many of us might be self isolating or under lock down this Mother's day and are unable to celebrate Mother's day with our mothers, we've compiled 10 famous mother and child paintings that illustrate how much we all love our mums and how much they love us.

1. Klimt's Mother & Child

This famous beautiful mother and child painting is painted by Austrian artist, Gustav Klimt. The original painting measures 180 cm × 180 cm (71 in × 71 in). The image above of Mother and Child is only one segment of the painting, the whole work actually shows the three ages of women in different stages of life. The mother and child, which you can see above are the only two figures that are touching in the whole artwork.

2. Da Vinci's Madonna Litta

The Madonna Litta depicts the Virgin Mary breastfeeding Christ and illustrates motherly love. The blue cloak of Mary symbolizes the Church and her red dress is a symbol of the passion of Christ. The original Madonna Litta painting is actually in the Hermitage Museum in St. Petersburg and only measures 42 cm x 33 cm.

3. William A Bouguereau's Mother and Child

Bouguereau, was a French academic artist who enjoyed particular success in France and America painting modern interpretations of classical subjects, with an emphasis on the female human body. This artwork above, as you can see is a charming painting of a doting mother holding her baby.

4. Cassatt's Mother and Child

Mary Cassatt was an American artist, who is famous for painting and drawing private moments of women in their everyday lives. Reading, taking care of their children, taking tea etc. If you take a look at her artwork you can see she did not seek to sentimentalise her subjects but rather depict the mothers she painted as honest and clean-living women.

5. Monet's Madame Monet and Child

This famous mother and child painting by Claude Monet shows Monet's wife with a child in Argenteuil, where they lived for 5 years between 1872 - 1877. Whilst Monet is primarily known for his paintings of water lilies, at the start of his career, he actually concentrated on portraits.

6. Renoir's Gabrielle et Jean

This charming Impressionist painting was painted in 1895 and depicts Renoir 's son Jean with their faithful servant Gabrielle. The painting measures 65cm x 54cm and is housed in the Musée de l'Orangerie. You can see that the background is quite indistinct and you can barely recognize that the figure Gabrielle is holding is of a cow.

7. Crespi's Madonna and Child

This is such a touching and beautiful mother and child painting. You can't help but feel the tenderness of the way the Madonna looks at her baby. You can of course commission a faithful fine art reproduction of it here - Mother and Child Paintings

8. Calderon's Lord - Thy Will Be Done Painting

Calderon was a French pre-Raphaelite artist. The title of this painting is Lord - Thy will be done and clearly invites you to speculate about the meaning of the painting. However there are clues in the painting to help guide you. We can see a mother cradling her baby whom appear to be living in difficult circumstances. The carpet is badly worn for example and there is a loaf of bread on the table, so she still has her "daily bread" a reference to the Lord's Prayer, the title of course, is also a reference to that. In the background, we see an image of a man, perhaps the woman's husband as she does wear a wedding ring. The crumpled newspaper on the floor maybe suggests that the lady has been following news of a military campaign.

Joaquin Sorolla y Bastida's On the beach

I love the natural feel of this painting that Sorolla has created. Sorolla was a Spanish artist. His most typical works are characterized by a dexterous representation of the people and landscape under the bright sunlight of Spain and sunlit water.

10. Leighton's Music Lesson

In Leighton's Music Lesson, we see a lady teach a young girl how to play the guitar (the guitar is possibly of Syrian origin). In 1857, after Leighton's first trip to Algeria he began to get a huge interest in Eastern art and architecture, which we can see in this painting.

Have a question?

We'd love to hear from you! If you would like to add something, or ask a question concerning art reproductions please leave a comment below or email: [email protected] .

Who are we?

We're a fine art reproduction company called Fabulous Masterpieces that solely concentrates on painting museum quality art reproductions onto canvas. We've even produced a magazine on the topic to help you out if you want to learn more about fine art copies. Just click on the image above.

Bye for now x

# data[].attributes.attachment_link.title
10 Famous Mother and Child Paintings (that you can buy now)

# data[].attributes.attachment_link.description
Even though many of us might be self isolating or under lock down this Mother's day and are unable to celebrate Mother's day with our mothers, we've compiled 10 famous mother and child paintings that illustrate how much we all love our mums and how much they love us.

# data[].attributes.headline
Akhenaten, Nefertiti, and the Royal Princesses, 1348-1335 B.C.Limestone12 1/5 × 15 1/5 in31.1 × 38.7 cm

# data[].attributes.subject
Akhenaten, Nefertiti, and the Royal Princesses, 1348-1335 B.C.Limestone12 1/5 × 15 1/5 in31.1 × 38.7 cm

# data[].attributes.body
Chagall
The Birthday (1915)

Love lifts them up so their feet scarcely touch the ground. Sweeping down like a comet, or an angel, he bends over backwards to kiss her. Chagall will soon be married to the teenage Bella, his beloved muse, and so the gravity-defying strength of their partnership begins. This is a vision of wild and sensual love, but also of transcendent adoration. The shawl-draped room is a kind of shrine. Chagall wrote of his future wife: “I had only to open my window and blue air, love and flowers entered in with her.”

# data[].attributes.headline
Dorothea Tanning-Portrait de famille (Family Portrait)

# data[].attributes.subject
Dorothea Tanning-Portrait de famille (Family Portrait)

# data[].attributes.body
...I've always been attracted by the fantastic.  You see I was born in Galesburg, a hamlet of Illinois, which is nothing exciting in itself, but my father, of Swedish origin, a very authoritarian man ...

Marcel Duhamel:   This is particularly evident in Family Portrait, where all the characters are represented in proportion to the importance they had then in your eyes.  Looks like you settled accounts?

Not really ... It is more generally a comment on the hierarchy within the sacrosanct family.  My father, despite everything, brought us a breath of exoticism.  He told stories of distant snows, the fleeing boy skates on the ice, fast, fast ... the wolf at his heels ... I felt the hoarse wolf breath on my neck ... it was delicious.

# data[].attributes.attachment_link.readable_text
Inscribed 'G. de Chirico' t.r.
Oil on canvas, 57 5/8 x 45 1/4 (146.5 x 115)
Purchased from Princess A.M. Callimachi (Knapping Fund) 1951
Prov: With Léonce Rosenberg (Galerie de l'Effort Moderne), Paris (purchased from the artist); with Valentine Gallery, New York; with Pierre Matisse, New York, 1931; Arthur Jeffress, New York and London, 1936; Princess A.M. Callimachi, Egerton, 1946
Exh: French Pictures from the Collection of Mr Arthur Jeffress, Southampton Art Gallery, August-September 1946 (15); Giorgio de Chirico, Palazzo Reale, Milan, April-May 1970 (75, repr.)
Lit: James Thrall Soby, Giorgio de Chirico (New York 1955), pp.97, 161; Claudio Bruni, Catalogo Generale Giorgio de Chirico. Volume primo: Opere dal 1908 al 1930 (Milan c.1971), No.68, repr.
Repr: Bulletin de 'L'Effort Moderne', No.31, 1927, between pp.8 and 9; Boris Ternovetz, Giorgio de Chirico (Milan 1928), 21st pl.

Painted in Paris in 1926. 'The Painter's Family' dates from de Chirico's period of association with the Surrealists when he tended to revive the subjects of his earlier Metaphysical period - in this case the mannequin figures - but in a heavier, more antique manner. The mannequin theme is said to have been inspired by a play Les Chants de la Mi-Mort written by de Chirico's brother Andrea (Alberto Savinio) and published in Apollinaire's magazine Les Soirées de Paris for July-August 1914. The drama's protagonist is a 'man without voice, without eyes or face'.

The artist wrote of this (letter of 21 July 1958): 'The idea of these large heads shaped like an egg, which one also sees in my standing mannequins of the metaphysical type, did in fact come to me from seeing the designed by my brother who used the pseudonym of Alberto Savinio. My brother who was a writer, musician and painter, had written in 1914 a play entitled Les Chants de la Mi-Mort. This play was published in a revue edited then by Guillaume Apollinaire. My brother's works influenced in France, Guillaume Apollinaire, Jean Cocteau and also certain aspects of the work of Picasso. ...

'In the Tate Gallery painting, the idea of these seated figures with a very developed bust and very short legs came to me on seeing certain Gothic figures (apostles and saints) which are seated.'

The device of a painting-within-the-painting likewise made its first appearance in de Chirico's work of 1914. The picture on the easel has some general resemblance to the main composition in reverse, but does not appear to be directly related to any other painting.

Published in:
Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, pp.121-2, reproduced p.121

# data[].attributes.attachment_link.title
'The Painter's Family', Giorgio de Chirico, 1926 | Tate

# data[].attributes.attachment_link.description
Artwork page for 'The Painter's Family', Giorgio de Chirico, 1926 In the mid-1920s de Chirico reworked many of the themes of his pre-war paintings in the light of his interest in the art of the old masters. In contrast to their pre-war counterparts, the mannequins in this work have a flesh-like solidity, while their grouping echoes traditional scenes of the Holy Family.

# data[].attributes.attachment_link.keywords[]
lent from a private collection 1994 collection

# data[].attributes.attachment_link.title
'Family Group', Henry Moore OM, CH, 1944 | Tate

# data[].attributes.attachment_link.description
Artwork page for 'Family Group', Henry Moore OM, CH, 1944

# data[].attributes.attachment_link.readable_text
One of the most distinctive voices of her generation, Njideka Akunyili Crosby (born 1983) draws on art historical, political and personal references to make luminous, densely layered figurative compositions whose intricate surfaces combine disparate materials and aesthetic traditions. An amalgam of processes including painting, drawing and photo-transfer techniques are harnessed in large-scale works on paper that, precise in style, nonetheless conjure the complexity of contemporary diasporic experience. Completed in 2018, Remain, Thriving is the first work by the Los Angeles-based artist to address a specifically black British perspective. Its focus is Brixton in South London and the shared cultural memory that connects the past and present through an exploration of place. The work depicts an imagined domestic scene, a theme predominant in much of the artist's work, of an informal gathering of grandchildren and great grandchildren of the Windrush generation in a fictional Brixton home. The space contains a number of vestiges of an earlier generation - for instance, an antimacassar on the arm of a sofa, a record player housed within a large wooden piece of furniture - which the figures may well have inherited from their parents or grandparents. A sense of a previous era might also be suggested by the transferred images in the background of Remain, Thriving, which on one level echo the heavily patterned wallpaper of homes of the past. In fact, these layered images convey the complex reflections on history, community and politics that have become synonymous with Akunyili Crosby's art. As with many of Akunyili Crosby's most celebrated works, on initial impression Remain, Thriving appears to focus on an everyday scene and social gathering. It features figures in a scenario derived from familiar domestic experiences. Rather than meet the viewer's gaze, they seem bound up in moments of intimacy or reflection that are left open to interpretation. It is, on one level, a snapshot of everyday life. However, ambiguities of narrative and gesture are underscored by a second wave of imagery, only truly discernible close-up: vibrantly patterned areas are created from images derived from history, politics and pop culture. Akunyili Crosby applies these to the surface of her work through an acetone transfer technique, sometimes in discrete areas, sometimes in more arrangements that seem to proliferate across the walls and floors of the rooms she describes and the clothing and even the skin of the figures contained within them. It is partly via this labour-intensive process that she addresses the idea of cultural overlap and the complex layering of influences - personal, cultural and political - on people and places. Here, ideas of home, hospitality and generosity mingle with thoughts about cultural inheritance in a broader sense. In order to anchor this work in Brixton, and a British diasporic experience, Akunyili Crosby spent time in the area speaking to longstanding members of the local community as well as public historian Kelly Foster. The artist collated contemporary and archival images of Brixton. Locations such as the shop The Baron and Brixton Recreation Centre are visible in the work's details, as are iconic people that have lived in Brixton, including the renowned Jamaica-born poet Linton Kwesi Johnson and activist and community leader Olive Morris. Many of the locations featured in the transfers have not survived the recent development of the area, indicating how this part of London has changed in the past decades. Remain, Thriving is an image necessarily complicated in order to counter generalisations about African or diasporic experience. Describing her interiors as 'wormholes', Akunyili Crosby articulates the nuances of post-colonial identity and encourages leaps of time and space, across cultures and continents. It is in this respect that her work operates in the liminal, in-between zones that post-colonial theorist Homi K. Bhabha refers to as 'the third space', a point of overlap, conflation and mixing of cultural influence specific to diaspora communities. In 2018, Remain, Thriving was reproduced to billboard scale and exhibited as the first work in a new programme of commissions at the entrance of Brixton Underground station. The project, which formed part of Art on the Underground's 2018 programme of work by exclusively female artists, invited selected artists to take the numerous murals that were created in Brixton during the 1980s as an initial point of departure and to respond to their diverse narratives, the rapid development of the area and the wider social and political history of mural making.

# data[].attributes.attachment_link.title
Njideka Akunyili Crosby, Remain, Thriving, 2018

# data[].attributes.attachment_link.description
One of the most distinctive voices of her generation, Njideka Akunyili Crosby (born 1983) draws on art historical, political and personal references to make luminous, densely layered figurative compositions whose intricate surfaces combine disparate materials and aesthetic traditions. An amalgam of processes including painting, drawing and photo-transfer techniques are harnessed...

# data[].attributes.headline
John Michael Wright-Portrait of Grandparents and Grandchildren 

# data[].attributes.subject
John Michael Wright-Portrait of Grandparents and Grandchildren 

# data[].attributes.attachment_link.title
‘Portrait of Mrs Salesbury with her Grandchildren Edward and Elizabeth Bagot’, John Michael Wright, 1675–6 | Tate

# data[].attributes.attachment_link.description
Artwork page for ‘Portrait of Mrs Salesbury with her Grandchildren Edward and Elizabeth Bagot’, John Michael Wright, 1675–6 This is one of six family portraits commissioned by Walter Bagot, a wealthy barrister and landowner. It shows Bagot’s mother-in-law Elizabeth Salesbury, with his son Edward (ho…

# data[].attributes.body
Friendship

When you are at the bottom of the well, you look around and say, who is going to get me out? In this case it is Jerry who comes and he presents a rope, and I hook myself on the rope and he pulls me out.
Louise Bourgeois, interveiw with Lawrence Rinder 9 May 1995

Jerry Gorovoy met Louise Bourgeois in the late 1970s and was her assistant and best friend for over thirty years. Bourgeois made lots of drawings and sculptures of Jerry Gorovoy’s hands along with her own hands. She referred to these as intimate ‘portraits’. The Welcoming Hands 1996, located in the Tuileries Gardens in Paris, is a bronze sculpture of her hands clutching those of Jerry’s.

Bourgeois also depicted a representation of her friendship with Gorovoy in the multipart work 10 am Is When You Come To Me 2006. It consists of twenty hand-painted sheets that depict her hands and those of Gorovoy. The hands are mostly painted over printed musical score paper in red gouache paint. You can tell Bourgeois’s hands by the wedding ring she wore. The title relates to the time Gorovoy would arrive at Bourgeois’s studio or home to begin their daily routine working together.

Louise Bourgeois
Give or Take (2002)
ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013
© The Easton Foundation

Louise Bourgeois
10 am is When You Come to Me (2006)
ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013
© The Easton Foundation

Hands reoccur in many of Bourgeois’s works, often as a symbol of being dependent on someone who supports you. Give or Take 2002 can be read as a commentary on the sometimes conflicted reliance of friendship. This sculpture presents a two-handed limb – one open, the other clasped – an object that is simultaneously gentle and cold.

Earlier in her career Bourgeois had also used friendship as inspiration. Personages 1946-55, are totem-like wooden sculptures that she grouped together to create installations. They depict individuals and Bourgeois’s relationship with them, reflecting her homesickness and the people she left behind in Paris. Knife Couple 1949 is an example of these. Bourgeois often used her roof as a studio and the tall forms of the Personages suggest the skyscrapers and rooftops that surrounded her.

# data[].attributes.headline
Louise Bourgeois-Spider Maman Sculpture series.

# data[].attributes.subject
Louise Bourgeois-Spider Maman Sculpture series.