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Address: Mayfair, London W1K 4QR, United Kingdom
Ibrahim El-Salahi, An Neel, 1975,Vigo Gallery
Mursal Zabihullah

What I found most interesting about this artwork is that every little detail is very randomized; it keeps you guessing on what it could be. There are so many different lines and shapes on every inch of the paper as it fills up the entire page. This artwork reminds me of some sort of science experiment when looking at a microscope. The object is magnified so that we can see small minerals and that's what this artwork reminds me of.  This artwork also doesn't include any color its all in black and white.

https://www.artsy.net/artwork/ibrahim-el-salahi-an-neel

https://scienceleadership.org/blog/what_is_printmaking-what_is_its_importance

http://daayyummm.blogspot.com/2016/06/printmaking.html

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A leader of the Sudanese Khartoum School and the first African artist to have a retrospective at the Tate Modern in London, Ibrahim El Salahi combines European styles with traditional Sudanese themes in his art. El Salahi studied art in London and takes formal and ideological cues from modernist painting, resulting in a balance of pure expression and gestural freedom in his work. The mask-like faces and earth tones of his early graphic works channel elements of Cubism and Surrealism and incorporate Muslim iconography. El Salahi's art encompasses and explores a range of compositional forms, including fragments of Arabic calligraphy, but perpetually evokes a transnational, African-influenced surrealism.

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Ibrahim El-Salahi | An Neel (1975) | Artsy

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A leader of the Sudanese Khartoum School and the first African artist to have a retrospective at the Tate Modern in London, Ibrahim El Salahi combines European styles with traditional Sudanese themes in his art. El Salahi studied art in London and takes formal and ideological cues from modernist painting, resulting in a balance of pure expression and gestural freedom in his work.

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Via S. Cristoforo, 22, 61029 Urbino, Pesaro, Italy

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Via S. Cristoforo, 22, 61029 Urbino, Pesaro, Italy

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Via S. Cristoforo, 22, 61029 Urbino, Pesaro, Italy

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Claire Dean-
This artist does abstract etching prints inspired by the feeling of nature. I like the style that this artist works in, she uses very fine linework, and my favorite works are the ones that are more abstracted, soft shapes.

Here is the link to their website: http://irenepodgornikbadia.com/portfolio/

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This is Francisco Goya’s Bulls of Bordeaux. I found this piece really interesting because it was made while Goya was in exile in Bordeaux. He wanted to experiment with new techniques and he chose Lithography. Lithography is the printing on a flat surface, with a heavy dependence that the oil and water don’t mix. I like the piece of bullfighting because its in my culture, I see it often when I visit Mexico and it really is an intense sport, I find it has many layers behind it, not just a man on a bull. I found it interesting that it was a passion of Goya as well, he saw it as a way man and beast find understanding.
http://www.francisco-de-goya.com/bulls-of-bordeaux/

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lovely mediterranean colorful piece, displays culture and sea around it.

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Something interesting about this artist named, Hokusai is that he had many different names. He would change his names according to his artwork type or design. He has been learning art since he was six years old and started to read more books about wood carving. When he turned 14, he became a wood-carving apprentice until he was 18. One of his artworks that I liked is called, “Boy on Mount Fugi.” I really like the subtle look of it and that it looks like a water-color type painting.  The boy looks like he is enjoying a quiet calm time alone with the perfect view of Mt. Fugi in front of him.

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I was instantly drawn to the image due to the variety of colors and contrasting shapes. I personally prefer pieces that are abstract and unique. I love that this painting incorporates faces that are distorted and individualistic. Overall I just think it looks cool and interesting. This artist has many other pieces and they are all abstract works. All of her pieces have a wide palette of colors that are bright and vibrant.
-Isabella Solorio

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Faces - Abstract Painting Fluid Painting by Patricia Piotrak

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Faces - Abstract Painting Fluid Painting is a painting by Patricia Piotrak which was uploaded on August 3rd, 2019. The painting may be purchased as wall art, home decor, apparel, phone cases, greeting cards, and more. All products are produced on-demand and shipped worldwide within 2 - 3 business days.

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Timmy Gacea
The artist is Maarit Hänninen who is a Finnish artist and creates block prints through the processes of linocut. Her pieces incorporate unique outlines and designs that tie her art together. She uses many floral elements with contrasting colors. I found it amazing that she hand carves and hand presses all of her artwork. Her attention to detail, as well as well-structured and vividly unique art, shows how she has mastered her skill of printing over time. She also utilizes many natural textures that can be seen in all of her artwork. She a small business in which she sells the artwork she creates to people online. The picture posted is an artwork piece that she has for sale on her website. For her, as an artist, she is living in Amsterdam and is working as a full-time artist. She pursued her art career after finding her interest in it in college. She has always found interest in art but the process of art that is block prints.

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Handmade linocut prints by

Maarit Hänninen

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Each print in my collection is a result of heartfelt effort, designed with passion, and crafted by hand using hand-carved linocut blocks and an old-school printmaking press. Thank you for visiting, and I hope you enjoy the artistry!

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Such a gorgeous piece of work - we're so happy to have this. The packaging was so well done it made it to rainy NZ in perfect condition!
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Handmade decorative art prints by Finnish artist and linocut printmaker Maarit Hänninen.

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Matthew Sanchez, What I found interesting the most about this art work was the amount of chaos that is within this art work. Everything from the color, to the shapes, to the different curves and lines shows the amount of chaotic "dispersion" that is within this piece. Julie finds a way to merge both methods of drawing and painting to bring her vision of an abstract design to life. The strange amount of abstract design in this piece truly the attention of the viewer. One may say that this piece is extremely confusing or impressive breaking the societal norms and merging different methods of art altogether. What truly caught my attention after reading this article was how Julie was able to apply comics, art history and graffiti. At first glance, one may not see the art history but may notice the amount of graffiti and comics that are held within itself after being further revealed to the audience. Julies ability to apply many elements of art from, emphasis, to color, to line, form, and shape truly shows how talented this artist truly is.

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Ethiopian painter, active also in the USA. She received a BA from Kalamazoo College, Michigan () and an MFA from Rhode Island School of Design (). Mehretu simultaneously references and breaks from the history of abstract modernist painting in her works, which combine multiple layers of drawing and painting, and are embedded with appropriated cultural references ranging from corporate logos and architectural structures to art history, comics, and graffiti.

Works such as Dispersion (; see exh. cat., p. 81) first suggest topographical drawings combined with geometric coloured shapes and swirling lines in a controlled chaos that simultaneously deconstructs and regenerates. Her work has been influenced by a range of art historical sources: a Baroque theatricality (alluded to specifically in The Seven Acts of Mercy (), inspired by Caravaggio (see exh. cat., pp. 132-3); Italian Futurism's anarchistic revolution fueled by speed and technology; and the utopian social visions of Russian Constructivism. Geometric shapes associated with Kazimir Malevich are referenced in Excerpt (suprematist evasion) (; see exh. cat., p. 95) and Zero Canyon (a dissimulation) (; see de Zegher and Golden, p. 28). Mehretu's work also contains gestural lines reminiscent of Abstract Expressionism. Mehretu frequently references such architectural spaces as airports and sports arenas, where diverse public groups gather but are carefully monitored. Moreover, her work sometimes references yet transcends specific catastrophic events such as the terrorist attacks in New York and Washington on , or Hurricane Katrina in New Orleans in . Mehretu's mixing of eras, sources and locations was termed 'a new form of history painting' by Douglas Fogle (see exh. cat., p. 5). When news is transmitted constantly through satellite television and the internet, mere illustration of world events is unnecessary; rather cognitive dissonance, information overload, and the political impact of globalization and post-colonialism are implied. Mehretu said, 'I am interested in the multifaceted layers of place, space, and time that impact the formation of personal and communal identity' (see exh. cat., p. 5).

In Mehretu's process, which she terms 'drawing into painting' (see exh. cat., p. 17), drawing is embedded into successive translucent or transparent paint layers, then partially 'erased' by sanding the surface. It is significant that historically drawing was simultaneously fundamental to planning a painting and a marginalized medium in its own right; a hierarchy that Mehretu redresses in her work. While the blurring of media, the use of appropriated cultural references, and the layering are post-modernist in nature, the work simultaneously expresses a modernist, formalist orientation to visual composition, especially in works such as Congress (; see exh. cat., p. 107) and Stadia (; see exh. cat., p. 119; see also Stadia II, ), which contain orthogonal lines moving to a single vanishing point-a homage to Renaissance mastery of perspective that visually and conceptually contrasts the expressionistic elements. Mehretu's viewers, who must move back and forth in examining the work, enact Mehretu's challenge to locate oneself in space and achieve a sense of individuality in a hyper-mediatized society. Mehretu has referred to these works as 'psychogeographies' (see exh. cat., p. 12). Still, the work is personal, a 'self-ethnographic' project (p. 11) referencing Mehretu's Ethiopian geographer father, her American mother, the family's flight from Africa during political upheavals, and the artist's subsequent movement through different cultures.

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Ethiopian painter, active also in the USA. She received a BA from Kalamazoo College, Michigan () and an MFA from Rhode Island School of Design (). Mehretu simultaneously references and breaks from the history of abstract modernist painting in her works, which combine multiple layers of drawing and painting, and are embedded with appropriated cultural references ranging from corporate logos and architectural structures to art history, comics, and graffiti.

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Jacob Dahl
Auguste Rodin was famous for incorporating intelligent views of art into more out of the box images one might say. This work was presented to be one of the places he grew up in, and how it represented a part of his childhood memories. The work is a more sharp edged work, this work does not have any perfectly shaped objects which is a very unique style of printing.

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Temporarily closed

In line with the Netherlands' current COVID-19 measures, the museum is closed until further notice.

Opening hours

Open:
Tuesday - Sunday plus public holidays*: 10.00 - 17.00 hrs.

Closed: Mondays (except public holidays*) and 1 January.

*Public holidays: Easter Sunday and Monday, Ascension Day, Whit Sunday and Monday, Christmas Day, Boxing Day, King's Day (27 April), Liberation Day (5 May).

Address

Kröller-Müller Museum
Houtkampweg 6
6731 AW Otterlo
The Netherlands
info@krollermuller.nl
+31 (0)318 591 241

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In line with the Netherlands' current COVID-19 measures, the museum is closed until further notice. Open: Tuesday - Sunday plus public holidays*: 10.00 - 17.00 hrs. Closed: Mondays (except public holidays*) and 1 January. *Public holidays: Easter Sunday and Monday, Ascension Day, Whit Sunday and Monday, Christmas Day, Boxing Day, King's Day (27 April), Liberation Day (5 May).

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Vanessa Artiga-
Something that deeply interested me in SWOON's artwork and printing is how she mainly depicts people's faces. This makes the audience able to try to understand how the person in the print may feel and whatever they may be going through at the time. I think it is also very fitting with how the artwork is in New York, in which is always filled with people and surroundings which is what we get to see in most of her art. Overall, I think she is a great artists and likes telling stories in her artwork which is what I like.

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Medea was originally created for Curry's mid-career retrospective, The Canyon, at CAC: Cincinnati (2017). It has been exhibited in the group exhibition Catastrophe and the Power of Art at the Mori Art Museum, Tokyo, Japan (2018) and in her solo exhibition Seven Contemplations at the Albright-Knox Foundation (2020).

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Cameron Santos -
I chose this print because I really like how this piece is referenced in many of my interests. I recognize this many times throughout my life in clothing, wallpapers, and even designs. I acknowledge this piece as the most iconic prints during the Edo period.

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The Great Wave by Hokusai | The Art Institute of Chicago

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Viviana Garcia-
I wasn't sure if I should put the address of the artist himself or the location in which the print is at right now, but I decided to go with Japan since that is where the artist was born and where he mainly created his artwork, although he did travel in the US and Europe following the Great Kanto Earthquake of 1923.
Hiroshi Yoshida specialized in creating woodblock prints, which is process I remember watching on Youtube sometime ago! Before woodblock printing, however, he mainly created oil and watercolor paintings, which he often sold in other parts of the world, such as the US and North Africa. His fascination with woodblock printing came after learning about the Western world's interest with ukiyo-e, which is a Japanese art genre that often depicted nobles, samurais, and landscapes (these are just some of the depictions). The reason  I chose this print is because of its simplicity quite honestly. It just brings me a sense of relief and tranquility, with its pastel like colors that brings me a sense of calmness. I also very much am intrigued by Japanese culture and its art! In fact, when I was reading about using wood block for printmaking, I automatically thought about Japan. I was scrolling through his other work and the ones that really caught my attention were "Above the Clouds" and "Spring in a Hot Spring." His artwork, overall, seems to focus on just what he sees - based purely on observation, as described in the website. As one goes through his work, one can clearly see that landscapes of the places he has been to are what seem to be the subjects of his woodblock prints. So simple, yet beautiful.

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Hiroshi Yoshida was born in 1876. He began his artistic training with his adoptive father in Kurume, Fukuoka prefecture. Around the age of twenty, he left Kurume to study with Soritsu Tamura in Kyoto, subsequently moving to Tokyo and the tutelage of Shotaro Koyama. Yoshida studied Western-style painting, winning many exhibition prizes and making several trips to the United States, Europe and North Africa selling his watercolors and oil paintings. In 1902, he played a leading role in the organization of the Meiji Fine Arts Society into the Pacific Painting Association. His work was featured in the exhibitions of the state-sponsored Bunten and Teiten. While highly successful as an oil painter and watercolor artist, Hiroshi Yoshida turned to woodblock printmaking upon learning of the Western world's infatuation with ukiyo-e.

Following the Great Kanto Earthquake of 1923, Hiroshi Yoshida embarked on a tour of the United States and Europe, painting and selling his work. When he returned to Japan in 1925, he started his own workshop, specializing in landscapes inspired both by his native country and his travels abroad. Yoshida oversaw each step of the process-from design to publication. His career was temporarily interrupted by his sojourn as a war correspondent in Manchuria during the Pacific War. Although he designed his last woodblock print in 1946, Yoshida continued to paint with oils and watercolors up until his death in 1950.

Yoshida was widely traveled and knowledgeable of Western aesthetics, yet maintained an allegiance to traditional Japanese techniques and traditions. Attracted by the calmer moments of nature, his woodblock prints breathe coolness, invite meditation, and set a soft, peaceful mood. All of his lifetime prints are signed "Hiroshi Yoshida" in pencil and marked with a jizuri (self-printed) seal outside of the margin. Within the image, most prints are signed "Yoshida" with brush and ink beside a red "Hiroshi" seal.

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Hiroshi Yoshida was born in 1876. He began his artistic training with his adoptive father in Kurume, Fukuoka prefecture. Around the age of twenty, he left Kurume to study with Soritsu Tamura in Kyoto, subsequently moving to Tokyo and the tutelage of Shotaro Koyama.

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Cultural Center of the Philippines, Roxas Boulevard, Pasay, Metro Manila, Philippines

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Cultural Center of the Philippines, Roxas Boulevard, Pasay, Metro Manila, Philippines

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Cultural Center of the Philippines, Roxas Boulevard, Pasay, Metro Manila, Philippines

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While searching for printmakers I noticed that the sites I would visit contained a lot of African American artists expressing their culture through printmaking and it made me wonder if there was any Filipinos that did so as well. Come to find out that Benjie Cabrera is the only professional practicing engraver in the Philippines in the last 20 years. That alone intrigued me enough to read up on him. His work consists of mostly the intaglio method of print and is usually themed around the abstract depictions of space and the universe.

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Damon Jones-What I found most interesting with this piece was the gritty and fuzzy look it has. And also how it draws your eyes to the middle darkness.
website-http://www.reingoldgallerygifts.com/imamura-yoshio-contemporary-japanese-print-artist/

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Brauan Zarco, I enjoyed this because of the back story of it that involves with the artist as this is a personal thing, but she wanted to seek awareness of the art, and it has to do with lung disease.

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Brauan Zarco, I decided to use this image because this artist chose to draw a part of Japan, and I like to see the fine details of what he did. I enjoy seeing The cherry blossoms. This image has to be during spring because cherry blossoms only bloom in spring.

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Maricela Amaya-
The artist I chose was Pierre Bonnard, who was a  painter, illustrator and printmaker in France. Something I found interesting about Pierre Bonnard is that his early work was strongly influenced by the work of Paul Gaugin and the prints of Hokusai & other Japanese artists. In addition, he was greatly known for his use of bold colors in his art and the style, quality of his paintings; Additionally, he was a founding member of a post-impressionists group of avant-garde Les Nabis.He went to the university of Paris to study law but then realized he wasn’t interested in Law. Later on he enrolled in the Academie Julian, a liberal Parisian art school, where he met Paul Serusier, Mauris Denis, Henri Ibels, and Paul Ransom. The five friends, all of similar artistic inclination, joined together to form Les Nabi.. He painted urban scenes and intimate domestic scenes where the backgrounds,  the colors and painting style took precedence over the subject.

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1) Bonnard is known for his use of colour

Bonnard liked intense colours. He combined them in his paintings in a completely individual way that gives them great intensity.

He could give the sense of bright sunlight outside, as well as artificial light indoors. Colour floods his late works, almost overwhelming the subjects of his paintings.

2) He was part of Les Nabis

Bonnard was a member of Les Nabis, a group of artists working at that time. They included artists such as Edouard Vuillard and Paul Serusier.

Nabis comes from the Hebrew word for prophet. These painters saw themselves as prophets of modern art. They favoured a bold, but simplified style of painting.

Les Nabis used flat patches of colour, and admired Japanese prints and the work of Paul Gauguin. Gauguin was known for experimenting with colour. Bonnard worked in the years following Gauguin's death in 1903 and was directly influenced by his style.

3) He liked painting domestic scenes

Bonnard was known in his earliest years as an Intimist. He had a fondness for domestic interiors that expressed the unusual aspects of everyday life.

These paintings show friends and family in familiar surroundings. Coffee, for example, shows a woman sipping from a cup, accompanied by a dog and a second figure, moving in or out of the scene. It feels like a snapshot of a fleeting moment.

4) He is famous for his nudes

Bonnard painted many nudes, mainly of his companion and wife Marthe de Méligny. She is often depicted washing or drying herself or, in a few paintings, lying in the bath so that her floating body is magnified by the water.

De Méligny bathed every day in order to treat her tubercular condition. These intimate views were part of their daily life together. These works show de Méligny from Bonnard's male gaze.

5) He painted from memory

Bonnard rarely painted from life. He would sketch his subject and then begin the painting in the studio. This allowed Bonnard to concentrate on the point of inspiration.

Working in this way added a new complexity to the paintings. We can wonder how these autobiographical moments may have been transformed through recollection.

6) He liked to work on many paintings at the same time

Bonnard would fill his studio with canvases that were tacked to the walls.

He worked on different subjects side by side, including works inspired by his garden, his daily walks or his experience of crowds in the streets.

He would paint directly on rolls of canvas and then cut them once the painting was completed. Some would take months, even years, to resolve.

7) It's hard to think of Pierre, without Marthe

Marthe de Méligny appears throughout Bonnard's work. It is almost impossible to imagine his paintings without her. They remained together for fifty years, despite Bonnard having numerous affairs with younger women.

De Méligny had her own secrets though. She was 24 and he was 26 when they met in 1893, but she claimed to be much younger and was working under her assumed name. She only revealed her real name, Maria Boursin, when they married in 1925. She remained the central figure in Bonnard's life until her death in 1942.

8) Matisse loved his work. Picasso disliked it.

Bonnard's paintings divided his two contemporaries. Picasso privately expressed frustration at Bonnard's constant need to revise, saying: 'Painting ... is a matter of seizing the power'. Matisse, however, appreciated 'the full depth of his expression' and called Bonnard 'one of the greatest painters.' Bonnard could and still does split opinion.

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Eight Essentials to Know About Pierre Bonnard | Tate

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1) Bonnard is known for his use of colour Bonnard liked intense colours. He combined them in his paintings in a completely individual way that gives them great intensity. He could give the sense of bright sunlight outside, as well as artificial light indoors. Colour floods his late works, almost overwhelming the subjects of his paintings.

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120 West Bonita Avenue, Claremont, CA 91711, USA

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120 West Bonita Avenue, Claremont, CA 91711, USA

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120 West Bonita Avenue, Claremont, CA 91711, USA

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Tanya Soisaengthong.
I personally enjoyed the spooky aspect of this art piece. The gloomy black and white image with dark contrast grasped my attention quickly. This piece was made by Francisco Goya, a famous Spanish romantic painter, and printmaker artist. He was also considered one of the most important Spanish artists in the late 18th and early 19th centuries. Most of his artwork included dark and chilling artwork. The majority of his pieces consisted of the dead, evil spirits, and fear.

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Francisco Goya created his final and most enigmatic print series in the years between 1815 and 1824. For reasons that remain unclear, 40 years passed before their publication in 1864. The series was published under the title Los Proverbios, although Goya's own captions for the working proofs include the word "disparates," meaning "follies." As a result, this print series is known by both titles. The proverbs assigned to each plate were added upon publication.

Even with titles, the meanings of Los Proverbios remain ambiguous. Like Goya's "black" paintings, begun in 1819 after his recovery from a serious illness and filled with macabre visions, Los Proverbios are imbued with an overwhelming sense of pessimism and appear to reflect Goya's precarious mental state at the time. Each of the 18 etchings depicts isolated figures in dark, often nightmarish landscapes. While some plates appear harmlessly satirical, others depict gruesome monsters or attacks on innocents. Although the subject matter in this series is varied, the level of quality is constant. Goya's expert use of contour, line density, and tonal variation in weaving his dark visions clearly evidence his extraordinary abilities as a master printmaker.

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Francisco Goya created his final and most enigmatic print series in the years between 1815 and 1824. For reasons that remain unclear, 40 years passed before their publication in 1864. The series was published under the title Los Proverbios, although Goya's own captions for the working proofs include the word "disparates," meaning "follies."

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Yulissa Lopez Ortiz
There were a few things I found interesting. One thing I found interesting was how the artists used the printmaking technique and how it demonstrated both the artwork and the linocut. Another thing I found interesting is how detailed the art is. For example, the Virgin Mary dress is very alike to the actual Virgin Mary. Also the people under her; who are praying who I believe might be "los indios mexicanos". This makes me believe that because behind the Virgin Mary there is "la basílica" which is the Virgin Mary's church that is located in Mexico City. It is a very beautiful place. I visit it every summer when I go to Mexico with my family.
Link- https://www.instagram.com/p/BemhAKFBwHi/?igshid=1ah7sixo4tk70

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Yesely Lopez, Something I found very interesting about this artwork that it is very simple and unique, it can have a lot of meaning to it or be seen in many diffrent ways. For an example I liked this artwork because the lady looks like she is a mom who is exhausted and it is fine for a mother to be tired or she might be taking a break by being by herself. This also reminded me that she can also be very sad and is just sitting in a bench taking a break and her being a mother. This can be a young women just relaxing or can be a mother like I explained it. I like how the image can also just be an artwork for Women history month. This image can show that every women should love their body, everyone has a diffrent  shape of body and love their self. In the image we can see that she is using her hands like a pillow while she is  resting. I also liked that her hair blends in with the lines in the background the background can also be seen like its wind. Some word element I would say that this artwork has is lines, lines play a very big role in the image. Movement is  also an element the lines look like  wind. The color of the image is just black and white and has a very big meaning as a tired/sad image. Just because it is black and white it might not be a sad image for some people it can be a powerful image by a women sitting down and the color might not matter to them.
https://www.moma.org/collection/works/71098

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Jack Erickson

Newport, Wales, UK
Paul Farrel's work intrigues me by the way he uses shapes and space specifically to create abstract figures or characters. His work is bright and simple which makes it fun but it also depicts are serious perspective as well. The color contrast is very powerful as well and gives all his work "life" His use of symmetry happens to be very satisfying as well.

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Paul Farrell is a graphic artist and print maker. His bold, graphic style is the product of observing the world about him as simple form and colour. Born in the 1960s he has adopted an strong interest in graphic arts and a love of pop culture. Before concentrating on a solo career, Farrell had worked as a graphic designer in London for 20 years. He is the author of 'Great Britain in Colour' published in 2016 by PanMacmillan, London.
"My interest in Brutalist architecture has been a recent development
I am drawn to their unique symmetry, simplicity and rawness. It's difficultly at times to understand how they became as they are so distinctly different and repre-sent a true art movement in architecture. The
challenge to myself was could I simplify further each building without losing its identity. I had to illustrate each structure with a weight of line that in turn limited the amount of detail. Most of the buildings seem to possess an exoskeleton and my experiments in line at the time was an appropriate style to use".

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Paul Farrell - Artist Biography - Twenty Twenty Gallery

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Paul Farrell is a graphic artist and print maker. His bold, graphic style is the product of observing the world about him as simple form and colour. Born in the 1960s he has adopted an strong interest in graphic arts and a love of pop culture.

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NEX Tower, NEX Tower, Ayala Avenue, Legazpi Village, Makati, Metro Manila, Philippines

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NEX Tower, NEX Tower, Ayala Avenue, Legazpi Village, Makati, Metro Manila, Philippines

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NEX Tower, NEX Tower, Ayala Avenue, Legazpi Village, Makati, Metro Manila, Philippines

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Nate De Guzman.
This print is by Filipino artist Manuel Rodriguez Sr. and it is an etching print. Manuel Rodriguez Sr. is considered a pioneer in the Filipino graphic arts movement who lived from 1912-2017. He titled this art piece The Forest Primeval, as it depicts many trees in a forest-like setting. This etching is made on 21.5 cm x 26.5 cm plate that shows a view inside of a forest with multiple trees and branches that shine in the light. I like etchings because they look very similar to black and white pencil drawings. Not really being able to tell by photographs what style was used. What I found most interesting about this artist is his view on life. He says, “I have to fulfill something but I don’t know what, but I think I will just continue, then I will know when it’s time to go.” I think this says a lot about how people search for their purpose in life and that there are also people who live life day-by-day and will roll with the punches life throws.
https://www.mutualart.com/Artist/Manuel-Rodriguez-Sr-/AC865CF7DFA7A6AA

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(Delani Moore) Colville's art is focused on nature. The most common object I have found are birds. This is not the only thing she prints but she also includes flowers. She focuses on the object by using bright colors to show contrast in her art.

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Printmaker Amanda Colville creates beautifully designed linocut prints from her home in Norfolk using a vintage washing mangle as her printing press. Amanda's handcrafted designs add a touch of rustic charm to any wall, and her colourful bird, insect and floral motifs bring nature inside the home.

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Los Angeles, CA
What I found interesting about this artist and her work is that she creates pieces that conflate gender, race, art history, and personal identity. This piece Mutu did is called Howl and it is a collagraph piece like much of her other artwork. This artwork of hers shows many different colors along with art that can be seen and interpreted in different ways.

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Wangechi Mutu explores the violence and misrepresentation that women, particularly black women, experience in the contemporary world. Referencing artists such as Gustav Klimt, Egon Schiele, Chris Ofili, and Romare Bearden, as well as art-historical movements like Surrealism, her drawings and collages graft together images from anthropological, ethnographic and medical texts, Vogue, and pornography. Mutu commonly works on paper or Mylar, applying her sampled figures along with ink, acrylic paint, and materials like plastic pearls. She has spoken of her art-which includes sculpture and installations with similar coiled, hybrid imagery-as using the aesthetic of rejection and wretchedness to explore the hopeful or sublime.

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Wangechi Mutu explores the violence and misrepresentation that women, particularly black women, experience in the contemporary world. Referencing artists such as Gustav Klimt, Egon Schiele, Chris Ofili, and Romare Bearden, as well as art-historical movements like Surrealism, her drawings and collages graft together images from anthropological, ethnographic and medical texts, Vogue, and pornography.

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The print by Clare Halifax here is titled “Crooked Crescent.” I love the contrast in the colors and tones. Clare’s prints tend to usually involve two contrasting tones, typically gray and green. The architectural prints by Clare are so beautiful as most seem to almost portrait a gray and black sketch like print with a bold color.

https://www.riseart.com/artist/29824/clare-halifax

Carlos Ledesma

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Donovan O'Connell, I chose Ravi Zupa because of a couple reasons. He is one of the main and one of the most well known Printmakers currently in the world. He also does a lot of pieces of artwork that are similar to mine. His prints seem to consist of guns and occasional violence and it really draws my attention to it since I love guns and collecting them, and also because violence is my favorite genre for movies so it obviously interests me a lot. One of the best parts about his artwork is that he always is honest, and if the print is made because he doesn't like something, he will print and label it very clearly! You don't see a lot of people who label and clearly state their likes and dislikes. Even if I was in his position, I would never post super clearly certain things because of how the world is today and how political it can be. His prints, are very nice and I think I would even consider buying one for my grandpa since he might really like it. This research really did show a lot about how many different printmakers their are in the world today but Mr. Zupa was by far my favorite printmaker based on everything I learned about him.

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Self-taught, multi-disciplinary artist Ravi Zupa has held jobs as an animator and elementary school art teacher; his work, which often includes recycled media like maps and letters, is precisely rendered and wildly inventive. Taking cues from German Renaissance portraiture and Japanese woodblock prints, Zupa's figures can be awkwardly posed and depicted from a slightly off-kilter perspectives.

In one painting, a sort of update on the "artist in his studio" trope, a figure sits at a desk where a computer monitor takes the place of an easel-hanging dogs, peasants, and a sprouting human heart emerge from the workspace. Ravi Zupa has exhibited extensively in his hometown of Denver, as well as cities across the globe-from London to Copenhagen to Mexico City.

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on a rat with a flower and gardening tools

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Ravi Zupa Exhibitions: "Greetings From Miami" Group Exhibition, 19 Dec 2020 - 9 Jan 2021; "Multiples" Group Exhibition, 20 Jun - 11 Jul 2020; CONTEXT: Art Miami 2019, 3 - 8 Dec 2019; Ravi Zupa - "Other Avatar", 29 Jun - 20 Jul 2019; Ravi Zupa - "Riches", 4 -...

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Colby Huntze
What I found my interesting about this photo was that it incorporated science in art. I think it was a cool spin on a simple subject and I like that the most
Actiniae Rankings And Opinions (ranker.com)

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Abdullah Qaisar-
I found the style and the technique very interesting that Liu draws in a realist manner with loose brushstrokes, first sketching out his subjects and their surroundings and getting to know them. The curves, shadows, and textures of the bodies in his works all converge to give their subjects lifelike appearance, and his use of color tends toward the liberal while staying vibrant and realistic.The landscapes that surround them are often given equal attention; grass, cliffs, water, and trees are all made with widely varying impasto textures. He keeps meticulous diaries in which he writes and sketches his thoughts and plans, which are often shown alongside his work.
Click on the link above to see the cool sketches and the progress of this painting.

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Following the critically-acclaimed online exhibition earlier this year, Lisson Gallery is pleased to present a new painting by Liu Xiaodong. Based in Beijing, Liu Xiaodong frequently travels the world to capture the subjects of his extraordinary paintings of modern life. He was passing through New York from a project in Texas when the pandemic hit and his flights home were suddenly cancelled. He spent the lockdown in a small apartment in the West Village. From this makeshift studio, he created a series of watercolor paintings documenting the changing landscape of the city, which were the subject of the exhibition on Lisson Gallery's website in early July. The painting on view in East Hampton marks the only painting he made in New York.

The scene in June 2020, New York (2020) was painted from photographs taken by Liu Xiaodong at the corner of Washington and Christopher Streets, just off of the usually bustling West Side Highway. In his now daily routine of exploring his neighborhood during the city's lockdown, he came upon a Black Lives Matter protest held during what would have been the 2020 Pride Parade on the last Sunday in June. In his traditional observational style and with characteristic attention to detail, Liu Xiaodong captures the experiences of the city during this landmark moment for health, racial justice and politics. A difficult period for both New York and the nation, and at time when the artist was himself in a place of uncertainty in a city far from home, he is able to document this ordinary moment in exceptional cinematic detail.

Since its inauguration this summer, Lisson Gallery's 1,000 square foot East Hampton space has presented exhibitions focused on both seminal, historic artworks and premiered new bodies of work. Previous artists on view include Stanley Whitney, Carmen Herrera, Anish Kapoor, Van Hanos, Joanna Pousette-Dart, Sean Scully and Shirazeh Houshiary. This focused format, in an intimate setting, recalls the origins of Lisson Gallery, which was established in 1967 in a storefront window on London's Bell Street. The Long Island location of the new space joins Lisson's two other galleries in the New York area, including the recent expansion to a second location on West 24th Street in Manhattan's Chelsea neighborhood.

The gallery will be open to the public Thursday to Sunday, from 11am to 4pm. The health and safety of visitors remains a top priority, and strict measures will be implemented in the space to mitigate the spread of COVID-19. A mask will be required for entry, and hand sanitizer will be provided. Please click here for further details about the guidelines and to schedule an appointment.

Read more about this painting and Liu's period living in New York this spring in the latest instalment of Lisson Studio, here.

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Following the critically-acclaimed online exhibition earlier this year, Lisson Gallery is pleased to present a new painting by Liu Xiaodong. Based in Beijing, Liu Xiaodong frequently travels the world to capture the subjects of his extraordinary paintings of modern life. He was passing ...

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This art by Jose Guadalupe Posada titled " Detalle del Espantoso y ejemplar suceso

de un joven que por desobediente, se lo llevó el Demonio á los infiernos.”  This art work is a bit dark but it reminds me of tales that people would say if you didnt obey or listen to rules you will be taken. This is a religious picture as in the damned get taken down to hell for not being obedient.I like the side by side effect of two different pictures creating one story. This artist likes to incorporate current event, political and religious messages. I think most people have heard about  heaven and hell and the damnation one can face. I am not a religious person but growing up my family was so again this story reminded me of those scary religious stories one would tell.
https://www.arquetopia.org/component/content/article/86-arquetopia-english-articles/136-printmaking-special-residency
Stephanie Guardado

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Paul Gauguin was a Freanch post- impressionist artist who is recongized for his expermental use of color, syntheist style, the types of work he does is painting, sculpture, ceramics, and engraving. Gauguin was born in Pairs on June 7th (1848), His work Day og the God was executed in paris on Gauguin's return from his first period of living and working in Tahiti. What stood out to me the most about this peice was how colorful it is, the use of space, and the overall balance of the peice.

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Show this image

Mahana no atua (Day of the God)

Date:

1894

Artist:

Paul Gauguin
French, 1848-1903

About this artwork

Day of the God is one of a small number of paintings of Tahitian subjects that Paul Gauguin made in France between his stays in the South Pacific. An imaginary rather than realistic depiction of the South Seas, it is dominated by an idol of the goddess Hina. To the right of her, women dance the upaupa, a suggestive ancient Tahitian dance that missionaries and colonial authorities tried to suppress. In a middle ground of pink sand sits a female bather flanked by ambiguously gendered figures lying on their sides. Although the arrangement of this trio seems symbolic-perhaps of birth, life, and death-Gauguin made its exact meaning an enigma.

On View

European Painting and Sculpture, Gallery 247

Artist

Paul Gauguin

Title

Mahana no atua (Day of the God)

Origin

France

Date

1894

Medium

Oil on linen canvas

Dimensions

68 × 91 cm (26 7/8 × 36 in.)

Credit Line

Helen Birch Bartlett Memorial Collection

Reference Number

1926.198

Extended information about this artwork

The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1925), no. 2242.

The Art News 24, 10 (December 12), 1925, p. 8 (ill.).

"The Birch-Bartlett Loan Collection," Bulletin of The Art Institute of Chicago 19, 7 (October 1925), p. 82 (ill. on cover).

Forbes Watson, "A Note on the Birch-Bartlett Collection," The Arts 9, 6 (June 1926), p. 305 (ill.).

The Art Institute of Chicago, Modern Paintings in the Helen Birch Bartlett Memorial from the Birch-Bartlett Collection (Chicago, 1926), p. 6, (ill.) 7.

R. M. Fishkin, "A Late Gauguin," Bulletin of The Art Institute of Chicago 21, 6 (September 1927), pp. 74-75.

R. M. Fishkin, "Gauguin Given to Art Institute," Art News 25, 40 (September 17, 1927), p. 7.

Morton Dauwen Zabel, "An American gallery of Modern Painting," Art and Archaeology 26, 6 (December 1928), pp. 233, (ill.) 234.

The Art Institute of Chicago, Modern Paintings in the Helen Birch Bartlett Memorial from the Birch-Bartlett Collection (Chicago, 1929), pp. 12, 58, (ill.) 13.

"Chicago show to present French modern classics," Art News 31, 34 (May 20, 1933), p. 4.

"The Rearrangement of the Painting Galleries," Bulletin of The Art Institute of Chicago, 27, 7 (December 1933), p. 116 (ill.).

Daniel Catton Rich, "The Exhibirion of French Art 'Art Institute of Chicago,'" Formes 33 (1933), p. 383.

R. H. Wilenski, French Painting ( Boston, 1936), p. 289.

E. M. Benson, "Exhibition reviews, " American Magazine of Art 29 (May 1936), p. 235, (ill.) 324.

R. C. Goldwater, "Some Aspects of the Development of Seurat's Style," The Art Bulletin 23, 1 (March 1941), p. 129, fig. 22.

The Art Institute of Chicago, Modern Paintings in the Helen Birch Bartlett Memorial, (Chicago, 1946), pp. 14, (ill.) 15.

Egbert Jacobson, Basic Color, an Interpretation of the Ostwald Color System (Chicago, 1948), pp. 81-183, (ill.) 181.

Carl O. Schiewind, "Paul Gauguin," Bulletin of The Art Institute of Chicago 43, 3 (September 15, 1949), p. 46 (ill.).

Charles Estienne, Gauguin (Geneva, 1953), p. 87 (ill.).

Visionaries and Dreamers exh. cat. (Washington D. C., The Corcoran Gallery of Art, 1956), fig. 12.

Georges Wildenstein, "L'Idéologie et l'esthétique dans deux tableaux-clés de Gauguin," Gazette des Beaux-Arts 47, per. 6 (January-April 1956), fig. 10.

Robert Goldwater, Paul Gauguin (New York, 1957), pp. 39, 126, ill., 127.

"Gauguin," The Art Institute of Chicago Quarterly 53, 1 (February 1959), p. 3 (ill.).

Henri Perruchot, La vie de Gauguin (Paris, 1961), p. 281.

The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of The Picture Collection (Chicago, 1961), pp. 170-171, (ill.) 335.

Georges Wildenstein, Gauguin (Paris, 1964), no. 513 (ill.).

Georges Boudalille, Gauguin, trans. Alisa Jaffa (New York, 1964), p. 180 (ill.).

Raymond Charmet, Gauguin (Verviers, 1965), p. 63 (ill.).

Frederick A. Sweet, "A Great Chicago Collectors," Apollo 84, 55 (September 1966), p. 197, fig. 15.

William M. Kane, "Gauguin's 'Le Cheval Blanc': Sources and Syncretic Meanings," Burlington Magazine 108, 760 (July 1966), p. 361.

Bengt Danielsson, "Gauguin's Tahitian Titles," Burlington Magazine 7, 760 (April 1967), p. 231.

Joseph Ishikawa, "Modern Malgré lui: The Phenomenon of Puvis de Chavannes," Art Journal 27, 4 (Summer 1968), p. 386 (ill.).

John Maxon, The Art Institute of Chicago (London, 1970), pp. 97-98, (ill.) 97.

G. M. Sugana, L'opera completa di Gauguin (Milan, 1972), no. 336, pl. 38.

Herbert Lee van Dowski, Die Wahreit über Gauguin, mit Vielen, zum Teil farbigen Abbildungen und einem 'Katalog der Gemälde' (Darmstadt, 1973), no. 329a.

Lionello Venturi, Impressionists and Symbolists, trans by Francis Steegmuller (New York, 1950), pp. 171-172, fig. 174.

Georges Wildenstein, Gauguin (Paris, 1964), no. 513 (ill.).

René Huyghe, La reléve du reel impressionnisme symbolisme (Paris, 1974), no. 283 (ill.).

Alan C. Birnholz, "Double Images reconsidered: a fresh look at Gauguin's Yellow Christ," Art International 21, 5 (October-November 1977), p. 31, (ill) 30.

Marjorie Elliot Bevlin, Design through Discovery (New York, 1977).

Theodore Reff, "Degas: A Master Among Masters, " The Metropolitan Museum of Art Bulletin 34, 4 (Spring 1977), p. 49 (ill.).

J. Patrice Marandel, The Art Institute of Chicago, Favorite Impressionist Paintings. The Art Institute of Chicago: 100 Masterpieces (Chicago, 1978), no. 78.

The Art Institute of Chicago, 100 Masterpieces (Chicago, 1978), no. 72.

Diane Kelder, The Great Book of French Impressionism (New York, 1980), p. 22 (ill.).

Houston Museum of Fine Arts Bulletin 7, 4 (Fall 1981).

Richard Brettell, "The Bartletts and the Grande Jatte: Collecting Modern Painting in the 1920s," The Art Institute of Chicago Museum Studies 12, 2 (1986), fig. 4.

Mary Louise Krumrine, Paul Cézanne: The Bathers exh. cat. (Kunstmuseum Basel, 1989), p. 285.

Peggy Vance, Gauguin (London, 1991), p. 126-7, ill., 144.

The Age of Impressionism at the Art Institute of Chicago (New Haven and London, 2008), cat. 71, pp. 148-49 (ill.).

Gloria Groom, ed. Gauguin: Artist as Alchemist, exh. cat. (Art Institute of Chicago/ Yale University Press, 2017). p. 260-261, 286n5, 292, 331, cat. 203.

Claire Bernardi and Ophélie Ferlier-Bouat, Guaguin: L'alchimiste, exh. cat. (Musée d'Osay/ Réunion des muséea nationaux-Grand Palais/ Graphicom, 2017), p. 203, 304, cat. 206.

Boston, Art Club, 1925.

New York, Museum of Modern Art, Cézanne, Gauguin, Seurat, Van Gogh, November 1929, cat. 46 (ill).

The Art Institute of Chicago, Century of Progress Exhibition of Paintings and Sculpture, June 1-November 1, 1933, cat. 355.

The Art Institute of Chicago, Century of Progress Exhibition of Paintings and Sculpture, June 1-November 1, 1934, cat. 301.

Cambridge, Mass., Fogg Art Museum, Harvard University, Paul Gauguin 1848-1903, May 1-21, 1936, cat. 28.

Baltimore, Museum of Art, Paul Gauguin 1848-1903. A Retrospective Exhibition of His Paintings, May 24-June 5, 1936, cat. 17.

New York, Wildenstein and Co., Inc., Paul Gauguin: A Retrospective Loan Exhibition For the Benefit of Les Amis de Paul Gauguin and The Penn Normal Industrial and Agricultural School, March 20-April 18, 1936, cat. 29.

The Art Institute of Chicago, Gauguin, Paintings, Drawings, Prints, Sculpture, February 12-March 29, 1959, cat. 57, traveled to New York, Metropolitan Museum of Art, March 29-April 21, 1959.

Washington, D. C., National Gallery of Art, The Art of Paul Gauguin, May 1-July 31, 1988; cat. 205 (ill.), traveled to The Art Institute of Chicago, September 17-December 11, 1988; and Paris, Grand Palais, January 10-April 20, 1989.

Moscow, The Pushkin Museum, Gauguin in Russia, May-June 1989, cat. 37 (ill.); traveled to Leningrad, The Hermitage, July-October, 1989.

London, National Gallery, Degas as a Collector, May 22-August 26, 1996, cat. 57 (ill.).

New York, Metropolitan Museum of Art, The Private Collection of Edgar Degas, October 1, 1997-January 11, 1998, cat. 483 (ill.).

Essen, Museum Folkwang, Paul Gauguin: Das verlorene Paradies, June 17-October 18, 1998, cat. 34 (ill.), traveled to Nationalgalerie Berlin, October 31, 1998-January 10, 1999.

The Art Institute of Chicago, Van Gogh and Gauguin: The Studio of the South, September 22, 2001-January 13, 2002, cat. 142 (ill.), traveled to The Van Gogh Museum, Amsterdam, February 9-June 6, 2002.

Paris, Galeries Nationales du Grand Palais, Gauguin: Tahiti, September 30, 2003-January 19, 2004, cat. 105 (ill.), traveled to Boston, Museum of Fine Arts, February 29, 2004-June 20, 2004.

Fort Worth, Tex., Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29-November 2, 2008, cat. 71 (ill.).

Chicago, The Art Institute of Chicago, Gauguin: Artist as Alchemist, June 25-Sept. 10. 2017; Paris, Musée d'Orsay, Oct. 9, 2017-Jan. 1, 2018.

Bought from the artist's studio exhibition by Edgar Degas (died 1917), Paris in December 1894, for 500 francs [Degas inventory no. 71, see London 1996 and New York 1997-98]; Degas Sale, Paris, Galerie Georges Petit, March 26-27, 1918, lot 43, sold for 12,600 francs as Le Repos au bord de la mer (Tahiti) to Jos Hessel, Paris [according to New York 1997-98]. George Bernheim, Paris by 1924; shipped from Bernheim to the Art Institute in July 1924 [see Registrar receipt dated July 12, 1924, copy in curatorial file]; sold to Frederick Clay Bartlett, Chicago in 1925 [according to Brettell 1986]; given to the Art Institute, Chicago, 1926.

Wildenstein Gauguin 1964 513

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Mahana no atua (Day of the God) | The Art Institute of Chicago

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Show this image Mahana no atua (Day of the God) 1894 Paul GauguinFrench, 1848-1903 Day of the God is one of a small number of paintings of Tahitian subjects that Paul Gauguin made in France between his stays in the South Pacific.

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I love that this artist was able to give this piece texture of something as fine as fur while using a medium as constricting as ink.
-Kayla Nerge
marthasmithtattoo.com

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Something i found interesting about Paul Gauguin’s work was his hints of symbolism and Impressionism within his work. Often his work also included bright colors to sort of bring these artworks to life. Paul also never illustrated women to be seen in a sexual way but more in a way of appreciation and astonishment for the women even though his artwork was often viewed in a sexualized manner. This is link to the website
https://www.theartstory.org/artist/gauguin-paul/artworks/#nav

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Deirdre Wallace -
I really enjoy this artist’s style by blending his Chinese ancestral background with western themes or pop culture. He also holds a deep fondness for creating collages featuring skulls in order to explore the intricate beauty of decay and mortality. A lot of his work, regardless of subject matter, holds a lot of variety in both color and objects within the space.

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Jacky Tsai, Lacquer Carving, Quarantine Life Circus I

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90 Clarion Alley, San Francisco, CA, USA

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90 Clarion Alley, San Francisco, CA, USA

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90 Clarion Alley, San Francisco, CA, USA

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Aaron Escobar, I picked this art work because I like graffiti and street art. This art work can be found in San Francisco ,CA and the art work is street art. A lot of street art is done illegally so most of the times they do nit have authors like in the photo shown above. This art work spells mssion and its in a latino neighborhood its a hotspot for murals that tell story's of immigration. I liked this art work because of the back round that is has and the story it tells and the type of art it, which is street art/ graffiti and as a young kid that's what caught my attention and that what I find visually appealing.

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5384 Huntington Drive South, Los Angeles, CA, USA

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5384 Huntington Drive South, Los Angeles, CA, USA

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5384 Huntington Drive South, Los Angeles, CA, USA

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Eric Sanchez -
I really enjoyed how this LA artist incorporates the chicanx experience in being Mexican American. His work is mostly black and white linocuts and the work that I find interesting is his Dia de los Muertos series. It also looks like he does design work for posters and calendars.

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Fenómeno Astronómico Capitalino - Printgonzalez

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Linocut printed on Rives BFK. Limited edition of 50. --- Paper Size: 15 x 11 in. Image Size: 10.75 x 7 in. 2006

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After researching a different kind of printmaking that we did not learn about in our chapter reading, I found out about digital printing and I thought it was interesting how everything was made through technology and really shows how technology is evolving quickly and even seems to be a major step up to artists and potential art works. The artist who created this art piece name is Karim Rashid and the rest of their artworks seems to be very intriguing as well and seem to be also digital prints.
Website: https://www.artsy.net/artist/karim-rashid
- Renee Ortega