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Lotta Nevanperä

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Kuvataiteilija Lotta Nevanperä - harkiten ja huolella luotuja uniikkeja maalauksia, taidegrafiikkaa, kuvituksia sekä laadukkaita taidetuotteita.

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AUGUSTA AKERMAN (@augustaakerman) • Instagram photos and videos

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1,011 Followers, 1,455 Following, 697 Posts - See Instagram photos and videos from AUGUSTA AKERMAN (@augustaakerman)

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Martin Jarrie (@martinjarrie) • Instagram photos and videos

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16K Followers, 1,148 Following, 594 Posts - See Instagram photos and videos from Martin Jarrie (@martinjarrie)

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2020 8th Max Mara Art Prize for Women
2018 Bryan Robertson Trust Award
1998 City of Rochester Award
1995-6 Rome Scholarship, British School at Rome

Forthcoming confirmed exhibitions

'Between Knowing and Understanding' Group exhibition STUK Arts Center, BE(2023)
'Dawn of Humanity, Art in societies in transition in the early 20th and 21st centuries', Kunstmuseum Bonn, D (2023)
K21 Dusseldorf June (2023)
'Poly', KINDL Berlin D (September 2023)
ARoS, Denmark (December 2023- June 2024)

2023

'21st Century Herbal' Beiqiu Museum, Nanjing, China
& Collezione Maramotti, Reggio Emilia, Italy

'The Human Experience' Kunsthall Stavanger, Norway
'Magical Thinking', Victoria Miro, Vortic Viewing Room (online)
'The Age/L'Eta' The Model, Sligo, Ireland

'A Journey You Take Alone' Kunsthalle Giessen DE

'The Age/l'Età' Max Mara Art Prize solo exhibitions at Whitechapel Gallery, London UK
& Collezione Maramotti, Reggio Emilia, Italy
'21st Century Herbal' Special project, Frieze London
'Let Poets Speak' Galerie Onrust, Amsterdam NL
'Meditations', Petra Rinck Galerie, Dusseldorf DE

'When Screens Break', Eastside Projects, Birmingham UK
'Emma/Ursula', Petra Rinck Galerie Dusseldorf DE

'Sounders of the Depths', KM21 (GEM Kunstmuseum), The Hague NL
'Your Own Authority' Art Night 2019 Commission William Morris Gallery, London UK
'Do You See Yourself Projected?' Art Night 2019 commission, London UK

2018

'Step Inside Love', domobaal, London UK
'Memories Turn to Dusk', Petra Rinck Galerie, Düsseldorf, DE

'Means of Escape', Mrs Rick's Cupboard at Primary, Nottingham, UK

'Bad Objects, Little Deaths', Transition Gallery, London UK

'Pictures From My Heart', Transition Gallery, London UK

Selected group exhibitions

'Between Knowing and Understanding' Group exhibition STUK Arts Center, Leuven, Belgium

'Dawn of Humanity, Art in Societies in Transition in the Early 20th and 21st Centuries', Kunstmuseum, Bonn, Germany

'Die unhintergehbare Verflechtung aller Leben (The Inescapable Intertwining of All Lives)' Kunsthalle Dusseldorf, Germany

'Poly', Kindl Museum, Berlin, Germany

'Neue Gemeinschaften', Folkwang Museum, Essen, Germany

'Images of Power', Museum Rijswijk, Netherlands

'Cycle, Portal, Path' Nest, The Hague, Netherlands

'At Heaven's Edge, Visions' Krona Museum, Uden, Netherlands

'Kiss My Soul', Dordrechts Museum, Netherlands

'Irreplaceable Human? The Conditions of Creativity in the Age of AI' Louisiana Museum, Denmark

'Close Looking', The David Roberts Art Foundation, London

'The Cosmos Within' ARoS, Denmark (December 2023- June 2024)

'Winter Light', Hayward Gallery, Southbank
'Warp Threads' Open Office Arcadia Missa London
'Unstilled Life' Ron Mandos Amsterdam
'We Can't Go Back', Galerie Onrust Amsterdam
'Displacement', Petra Rinck Galerie
'Not Without my Ghosts', (2020-22) Hayward Touring, incl. Grundy Gallery Blackpool, Millenium Galleries Sheffield, Glynn Vivian Art Gallery Swansea,

'Starhawk's Backyard', Galerie Onrust, Amsterdam
'Do You Keep Thinking There Must Be Another Way?', Mimosa House, London
'Just So Stories', Nosbaum Reding, Luxembourg
'All That the Rain Promises', Arusha Gallery, Edinburgh

2018

'From the Inside Out', Drawing Room London
John Moores Painting Prize, Walker Art Gallery, Liverpool
'Solitary Pleasures', Freud Museum, London
'Rumpy Bees & Pumpy Blooms', Klosterpresse, Frankfurt
'Journeys with The Wasteland', Turner Contemporary Margate
'Virginia Woolf: An Exhibition Inspired by Her Writings', Tate St Ives, Pallant House Gallery, Fitzwilliam Museum
'Some Islands', Coleman Projects, London

MAC International Ulster Bank Prize, MAC Belfast
'Telling Tales', Collyer Bristow, London
'Ghost On A Wire', Objectifs Centre for Photography and Film, Singapore
John Moores Painting Prize, Walker Art Gallery, Liverpool
'Comic Tragics', Art Gallery of Western Australia, Perth
'Endgame', Turps Gallery, London
'In Neuen Raumen', Petra RInck Galerie, Düsseldorf, Germany.

'Mind the Gap', Petra Rinck Galerie, Düsseldorf, Germany
'Drawn Together: Artist as Selector', celebrating 20 years of The Jerwood Drawing Prize, Jerwood Gallery, Hastings, UK
Notte Bianca Valletta, City Lights, Valletta, Malta
The Manchester Contemporary (domobaal)
'Art in The Home #2', York, UK, Contemporary Art Society North
'Detail',H Gallery, Bangkok, Thailand
'Outrageous Fortune: Artists Remake the Tarot',Exeter Phoenix, Hayward Touring, UK

'Atomic', Transition Gallery, London
'Art Britannia', Madonna Building, Miami, USA
'Drawing Now', (Kusseneers Gallery), Carrousel du Louvre, Paris, France
'Random House', Arcadia Missa, London
'All the Dead Dears' WW Gallery, London
John Moores Painting Prize, Walker Art Gallery, Liverpool
'I wish you well', Vegas Gallery, London

'Me and My Shadow', Kate MacGarry, London
'Told', Hales Gallery, London
'The Life of the Mind', The New Art Gallery, Walsall, UK (curated by Bob and Roberta Smith) including Louise Bourgeois, Lucia Noguiera, Sarah Lucas, Tracey Emin, Chris Ofili)
'Outrageous Fortune', Focal Point Gallery, Southend/Hayward Touring, curated by Andrew Hunt,
'Pulp Fictions', Transition Gallery, London

Bob and Susan Summers Collection USA, City of Birmingham Museum & Art Gallery, David Roberts Collection, J. Sainsbury Plc, Saatchi Collection, Stephenson Harwood, TI Group, Unilever, University of the Arts London: Special Collections. Art Gallery of Western Australia, Perth, Fries Museum NL, Arnhem Museum NL, KRC Collection NL, AzkoNobel NL, Waltham Forest Collection, Arts Council Collection, Guerlain Collection Paris, British Council Collection, Kunstsammlung NRW Dusseldorf, Studio Floridi Rome, Italy, Collezione Maramotti Italy.

'Emma Talbot 'The Age/L'età', Whitechapel Gallery 2022
'The Milk of Dreams' Catalogue, La Biennale di Venezia 2022
'Vitamin D3' Phaidon 2021
'Ghost Calls' DAC Dundee 2021
'Sounders of The Depths', K21/Galerie Onrust 2019
'From the Inside Out', Drawing Room London 2018
'Drawing People' by Roger Malbert Thames and Hudson 2015
'100 Painters of Tomorrow' by Kurt Beers Thames and Hudson 2014

Website designed January 2023. All rights reserved. Images not to be reproduced without permission of their owner.

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【【昆曲牡丹亭】-单雯-全程有翻译注释，轻松观赏-哔哩哔哩】 https://b23.tv/xiGhMW5

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9 菲非Fiona发布了一篇小红书笔记，快来看吧！ 😆 VFEGFSheNEXn8UY 😆 http://xhslink.com/a/4VVb9wLaL8a0，复制本条信息，打开【小红书】App查看精彩内容！

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【魔女仰卧图】这是一... - @于双子鱼的微博 - 微博

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【魔女仰卧图】这是一幅罗刹女仰卧图。全图构思巧妙，细密的线条和丰富的色彩既描绘了高山、河流、谷地、寺庙等，又能使魔女的身躯、五官清晰地呈现出来。采用金、银、玛瑙、珊瑚、珍珠等多种矿物颜料和藏红花、茜草、大黄等植物颜料绘制，颜料纯度高，画面效果浓烈厚重，发现时还保持着艳丽的色彩。 ​​​

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Clouds, pipes, bowler hats, and green apples: these remain some of the most immediately recognizable icons of René Magritte, the Belgian painter and well-known Surrealist. He produced a body of work that rendered such commonplace things strange, slotting them into unfamiliar or uncanny scenes, or deliberately mislabeling them in order to "make the most everyday objects shriek aloud." With his pictorial and linguistic puzzles, Magritte made the familiar disturbing and strange, posing questions about the nature of representation and reality.

Magritte began his career as a graphic artist and quasi-abstract painter, but his work underwent a transformation in 1926, when he began to reinvent himself as a figurative artist. A key canvas in this project was The Menaced Assassin, his largest and most densely populated painting to date. Completed in 1927 and included in the artist's first solo exhibition, at the Galerie Le Centaure in Brussels, it helped launch his career as a Surrealist painter whose interest in severing the links between surface and essence would remain a constant. Painted in the deadpan style that would become his hallmark, each figure appears as though in a state of suspended animation: a naked female corpse with blood at the mouth lies on a red chaise longue, while a suited man nearby listens to a phonograph. Two men in bowler hats flank the doorway, and three male heads hover outside the rear window. Cinematic in its staging, the scene suggests a menacing narrative, but the specifics remain elusive, the visual details hard to reconcile into a single, coherent storyline.

In September 1927, Magritte moved to Paris to be closer to the French Surrealist group. His three years there would be the most prolific of his life. Surrealism, a movement led by André Breton, sought to liberate the mind by subverting rational thought and giving free rein to the unconscious. Until the late 1920s, Surrealist painting had tended toward a style of biomorphic abstraction, often achieved through automatic techniques supposedly outside the artist's conscious control, as advocated by Breton (and seen, for instance, in André Masson's free application of gesso and sand in Battle of Fishes). Magritte, by contrast, pursued a figurative style that, in his words, "challenge[d] the real world" through a naturalistic and highly detailed depiction of ordinary objects and subjects.

A signal development of Magritte's time in Paris was his word-paintings, in which he sought to investigate the relationship between text and image, often breaking apart well-worn connections between the two. One such work, The Palace of Curtains, III, presents viewers with two representations of the sky: on the left, a shard of atmospheric blue; on the right, the corresponding noun, ciel (French for sky), written in the artist's neat, firm script. Magritte thus divided a single concept into two, cleaving its visual and verbal signs into discrete, self-contained panels. Image and language interrupt one another, challenging artistic conventions of representation and urging viewers to ask which, if either, is more "real" than the other. With The False Mirror, Magritte posed a similar puzzle about observation. Here, an enormous eye fills the canvas, its iris a powder-blue sky dotted with clouds, its pupil a jet-black dot. The eye looks at the viewer, while the viewer looks both at and through the eye, as through a window, becoming both observer and observed.

Magritte reimagined painting as a critical tool that could challenge perception and engage the viewer's mind. His was a method of severing objects from their names, revealing language to be an artifice-full of traps and uncertainties.

Note: The opening quote is from "Foreword," in René Magritte, 1898-1967, ed. Gisèle Ollinger-Zinque and Frederik Leen (Ghent: Ludion, 2005), p. 11.

Natalie Dupêcher, independent scholar, 2017

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M.Y CHEN Zuer (@m.yillustration) • Instagram photos and videos

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33K Followers, 577 Following, 1,030 Posts - See Instagram photos and videos from M.Y CHEN Zuer (@m.yillustration)

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46 MY蚂蚁发布了一篇小红书笔记，快来看吧

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74 MY蚂蚁发布了一篇小红书笔记，快来看吧

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34 殇禄堂发布了一篇小红书笔记，快来看吧！

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93 飞游鲫发布了一篇小红书笔记，快来看吧！

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69 派大星住在沙子里发布了一篇小红书笔记，

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云烟

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吹风机