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Vincent Van Gogh, Tree Roots, 1890, Oil on canvas, 50.0 cm × 100.0 cm (19.7 in × 40.6 in), Van Gogh Museum, Amsterdam

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Everything You Need to Know About Acrylic Painting Paper - Jackson’s Art Blog

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Everything You Need to Know About Acrylic Painting Paper - Jackson’s Art Blog

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What is an acrylic painting paper? An overview of what acrylic paper is made of and their qualities, and a comparison table of all the best papers available

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Yayoi Kusama, Pumpkin (2024), Bronze, Height 6 m & Diameter 5.5 m, Kensington Gardens London

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Barbara Rae, Ceanthru Thaidhg, 2021, Acrylics & pastel

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Henri Matisse, The Goldfish, 1912, Oil on Canvas, 140 cm × 98 cm (55 in × 39 in), Pushkin Museum, Moscow

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Perspective Coursework Guide | Tate

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Introduction

Perspective in art usually refers to the representation of three-dimensional objects or spaces in two dimensional artworks. Artists use perspective techniques to create a realistic impression of depth, 'play with' perspective to present dramatic or disorientating images.

Perspective can also mean a point of view - the position from which an individual or group of people see and respond to, the world around them. You might, for example, hear people saying 'from my perspective' or referring to the point of view of a particular group or set of beliefs: 'the youth perspective' or 'the feminist perspective'.

Make Space! ... the Basics

What is perspective and how does it work?

Have you noticed that things look bigger if they are close to you and smaller if they are further away? This is perspective. It is perspective that helps make things look three dimensional - and creates a sense of space receding into the distance. There are two types of persepective: linear perspective, and aerial perspective (sometimes also called atmospheric perspective).

Linear perspective

If you look along a straight road or a railway track, the edges of the road or tracks look as if they are coming together in the distance. This is called linear perspective. With linear perspective parallel lines move together as they recede away from you. The point at which the lines appear to meet is called the vanishing point.

To create the impression of a road heading away into the distance, artist Julian Opie has placed a single vanishing point more or less at the centre of the image. The edges of the road meet at this point and suggest a sense of receding space. (Perspective that uses a single vanishing point like this, is sometimes referred to as 'one-point perspective').

To represent three-dimensional objects or buildings, artists often use two (or more) vanishing points. Have a look at this sketch by J.M.W. Turner. He has placed a vanishing point at either side of the paper and then drawn the top and bottom lines of the two walls of the building so they meet at these points. The walls look as if they are going back into the distance, which makes the building look three-dimensional.

Artist Ed Ruscha has used two vanishing points (or two-point perspective) in his dramatic drawing of a petrol station. One of the vanishing points is at the bottom right hand corner of the work. The other is off the paper to the left. Can you work out where the vanishing point would have to be for the lines of the front wall and roof of the petrol station to meet there?

Aerial or atmospheric perspective

As well as using lines to create the impression of three-dimensional space on a two-dimensional surface, there are other techniques artists use. Aerial perspective or atmospheric perspective refers to the effect that the atmosphere has on the appearance of things when they are looked at from a distance.

If you look at a view from a high building or the top of a hill, buildings, trees, hills and other landscape or city features look blurred or hazy in the distance. The further something is away from you, the less clear its details are and there is less tonal contrast (the contrast between lights and darks). Colours also become less bright the further they are away and blend more into the background colour of the atmosphere - which is blue (unless there is a sunset, when it is red!).

In William Ratcliffe's painting of a suburban street, the houses and gardens in the foreground are detailed and brightly coloured. But the hills, buildings, and trees in the distance are painted in shades of faded blue and purple and it is hard to make out their shapes and details.

Artist Carol Rhodes uses aerial perspective in her paintings of landscapes - which look as if they have lierally been painted from an aeroplane! Ridge 1999 shows a view from above of a vast empty landscape. At first glance it looks like an abstract composition. But we can make out a few details that suggest it is a landscape - the ridge, what looks like a road, and perhaps an airport landing strip. As the landscape stretches into the distance however the features become so indistinct in the atmospheric haze that they are impossible to identify.

Make an Impact!

Once you know how perspective works, you can start messing with it: add a sense of drama (or otherworldly weirdness) to a landscape or cityscape, or explore abstract space.

Dramatic buildings and spaces

Anthony Hernandez's Rome #17 1999 is a photograph of the interior of a building. The space is ambiguous - it looks like a lift shaft in a building that is under construction - but we can't tell if we are looking up or down it. By centralising the vanishing point of the shaft on the paper, so that the image is symmetrical, he creates a dramatic sense of receding space. We seem to be sucked into the image.

The viewpoints chosen by the artists for these photographs also make use of perspective to emphasise and dramatise the structure of the buildings.

Surreal landscapes and cityscapes

Surrealist artists used linear perspective to create strange cityscapes with sharp angled buildings and empty receding streets.

The shadowy receding arcade in Giorgio de Chirico's The Uncertainty of the Poet 1913 adds an eerie backdrop for his odd (and very surreal) foreground still life. Tristram Hillier makes use of perspective to create an equally eerie urban scene of squares, shadows and buildings. The line of trees in Pauls Nash's ghostly landscape painting Pillar and Moon 1932-42, recede to a vanishing point off to the right of the image. By using a vanishing point at the centre of the image, Colin Self draws us into his nightmarish looking garden.

Artists Yves Tanguy and John Armstrong used aerial perspective in their surreal landscapes. The landscape in Tanguy's Azure Day 1937, the setting for groups of anthropomorphic figures and buildings, seems to go on indefinitely as it fades out to an indistinct haziness. Armstrong exaggerates the contrast between sharp, in-focus, foreground; and blue, indistinct background to create the dreamlike atmosphere of his painting.

Perspective and abstraction

The main idea behind cubism was to represent three-dimensional objects on a two-dimensional canvas by bringing together different views of the objects. This often leads to a disorientating sense of perspective. Instead of receding into space objects seem flattened out - or have angles and planes that we don't expect to see.

Inspired by cubist space, David Hockney messed with realistic perspective, creating abstracted depictions of his studio.

Hedda Sterne's NY, NY No. X 1948 is a response to the New York City, where she moved to in 1941. The semi-abstract mass of lines and planes that appear to depict rooftops, walls, fences, ladders, fire escapes, towers, wood panels and other constructions, suggest her excitement. You get a sense that she is taking everything in at once and pouring out her impressions onto the canvas. Her clever use of different vanishing points in the painting adds to the look of a chaotic built-up environment and hustle and bustle feel of a big city.

In contrast to Hedda Sterne's complicated and confusing layers of shapes and perspectives, Vicken Parsons creates spaces that appear simple, but are in fact equally confusing. The largely monochromatic paintings show what appear to be spaces or rooms. He uses persepctive to create a sense of three dimensional depth, but the perspectives shift and challenge what we think we are seeing. The paintings simultaneously invite, but also occasionally prevent, us from imaginatively exploring the rooms. Although the rooms seem empty, presence is suggested through the use of light and shadow, giving the paintings an atmosphere of mystery.

Op artist Bridget Riley often plays with perspective in her abstract paintings and prints that explore optical effects. The three-dimensional ridges of Blaze 1964 recede in a mesmerising spiral. While in Untitled [Fragment 1/7] 1965 she manipulates linear perspective to create this three-dimensional abstract shape.

Explore more examples of artworks that manipulate perspective to create complex layered, or disorientating images:

Perspective, ideas and meaning

Thomas Struth also made use of perspective in his photographs of urban scenes. But rather than emphasing the drama of architecture, he used perspective to highlight the ordinary. In 1991, two years after the unification of East and West Berlin, Struth began working on a series of photographs of streets in cities in the former East Germany. The cities had previously been inaccessible from the West. All the photographs are taken from a similar viewpoint: he places the camera in the centre of the road at eye level, creating a one-point perspective that leads the viewer's eye along the streets. The slightly shabby East German world that Struth depicts is one in which time is presented as having stood still.

By using the same approach for all the images, Struth's photographs appear like a scientific record. He doesn't fcous on an interesting bit of the street, or select a dramatic angle - and he gives no hints as to how we should look at the photographs or interpret them. The viewer is left to linger over what might otherwise seem an un-noteworthy, everyday scene. Struth has said about his approach to his photographs that he wants to 'give pause'.

In this artwork by Carey Young, two rows of industrial buildings (yellow on one side and blue on the other) recede dramatically to a single vanishing point at the centre of the image. The stark perspective and symmetry of the buildings contrast sharply with the curled up figure in the foreground. No one else is around, and the emptiness of the scene is heightened by the large expanse of cloudy sky.

The photograph is part of a series by Carey Young called Body Techniques. In each photograph the artist wears a smart two-piece suit and is pictured alone surrounded by recently completed or half-finished construction projects. The photographs were taken in the United Arab Emirates and draw attention to the rapid growth of cities there, stimulated by private and corporate wealth. As the art historian Julia Bryan-Wilson has commented, these photographs 'depict the architecture of multinational commerce as depersonalized and dehumanizing, futuristic yet dusty projects of progress perverted'. Carey Young explores how the human figure fits into these stark environments. But, as Young herself has explained: 'it is ambiguous whether the artist is molding herself to the landscape or exploring ways of resisting it.'

Thomas Struth and Carey Young use perspective to explore an idea. Photographer Don McCullin uses perspective to help visualise the horrors of war. A long road disappears into the distance across acres of flat fields. The photograph records the location of some of the bloodiest battles of the First World War - the Somme. McCullin's choice of viewpoint, focusing on the road rather than battlefields, is a poingnant reminder of the miserable march that so many young soldiers took to their deaths. He chooses a viewpoint looking down the road - making the road seem endless. The perspective exaggerates the huge scale of the battlefields and the suffering and loss of life that happened there.

Perspectives and Voices

So far this resource has explored how perspective techniques are used by artists to create the impression of three-dimensional space, and the various ways artists use (and misuse) it to add drama or meaning to an image or create disorientating abstract artworks.

Perspective in art can also be explored in relation to the viewpoint of artists and how they use this in making their work. All of us have an individual perspective which affects how we think about and respond to the world around us. Lots of things affect our perspective including our gender, our race, our cultural background, our education and our histories and experiences.

Many artists use art as a tool to explore their experiences and make people aware of their perspective.

Artist Donald Rodney explored issues of race and representation from his perspective as young black British artist. He was a leading figure in Britain's BLK Art Group in the 1980s and is recognised as 'one of the most innovative and versatile artists of his generation'. Rodney suffered from the inherited incurable disease sickle cell anaemia and his experiences of being ill and in pain is also something he deals with in his art.

Take a look through Donal Rodney's sketchbooks and find out more about how he used art to explore and put across his experiences and perspectives.

Sonia Boyce's artwork From Tarzan to Rambo ... explores the representation of black people in the media from her perspective which she describes as an 'English born Native'.

The artwork developed from her exploration of the relationship between her own 'self-image' and the one offered by a predominantly white society through the mass media (newspapers, films, TV etc). Find out more about Boyce's ideas in this Look Closer resource.

Artists such as Lorna Simpson, Cindy Sherman, Linder and the Guerilla Girls make art from their perspective as feminists. They use art to explore their gender-related experiences within society with the aim of exposing embedded inequalities and showing alternatives to dominant gender roles.

The Guerrilla Girls formed in 1984 in reaction to an exhibition called An International Survey of Recent Painting and Sculpture at MoMA (The Museum of Modern Art) in New York. Although the exhibition was supposed to represent the top artists in the world, out of the 169 artists shown only 13 were women. The Guerilla Girls aim to expose sexism and racism in the art world. They make hard-hitting (and often witty) posters, place adverts in newspapers and use direct actions such as demonstrating outside museums, to put across their message.

Find out more about feminist art, the BLK Arts Movement and other groups and movements formed to represent the perspectives of marginalised groups in the art world:

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Introduction Perspective in art usually refers to the representation of three-dimensional objects or spaces in two dimensional artworks. Artists use perspective techniques to create a realistic impression of depth, 'play with' perspective to present dramatic or disorientating images.

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Jaume Plensa, Mirall, 2015, Stainless Steel, La Llotja, Palma de Mallorca, Spain, 19 September 2024 - 15 February 2025

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Pablo Picasso, Girl Before A Mirror, 1932, Oil on canvas, 1.62 m x 1.3 m, Museum of Modern Art New York

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Jean-Michel Basquiat, Obnoxious Liberals, 1982, Acrylic, oilstick, and spray paint on canvas, 68 x 102 in. (172.72 x 259.08 cm), The Broad in New York City

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Explores themes of race, class, power, and identity.

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Banksy's iconic imagery critiques the political, military, and financial establishments.

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His latest pieces of artwork - sprayed on walls in East Anglia - have yet again attracted global attention.

He's one of the world's most famous artists, but despite his worldwide following his identity remains, officially at least, unknown.

Often described as "elusive" and "secretive" by the press, the "guerrilla street artist" counts A-list celebrities among his fans.

A hero to some, a vandal to others, his artworks sell for eye-watering sums, with councils and landowners rushing to profit from - or whitewash - buildings chosen as his latest canvas.

And yet, the self-styled prankster and anti-establishment figure has consistently managed to stay anonymous.

But what do we actually know about him?

Early career

Banksy rose to prominence after he began spray-painting his trademark stencilled designs around Bristol in the early 1990s.

The city's influential music and arts scene - which birthed acts such as Massive Attack and Portishead - is said to have inspired his work.

Banksy himself is believed to have been born in the nearby town of Yate, South Gloucestershire, in the early 1970s.

His first large stencil mural - The Mild Mild West - which depicts a teddy bear throwing a Molotov cocktail at three riot police, was painted in the Stokes Croft area of Bristol in 1999.

In the early 2000s he moved to London and continued to attract attention with his trademark stencilled artwork.

By the mid 2000s Banksy was becoming a celebrity himself.

His works became more ambitious, popping up in cities all over the world.

Each new piece became a newsworthy event and the myth of him as a masked, anonymous Robin Hood-type character poking fun at the powers-that-be began to emerge.

His works began to sell for huge amounts of money, with customers including Paul Smith, Brad Pitt, Angelina Jolie and Christina Aguilera.

He began to stage exhibitions of his work, putting on sell-out events in cities including Los Angeles and London - and later his hometown of Bristol.

His 2010 documentary film Exit Through The Gift Shop - showing Banksy at work - was nominated for an Academy Award and a Bafta.

Banksy unmasked?

Quite a few names have been linked with Banksy in the past: Robert Del Naja, Robin Gunningham, Art Attack's Neil Buchanan or a Bristol art collective?

The Mail on Sunday claimed in what it called a world exclusive expose that Banksy is a "former public schoolboy brought up in middle-class suburbia" called Robin Gunningham.

A book of photos recently released by Banksy's former agent, Steve Lazarides, claims to show the artist at work, although none showed his face.

Mr Gunningham has never commented on the speculation.

Robert Del Naja, of Bristol trip-hop group Massive Attack, has also been linked.

The vocalist, better known as 3D, has denied this, although has claimed to know the identity of the "real" Banksy, referring to him as a friend.

Could that friend be Neil Buchanan, host of ITV show Art Attack? He was forced to deny any links to Banksy after a suggestion he was behind the spray cans started to trend on social media.

Another possibility is that Banksy is actually not one person but many, who operate as an art collective.

Of course, all of the above could be false trails, in the hope to throw us all off the name of real artist.

Banksy's notoriously tight-lipped PR reps refused, once again, to be drawn on his true identity.

A summer spraycation

Banksy's work has come to the fore again in recent days after 10 pieces of street art appeared across Suffolk and Norfolk.

People have flocked to see his "Great British Spraycation" street art, with designs adorning streets in Great Yarmouth, Gorleston and Cromer in Norfolk; and Lowestoft and Oulton Broad in Suffolk.

Speculation was rife about if the work was indeed Banksy's for several days after the artwork was spotted, before the artist himself confirmed it was his through a video on his Instagram page.

The designs in the East Anglian coastal towns have a suitably seaside feel, with seagulls dive-bombing for chips, children playing with sand and in boats, as well as a rat leaning back in a deckchair while enjoying a cocktail.

A miniature stable at Merrivale Model Village has also been given the Banksy treatment, with the wording "Go big or go home" sprayed on to it.

What if he was unmasked?

John Brandler, director of Brandler Art Galleries, said it was convenient for Banksy to remain anonymous "so he can walk down the street" without being recognised.

"But to the art world it doesn't matter any more. The brand is so big now. His people have made the brand Banksy such an incredible thing, it wouldn't make any difference now [if he was unmasked].

"His statements are so strong. It's brilliant marketing. People are buying by brand.

"[When he started] being anonymous helped him stand out - the masked crusader - but now it doesn't matter any more.

"He's very clever. He hasn't flooded the market. He's a brilliant businessman."

Follow BBC West on Facebook, Twitter and Instagram. Send your story ideas to: bristol@bbc.co.uk

The BBC is not responsible for the content of external sites.

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Banksy: What do we know about the anonymous artist?

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The graffiti artist Banksy is world famous, but his true identity remains unknown.

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History of West Dean.

Old maps, correspondence, book collection, historic portraits, vases, tapestries, stuffed animals, gardens.

People - Edward James, Salvador Dali, Magritte, Leonora Carrington, John Betjeman, Tilly Loche

Surrealism. Connections. Friendship. Humour.

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Creative Acrylic Painting Surfaces.

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Acrylic paint can be used on a variety of surfaces. Think beyond the canvas and choose the right acrylic painting surface for you!

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Lines from personal journeys combined with marks from chosen objects/scene around WD. Realisation new piece should be treated as a separate entity in order to flow. Think about white space/tones/and dark marks for balance.

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Day 3 | Michelle Ussher | Reviewing Artwork

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Day 3 | Michelle Ussher | Reviewing Artwork

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Looking at Edith Sitwell portrait. Objective - using basic language to show what you have observed. Subjective - how does it make you feel. Justify response with a why.

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Willem de Kooning, Asheville, 1948, Oil and enamel on cardboard, 25 5/8 × 31 7/8 in | 65.1 × 81 cm, The Phillips Collection in Washington, D.C.

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Denzil Forrester, In the Zone 1982, Pastel, charcoal, graphite & watercolour on paper, 56.4 x 75.7 (cm)22.2 x 29.8 (inch), Tate London

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Aminah Robinson, People of the Book: Bedouin Woman, 1999, Oil, watercolor and fabric on paper, 49 1/4 x 42 in, 125.1 x 106.68 cm, ACA Galleries New York

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Aaron Douglas, Aspects of Negro Life: From Slavery Through Reconstruction, 1934, Oil, 28 in x 39 in (71.1 cm x 99.1 cm), New York Public Library

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Conveys messages of oppression, resistance, and liberation.

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Sonia Boyce, The Audition, 1997, 1997390 photographs, c-prints on paper, face-mounted to acrylic glass, Tate London

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Sonia Dawn Boyce, (born 1962) is a British Afro-Caribbean artist and educator, living and working in London. She is a Professor of Black Art and Design at University of the Arts London. Boyce's research interests explore art as a social practice and the critical and contextual debates that arise from this area of study. Boyce has been closely collaborating with other artists since 1990 with a focus on collaborative work, frequently involving improvisation and unplanned performative actions on the part of her collaborators. Boyce's work involves a variety of media, such as drawing, print, photography, video, and sound. Her art explores "the relationship between sound and memory, the dynamics of space, and incorporating the spectator". To date, Boyce has taught Fine Art studio practice for more than 30 years in several art colleges across the UK.

In March 2016, Boyce was elected to the Royal Academy of Arts in London, becoming the first black female Royal Academician. The Royal Academy was founded in 1768.

In February 2020, Boyce was selected by the British Council to represent Britain at the Venice Biennale 2022, the first black woman to do so. In April 2022, Boyce won the Venice Biennale's top Golden Lion prize with her work Feeling Her Way.

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Artist page for Sonia Boyce OBE (born 1962)

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Jenny Saville, Pastel Bodies 2014, Pastel on paper (152x122.5cm)

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Peter Randall-Page, Down Amongst the Trilobites V, 2024, Stone, 21 x 24 x 10 cm, On display at the Royal Academy of Arts Summer Exhibition 2024, Gallery IV

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David Hockney, Harry Styles, 2022, Acrylic on canvas, 121.92 x 91.44 cm, National Portrait Gallery in London

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Explores themes of endurance, pain, and the relationship between the artist and the audience.

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Marina Abramović Hon RA has earned worldwide acclaim as a performance artist. She has consistently tested the limits of her own physical and mental endurance in her work, subjecting herself to exhaustion, pain and even the possibility of death.

In her early work Rhythm 0, Abramović invited audiences to freely interact with her however they chose - famously resulting in a loaded gun being held to her head. Her later work The House with the Ocean View saw the artist live in a house constructed in a gallery for 12 days. Held in the wake of the 9/11 terrorist attacks in New York, the performance invited audiences to witness and share in the simple act of living.

This major exhibition presents key moments from Abramović's career through sculpture, video, installation and performance. Works such as The Artist is Present will be strikingly re-staged through archive footage while others will be reperformed by the next generation of performance artists, trained in the Marina Abramović method.

Live performance art can be both startling and intimate. For Abramović it also has the power to be transformative. Experience this yourself through performances of Imponderabilia, Nude with Skeleton, Luminosity and The House with the Ocean View.

Different works will be reperformed during the run of the exhibition, so no two visits will be the same.

Before you visit the exhibition, please note:
#MarinaAbramovićRA

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Marina Abramović | Exhibition | Royal Academy of Arts

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An art world icon and a performance art pioneer - Marina Abramović has captivated audiences by pushing the limits of her body and mind, for the past 50 years.

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Frida Kahlo, Moses, 1945, Oil on masonite, 76 m x 61 m, Private collection in Houston, Texas

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Is a personal interpretation of Sigmund Freud's essay Moses and Monotheism. It may represent the idea that cultures create heroes for inspiration and hope.

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Underpainting in Oil and Acrylic - Jackson’s Art Blog

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Underpainting in Oil and Acrylic - Jackson’s Art Blog

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This is your guide for all contemporary oil and acrylic painters to discovering how to make underpainting work for your practice.

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Katsushika Hokusai, Bullfinch and Weeping Cherry, 1834, Colour woodblock print; chuban, 25.4 × 19.1 cm (10 × 7 1/2 in., Clarence Buckingham Collection

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Henry Moore, Recumbent Figure, 1938, Green Hornton stone, 139 cm (55 in), Tate, London

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Édouard Manet, The Railway, 1873, Oil on canvas, 93 cm x 1.12 m, The National Gallery of Art, Washington, D.C.

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Represents the way Paris' urban renewal program had destabilised social relations in the city.

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Ben Shahn, Prenatal Clinic, 1941, Screenprint on watercolor paper, 36.6 × 55.2 cm (14 7/16 × 21 3/4 in), Reba and Dave Williams Collection

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A commentary on social justice and injustice.

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Wayne Thiebaud, Cakes, 1963, Oil on canvas, 152.4 × 182.9 cm (60 × 72 in.), San Francisco Museum of Modern Art

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Observes consumer culture and the allure of indulgence.

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Tracy Emin, Everyone I Have Ever Slept With 1963–1995, 1995, Appliquéd tent, mattress and light, 122 × 245 × 215 cm (48 × 96 1⁄2 × 84 5⁄8 in), destroyed in a fire

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Explores themes of identity, intimacy, and the human experience.

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Antony Gormley, Angel Of The North, 1998, Weathering steel, concrete, copper, 20m High, 54m (177 ft) wing span, Gateshead

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Recognises the sacrifice of the miners who had worked beneath the site of its construction for 2 centuries.

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A Guide to Collage | Rise Art

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Collage is an art form that is made up of overlapping pieces of material, such as photographs, fabric, coloured and textured paper and other types of mixed media. We've put together this brief introductory guide to collage, answering three of the most commonly asked questions.

This guide introduces you to collage, answering three of the most commonly asked questions. If you're looking for collage for sale, take a look at our collection here.

What is collage?

Collage is an art form which is made up of overlapping pieces of material, such as photographs, fabric, coloured and textured paper and other types of mixed media. The process focuses on the act of selecting materials and cutting them into the desired shape, before arranging them and pasting them onto the chosen surface. Unlike other art forms that may rely on proficient technical skills which may require more time to master, such as painting and sculpture, the artistic expertise of collage lies in the choosing, arranging and affixing. As such, the term 'collage' comes from the French term coller, meaning 'to glue'.

Who invented collage?

The term collage was coined around 1910 by the two pioneers of the Cubist movement, Georges Braque and Pablo Picasso. While exploring their new pictorial language, which sorts to fragment and distort their subject matters, Braque and Picasso began to experiment with assorted materials, such as printed oilcloth, newspaper cut-outs and patterned paper. By pasting these elements onto flat surfaces, they were able to evoke multiple dimensionality and further explore the fragmentation and destruction of objects.

One of the very first examples of collage is Picasso's Still Life with Chair Caning (1912). In this collage, Picasso incorporated painted elements, oilcloth printed with a chair caning pattern, and a piece of rope as a frame. Using these everyday items in a work of art signalled a dramatic move away from the traditional confinements of fine art practice, towards the blurring of art and everyday culture. This move came to define the preceding avant-garde movements and in turn, transformed the art world.

What are the types of collage?

There are four other distinct art forms and techniques associated with collage. Despite their differences, a recurring theme runs through each style - anti-aestheticism and a sense of elevating the everyday into the realm of high art, which defined many avant-garde movements of the early 20th century. Collage, in all of its forms, acted as a revolutionary medium which defies high art standards and rejects bourgeoisie culture.

Papier collé translates as 'pasted paper' and refers to the exclusive use of paper stuck onto a flat surface, as opposed to collage, which employs different materials. Picasso and Braque were both making papiers collés at the end of 1912 and beginning of 1913, often incorporating newspaper clippings as a way of blurring the distinction between high art and the everyday.

Assemblages

Assemblages found objects in 3D compositions. This process was originally inspired by the Surrealists who made absurd objects based on Sigmund Freud's writings on dreams and the unconscious. The first example of this method is Picasso's Still Life, which extended the tradition of still life painting into 3D space. The method of assemblage went on to inspire Dada artists such as Kurt Schwitters, who created large-scale compositions out of found objects and materials in non-hierarchical and nonsensical arrangements.

Décollage

Décollage is a French word meaning to unstick, which involves tearing away built-up advertisement posters to reveal images and words below. This term is largely associated with the nouveau réalisme movement founded in 1960.

The last two terms are montage and photomontage. Montage is the act of assembling images which are related to one another in a composition. Photomontage is the same process but with photographs. Photomontage can be a powerful tool for social commentary as artists manipulate and edit images from mass media to play with or recreate their meaning.

There are many accomplished collage artists working in the photomontage style. Benjamin West is inspired by the relationship between human activity and nature. He uses photomontages to demonstrate how natural and man-made elements interact and often juxtapose.

In West's Processed series, he intersects natural elements such as a flower with mechanical or industrial parts. This process pays tribute to John Hartfield, a Berlin Dada artist who founded the photomontage process. Hartfield was nicknamed Dada Monteur - Dada Mechanic - to reflect his use of scissors and glue to create collage, assemblages and photomontages, instead of painting with brushes, as an act of rebellion.

Also not to be missed is the nostalgic work of Australian-born Kareem Rizk. Rizk is internationally recognised for his highly distinct style of collage as a mixed-media artist. Nostalgia plays a key role in his beautifully warm-toned works, which feature vintage materials, such as postcards and book clippings, to transport you back in time.

Whilst you might know him from his pool paintings, David Hockney also famously pioneered using photography to create artworks. For example, Pearblossom Hwy. 11-18th April 1986 is an avant-gardiste collage which represents a beautiful Californian countryside. However, David Hockney is also inspired by urban landscapes, notably New York City, as is visible in Graffiti Palace, NY 1982.

Robert Pereira Hind's unique works change in appearance as they mature with time. His mixed media series Out of Eden evolves in colour as it oxidises over time.

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What are the different types of collage? Find out about the origins of collage and discover contemporary artists working in collage. Discover original collages for sale.

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Sticks and ink, mark making, exploring trees/roots for my project. Good starting point for ideas for print.

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Exploring print making techniques. Lino more precise & stylised. Handprint - Paper on top, rub down with a spoon. Mono prints much freer, painterly.

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Dematerialisation. Conceptual art - all about the idea, not the hand of the artist. Pushing boundaries of language and art;

idea of aesthetics changed. What is the meaning of beauty?

Shifting from the material to the idea.