A great portrait is more than just a frozen reflection of the subject’s appearance. It’s a chance moment, blanketed in natural light, in which the subject’s authentic self is visible in her expression, her stance, her aura. A great portrait blurs the line between a subject and her surroundings, all contributing equally to the overall impression of a singular human being.
Photographer Barbara Yoshida captured not one great portrait, but 100. And to make it all the more glorious, her subjects are all female artists, groundbreaking in their own right.
Francis I Receives the Last Breaths of Leonardo da Vinci
by Jean-Auguste-Dominique Ingres, 1818 • Petit Palais, Paris, France
We know that Leonardo, who had come to France at the invitation of Francis I, died in Amboise in 1519. The undoubtedly fictitious story of his death in the presence of the king comes from The Lives by Vasari. This work, which appeared in 1550, celebrates the excellence of Italian painting following an ascending curve that starts with Cimabue and ends with Michelangelo and Raphael. http://www.petitpalais.paris.fr/en/oeuvre/francis-i-receives-last-breaths-leonardo-da-vinci
Christians celebrate the resurrection of Jesus on Easter Sunday, two days after Good Friday, the day of his crucifixion. It is the central tenet of Christian theology. The Resurrection of Christ has been portrayed by artists for 2,000 years; I thought it would be appropriate at Easter to take an (obviously lightning fast) overview of how some painters have depicted it. (Click image to enlarge).
Manuscript Leaf with the Resurrection, from a Psalter
Tempera, ink, gold, and silver on parchment
Metropolitan Museum of Art, New York
William Blake (1757-1827)
Christ Appearing to His Disciples After the Resurrection
Monotype hand-colored with watercolor and tempera
National Gallery of Art, Washington DC
Interested in a creative future in North Adams, Massachusetts?
If you’ve been looking for a place with abundant natural beauty, affordable real estate, small-town charm and convenience, and a lively cultural community…. You’ve just found it. And Assets for Artists is now inviting applications for assistance to artists who intend to relocate here in 2017!
The deadline is April 25, 2017.
By James Estrin Sep. 7, 2016
Nina Berman photographed the aftermath of the attacks on the World Trade Center on Sept. 11, 2001. Later she put some of those images together in diptychs and triptychs.
Ms. Berman lives in New York and is a member of the photographer-owned photo agency Noor. She spoke with James Estrin about her post-Sept. 11 work as well as her projects “Purple Hearts — Back From Iraq” (Trolley, 2004) and “Homeland” (Trolley, 2008). Their conversation has been edited for brevity and clarity.
Read more: Continue reading
Andy Warhol Died 29 Years Ago Today,
Here’s a Look at One of His First Silkscreens.
Blake Gopnik, Monday, February 22, 2016 Andy Warhol died 29 years ago today in a hospital in New York, after a routine gallbladder operation. It seems only fitting to commemorate the end of his artmaking by revisiting its beginnings. The work I’ve chosen as today’s Daily Pic was made in the spring of 1962, as one of the very first of the silkscreened canvases that became Warhol’s signature mode for the next quarter century. It’s the titular work in a touring exhibition called “Open This End: Contemporary Art from the Collection of Blake Byrne,” curated by the art historian Joseph Wolin and now at the Wallach Art Gallery of Columbia University.
Andy Warhol, A Documentary Film~
The Andy Warhol Museum~ http://www.warhol.org/museum/
The Andy Warhol Foundation for the Visual Arts~ http://warholfoundation.org/
The New Yorker debuted on February 21, 1925 — and its cover was graced with the first of many appearances by the magazine’s mascot Eustace Tilley. The illustration was by Rea Irvin (1881-1972), the man responsible for the eternal look of The New Yorker right down to designing the logo typeface, named “Irvin” for its creator.
In 1924, Irvin joined an advisory board to help launch The New Yorker. For the cover of the magazine’s debut issue the next year, Irvin created Eustace Tilley, a smartly attired dandy with a monocle and top hat. This amusing and worldly, yet somewhat detached, character embodied the spirit of the new publication. Tilley quickly became Irvin’s signature piece and has reappeared on the magazine’s cover every year since, with one exception–1994.
Between 1925 and 1958, Irvin’s work appeared on 169 covers of The New Yorker. Hundreds of other illustrations by Irvin were also published inside the magazine. http://www.tfaoi.com/aa/1aa/1aa398.htm
Irvin had been art editor at Life, and Ross trusted
his taste, which—as others have noted—in turn shaped his
own. Ross biographer Dale Kramer describes his influence: “[Irvin]
had a quick, accurate eye for good craftsmanship. More important, he
knew what changes were necessary to make mediocre work passable and
passable work better.” Born in San Francisco, Irvin had worked as
a newspaper illustrator, stage and screen actor, comic strip artist, and
piano player before arriving at Life. Irvin’s diversity of
aesthetic experience was as essential to his invention of The New
Yorker’s visual style as Ross’s vagabond generalism was
to his conception of the subject matter. http://www.printmag.com/article/everybody_loves_rea_irvin/