Liste des hashtags les plus populaires par sujet #AMERICANPAINTER

"Rachel Laughing", one of my favorite drawings by the master John Currin. #johncurrin #rachelfeinstein #artisttowatch #newyorkartist #figurativeartist #figurativepainter #figurativeart #fabrizioaffronti #fabrizioaffronticollection #americanpainter #americanartist #contemporaryartist #gagosian #gagosiangallery #sadiecoles #contemporaryart #artcollection #artcollector #contemporaryartcollector #contemporaryartcollection #collectart #artadvisor #artadvisory #artcollection #brandnewgallery #brandnewgallerymilan

The beauty lies in imperfection. “Years ago I learned that I couldn’t say about a painting, ‘Yes—this is it—that is what I’m after—except I’ve got to tidy up this area, unmuddy that, make another look decisive,’” said #Diebenkorn. “Following out these words I would find that the qualities that were to me rare and involved with the kind of meaning I wanted depended on every part of the whole I was responding to—the negative features, that is, awkwardness, mistakes, undeveloped parts, etc., as well as the positive ones. I think a realization can come about in the crudest terms as well as the most refined, in the most overworked terms as well as underworked, etc., and for me what looks like realization is such a rare, tenuous state that I take it where I find it.” . Lose yourself in this opalescent #OceanPark drawing as the feature of our #DiebenkornDraws series this #Wednesday. . Untitled, 1980, acrylic and graphite on paper, 17 1/2 x 12 in. (44.5 x 30.5 cm) . . . #RichardDiebenkorn #DiebenkornQuote #DiebenkornInsights #DiebenkornLineandSpace #drawingseries #drawing #worksonpaper #abstractdrawing #pentimenti #architectonic #layersofpaint #abstractart #modernart #light #color #abstractlandscape #SantaMonica #California #californialandscape #westcoastexposures #westcoast #landscapeart #Americanpainter #instagram #instadaily

Easter Monday Concert with some “Memories”, c. 1890/91, by the American painter Irving Ramsay Wiles (1861-1948) Private Collection Courtesy:©️Christie’s

Keith Haring, Untitled (Love), 1988. This innocent yet controversial image of two men in love is mild in comparison with Haring's sexually explicit images, but the boldness of representing homosexual love at this point in time was already a significant statement and a marked achievement in the larger cultural realm. As his art career unfolded, and his confidence grew, it gave him the courage to generate more sexually explicit images of gay figures and scenes. In the above image, two people are depicted in love, with Haring's often-used lines of energy emphasizing this euphoric state as much as the kinetic movement of these figures' bodies in space. This image in many ways distills the optimistic attitude of Haring, who was, at heart, in many ways a Romantic, believing in humanity and the power of love.

George Inness ○ Moonrise ○ 1891.

A simple folding chair is the subject of this composition by #RichardDiebenkorn. But, look closely. Notice the chromatic range that the artist packs into its slender frame. Robin egg blue shades the chair’s backrest. An earthy red accents the seat. Hunter green covers the legs. And three rounded objects in a gray white sit atop the seat. Loosely arranged to form corners of a triangle, the objects engage with the square seat and diagonal legs to complete the picture. . In 1968 Folding Chair was included in the 34th Venice Biennale, which discussed the psychological aspects of the artist’s work: “There is a mood of detachment in his pictures, whether they are concerned with figures in interiors or figures in landscapes, pure landscapes, or empty rooms. The figures seem to be sunk in a kind of languor, drenched in the hot light and immobile on the grid of space where they are placed. It has been noted before that the atmosphere of Diebenkorn’s world is strikingly similar to that of Edward Hopper’s in its stillness, fixity, and disengagement. Yet, with this similarity there is combined something of the bright, lyric hedonism most readily associated in our time with Matisse.” Here, Diebenkorn paints the chair in a similar manner to that of his figures. . Folding Chair, 1966, oil on canvas, 51 x 47 3/4 in. (129.5 x 121.3 cm) . Quote taken from the exhibition catalogue “XXXIV Venezia: La tradizione figurative nell’arte americana recente” by Norman A. Geske. Published for the National Collection of Fine Arts by the Smithsonian Institution Press, 1968. . . . #Diebenkorn #DiebenkornInsights #figurativeart #interiorview #stilllife #BayAreaFigurative #painting #modernart #Americanpainter @labiennale @venice.art.biennale #VeniceBiennale #artbiennale #biennaleartevenezia #biennalearte #BiennaleBoom #Venezia #Venice #Italy #contemporaryart #arthistory #Sunday #Sundayvibes #instadaily #instagram

Happy birthday, #JoanMitchell! An important member of Abstract Expressionism’s second generation, Mitchell is known for her large, highly stylized abstractions landscapes, She used gestural, energetic brushwork to portray her responses to the natural world. 〰️ See "Sale Neige" (1980) on view now.

“What is meant by being ‘moved’ by a work of art?” asked Richard Diebenkorn. “Literally it should mean that the work causes us to leave a given position and arrive at another. If an artist on viewing another artist’s work claims he is moved, is he admitting to being in a different place than he was before the viewing? Permanently? Is ‘move’ synonymous with that somewhat pejorative word ‘influence’ since the former one is bodily lifted from this place whereas if he’s influenced he may receive a mere nudge which simply deflects his course. But other experiences besides artistic ones can move, influence, deflect, nudge, etc. and how does one, or one’s art grow or diminish or change in some unknown way if not through the impact of energy from some source upon us wherein we are moved and we are not the same again—ever.” . Step into this #RichardDiebenkorn interior and surround yourself with the warm, soothing energy the artist creates here. Swipe left to see how he handles oil paints in a detail image of the orange rind that remains on the table. . Interior with a View of White Buildings, 1960, oil on canvas, 59 x 50 in. (149.9 x 127 cm) . Quote taken from an undated studio note written by the artist © Richard Diebenkorn Foundation . . . #Diebenkorn #BayAreaFigurative #figurativeart #interiorview #oilpainting #modernart #stilllife #DiebenkornInsights #studionote #artiststudio #paints #Berkeley #California #Americanpainter #engagewithart #exploreart #culture #fineart #museumday #exploremore #westcoast #instadaily #instagram #Mondaymotivation

“My work is about taking blackness past the stereotypes and opening it up to the imagination. These paintings exist in the liminal space between fantasy and reality.”—Amy Sherald (@asherald) No, you're not seeing double—that's Christina, standing next to the #AmySherald painting "It Made Sense…Mostly in Her Mind" (2011), which she modeled for! Christina, a friend of Sherald's, was asked to model for this painting because she embodied the sophistication that Sherald wanted to capture. 〰️ See "It Made Sense…Mostly in Her Mind" (2011) on view now.