Faith saved us from the savages that we were, losing faith makes us savages again
One from the 17th Century and one from the 18th to 19th Centuries, but both phenomenal artists. VALENCIARTIST has featured something very important that occurred recently reference one of the paintings of one of these artists Aniella di Beltrano… I hope you enjoy this special edition of the «Art History in One Minute (videos)» limited series…
CHEERS
There are things on earth that completely contradict the «official» history as recorded and supported by so-called «experts» (good grief experts!). It is well known that there are many other sites older than the pyramids of Giza, like Göbekli Tepe in what is now Türkiye. There are other sites discovered, and being discovered, with monuments, art and clear evidence of an advanced culture all over the world. But «experts» choose to deny their existence or say that what people are calling a structure or a temple is a natural formation. And how do they know this? Well, they are experts…
These «experts» say that they pyramid complex of Giza is approximately 2.600 years old. How the hell did they come to that conclusion when many others that have studied the complex, along with comparative studies of the region say that the pyramids could be three or four time older? Well, they are «experts» and they do not like to be contradicted.
The Texas rock wall, in the town of Rockwall, Texas, is another example of evidence of an advanced culture perhaps 10-15.000 years old that the so-called experts are saying that it is nothing more than a natural formation. The wall, found buried, is over 7 stories tall (21 metres) and as long as 20 miles (32,19 Km). Areas of the wall show what might have been windows and in some areas there were actual rooms found. But, because it does not fit into their narrative…which they refuse to change/amend…the geologists and other «experts» say that it is only a natural formation. Nothing to get hung about…
Well, we know that every time there is something strange seen, whether in the sea, the sky or the land, and we do not know what it is, some «expert» says that there is rational, logical and scientific explanation for it. In my mind those are key words that mean «we are the experts and we will lie to you» and that way they can continue with their «scientifically» accepted theories without letting the «facts» get in the way. The strange cloud we saw coming into the shores of Portugal early in July comes to mind. Although it looked to all as something «otherworldly» the experts quickly said that it was only a type of cumulous cloud that rolls on itself and looks strange. Hmm…
And of course we have the Art experts deciding what is authentic and what is fake. They tell us that a painting someone found in a rubbish bin in Weehawken (NJ) is really a lost masterpiece. And that a painting, such as the «Salvator Mundi» was really painted by Leonardo, because it looks like something he would have painted. Well, there were many artists in Leo’s day that painted just as good and very similarly. Leonardo was one of many, not an exception. Of course, except to the experts.
So I’ve no use for such «experts», neither in art or in science. The real scientists, the ones that have the knowledge, the academic titles and the track record, are men and women with open minds, as all investigators should be. They do not go around making assertions on things that they do not understand. And what they do work on are things for the benefit of our health care and life in general. For me to believe an «expert» he has to show me how he got to the level of supposed expertise. Otherwise, to me, he is just one more charlatan out there selling snake oil…
* The image is of a portion of the Texas rock wall
Now it is your turn, tell me what you think…
CHEERS
Samuel Jessurun de Mesquita (1868–1944) was born in Amsterdam. He was an artist and printmaker. He is known for his intricate etchings, woodcuts, and lithographs that often featured animals, botanical forms, and fantastical or symbolic imagery. De Mesquita was a Sephardic Jew who was largely self-taught. But he became a prominent figure in Dutch graphic art during the early 20th century. He was a bold and visionary printmaker from whom Escher learned much.
His work is influenced by Art Nouveau and Symbolism, and his prints often explore themes of nature, mortality, and mysticism. He taught at the Rijksnormaalschool voor Teekenonderwijzers (a teacher training school for drawing), where one of his most famous students was M.C. Escher, who credited de Mesquita as a major influence on his artistic development.
Samuel Jessurun de Mesquita were murdered by the Nazis in the Auschwitz concentration camp in 1944. After the war, Escher and others helped preserve and promote de Mesquita’s artistic legacy. Today, he is recognized as a master printmaker whose work bridges naturalism and the fantastical, and whose influence extends well beyond his lifetime.
The above image «Evil Speaking Little Women» contains the Nazi boot print. Escher saved this etching, along with many of his teacher’s works, from the hands of the Nazi destructors.
Here are some of his works…
CHEERS
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Lo primero que os dire es que no la conocía y me alegro mucho de que conocimiento de ella me haya llegado. Por supuesto que en la facultad jamás me hablaron de ella, pero Nahui Olin fue un autentico fenómeno en las artes mexicanas. Fue la mujer que liberó a las mujeres artistas…de las antiguas moralidades…de su país. Nahui Olin, fue una verdadera feminista ademas de una revolucionaria. Y lo de ella fue autentico y artistico, no como la otra que siempre mencionan, digamos, Frida Kahlo. Pues a la Kahlo la conocéis, no por ser artista, ni mucho menos por feminista, sino por el merchandising que se ha creado con su nombre y su imagen… Se llamaba María del Carmen Mondragón Valseca y nació en México el 8 de julio de 1893. Fue poeta, pintora y modelo… Quizá la influencia de la escritora inglesa Mary Wollstonecraft la acerco al feminismo y ya que se representaba a si misma en sus pinturas podemos deducir que conocía bien el movimiento feminista mexicano y anglosajón. Estos resultaron en valiosas referencias y un gran empujón a su creatividad… A sus cuatro años de edad su familia se traslado a Francia donde vivieron ocho años y allá fue donde la joven Carmen estudio artes, danza, canto, pintura y teatro… En 1922, durante su relación con el artista plástico Gerardo Murillo, conocido como Doctor Atl, ella toma el nombre de Nahui Olin, que significa cuatro movimiento o perpetuo movimiento en náhuatl. También esta fue su etapa más prolífica de su producción poética y pictórica. Se fue así apartándose de su vida acomodada y comenzó a relacionarse cada vez más con su raíces indígenas… Su obra pictórica es Naif, y muchos de sus cuadros son autorretratos y también muchos que se caracterizan por ser eróticos y en donde explora su sexualidad… Su obra poética se caracteriza por sus temas concernientes a la libertad corporal de las mujeres, cosa revolucionaria para su época…. Nahi Olin murió en su ciudad natal en 1978.
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The first thing I’ll tell you is that I did not know her, and I am very glad that I have come to know about her. Of course at Uni no one ever spoke to me about her, but Nahui Olin was a true phenomenon in Mexican arts. She was the woman who liberated female artists… from the old moralities… of her country. Nahui Olin was a true feminist as well as a revolutionary. What she created was authentic and artistic, unlike the other artist that is always mentioned, let’s say, Frida Kahlo. You know Kahlo, not as an artist, nor certainly as a feminist, but for the merchandising created around her name and image… Her name was María del Carmen Mondragón Valseca, and she was born in Mexico on July 8, 1893. She was a poet, painter, and model… Perhaps the influence of the English writer Mary Wollstonecraft brought her closer to feminism, and since she represented herself in her paintings, we can deduce that she was well-acquainted with both the Mexican and Anglo-Saxon feminist movements. These experiences provided valuable references and a great boost to her creativity… At the age of four, her family moved to France, where they lived for eight years, and it was there that young Carmen studied arts, dance, singing, painting, and theater… In 1922, during her relationship with the plastic artist Gerardo Murillo, known as Doctor Atl, she adopted the name Nahui Olin, which means “four movement” or “perpetual movement” in Nahuatl. This was also her most prolific stage for poetic and pictorial production. Thus, she distanced herself from her comfortable life and began to relate more with her indigenous roots… Her pictorial work is Naif, and many of her paintings are self-portraits, as well as others characterized by their eroticism, where she explores her sexuality… Her poetic work is marked by themes concerning women’s bodily freedom, which was revolutionary for her time… Nahui Olin died in her hometown in 1978.
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GRACIAS – CHEERS
This is one phenomenal artist that cannot be ignored in the history of art…
Here’s a good way to get to know her:
I must admit that until quite recently, when I ran across an article about her, I had never heard of Lucia Wilcox. But seeing that she had been an influential painter, especially for the surrealism movement, I could not leave her behind. However, there is not much about her to be found.
For starters she was born in Beirut, Lebanon in 1902 (although some say 1899). She moved to Paris as a young woman and there met Picasso, Léger and other young aspiring artists. She wanted to study art and possibly did at the Académie Ranson. André Derain, a fauvist, became her mentor.
In 1938, with war on Europe’s horizon Wilcox left for the United States. She settled in Amagansett, Long Island where she became friends with Jackson Pollock, Frederick Kiesler, Max Ernst, and others. In New York Lucia had her first solos show in 1948 at the Sidney Janis Gallery. Then in 1949 she was instrumental in organizing East Hampton’s first contemporary art exhibit at Guild Hall. Reviews of her artwork from The New York Times and other newspapers, described her work as being “a dramatic compound of Byzantine color, allegro fancy, modern treatment, and near mystic feeling.”
Her work was mostly surrealist up until the 1950’s when she started doing some abstract expressionism, something quite popular at that time. Lucia was invited to participate in two of the four historic exhibitions that Alfonso Ossorio organised at Signa Gallery in 1957 and 1959. Then in 1961, she had a solo exhibition at Lefebre Gallery on East 77th Street in Manhattan.
By 1972 she had gone blind but continued to work, substituting ink for oils and allowing her mind to guide her, free of distractions. Lucia Wilcox died in New York in 1974.
These are some of her works. I find them interesting. What about you?
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You would think that the painter of «silence» was a subdued, quiet and laid-back sort of chap, but he wasn’t…
He was born in Nyack, New York in 1882 in a well off upper middle class family. From the age of 5 he was taught to pursue artistic paths. When he decided he wanted to be an artist he was placed in the New York School of Art and Design. He graduated in 1905 and started to work as an illustrator for an advertising agency. He went to Europe, first to Paris, several times in 1906, 1909 and 1910. In 1910 he also visited Spain.
Although Paris in those years was filled with innovative, creative and experimental artists, such as Picasso, Braque, Matisse and others, Hopper did not seem the least bit interested. He shunned the art vanguards of the 20th Century, such as abstract art, fauvism and cubism, that were being developed and in vogue. Instead he was most impressed and interested in the works of the impressionists, especially Claude Monet and Edouard Manet. He learned well from their use of light.
In 1910, having returned to the United States, Hopper began exhibiting his works. At this time he moved to an apartment in Washington Square where he lived and worked most of his life. He married Josephine Nivison in 1924. She was rather a successful painter and often worked together. But their life was no pleasure cruise. Both were dominating and jealous people. Josephine demanded that she be the only female model for any future paintings featuring women. And he also tried to control her. And with her being the successful artist, that made things quite interesting.
In any event it is quite well known that their marriage was totally dysfunctional. Yet, thanks to Josephine, Hopper’s art career began to bloom and finally take off. Her art connections led to Hopper having a one-man exhibition at the Rehn Gallery. There he sold all his watercolours. From time time on Hopper’s association with the Rehn Gallery became life-long.
Edward Hopper is one of the best known US artists. His work was a profound study of American life in the which he emphasised its isolation and contemplation. He is, most certainly, a very important artist in the history of art. Hopper died of natural causes in his studio on the 15th of May 1967 in his Washington Square Park studio in Manhattan.
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Es hora de despertarse y pensar, no obedecer ni ser pensado…
Cheers…
El atelier es el sanctum sanctorum de los artistas, o de muchos artistas, diría yo. Hay tantas variedades como artistas. Algunos mantienen sus estudios limpios y bien organizados. Otros son un chiquero, desordenados, sucios, totalmente una locura. Algunos artistas alquilan estudios lejos de sus hogares, algunos pintan en casa en un área o habitación separada utilizada como estudio. Pero ha habido otros que han pintado en el salón de su casa, sobre una alfombra cara y vestidos con chaqueta de esmoquin, diciéndole al mundo que la pintura pertenece al lienzo y no al suelo. ¿Puedes adivinar quién era ese artista*?
Bueno, hagamos un breve recorrido por los ateliers de algunos de los artistas más famosos en la Historia del Arte y veamos el entorno en el que se encontraban cuando creaban.
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The studio is the holy of holies for many artists. There are as many varieties as there are artists. Some studios are clean and well organised. Others are a pig-pen, messy, dirty, totally in disarray. Some artists rent studios away from their homes, some paint in the home in a separate area or room used as a studio. But there have been others who have painted in their home’s salon, on an expensive rug and dressed in smoking jacket and telling the world that he does not create stains, because paint belongs on the canvas and not on the floor. Can you guess who that artist* was?
Well, let’s take a short tour through the studios of some of the most famous artists in Art History and see the environment they were in when they created.
+ Rene Magritte
GRACIAS – CHEERS
JaZzArt en València