In 1993, Adriana Varejão began painting decorative tin-glazed tiles, also known as azulejos, into her practice. For the artist, these distinctive blue and white ceramics serve as metonyms for the colonial Portuguese presence in Brazil. 𝘈𝘻𝘶𝘭𝘦𝘫𝘢𝘳𝘪𝘢 "𝘥𝘦 𝘵𝘢𝘱𝘦𝘵𝘦" 𝘦𝘮 𝘤𝘢𝘳𝘯𝘦 𝘷𝘪𝘷𝘢 (1999) captures a grisly scene of azulejos, as if the inert tiles were flesh disemboweled. Varejão sunders the façade of ornamental beauty with this sculptural painting, and in so doing re-enacts the violence incurred by practices of colonialism, trade, and cultural commodification. See 𝘈𝘻𝘶𝘭𝘦𝘫𝘢𝘳𝘪𝘢 "𝘥𝘦 𝘵𝘢𝘱𝘦𝘵𝘦" 𝘦𝘮 𝘤𝘢𝘳𝘯𝘦 𝘷𝘪𝘷𝘢 (1999) on view in MCASD’s permanent collection galleries in La Jolla. MCASD’s new extended hours are Thursday to Saturday from 11AM – 7PM and Sunday from 11AM – 5PM. Reserve tickets today: https://lnkd.in/g7bjaBkh [Adriana Varejão, 𝘈𝘻𝘶𝘭𝘦𝘫𝘢𝘳𝘪𝘢 "𝘥𝘦 𝘵𝘢𝘱𝘦𝘵𝘦" 𝘦𝘮 𝘤𝘢𝘳𝘯𝘦 𝘷𝘪𝘷𝘢 (𝘊𝘢𝘳𝘱𝘦𝘵-𝘚𝘵𝘺𝘭𝘦 𝘛𝘪𝘭𝘦𝘸𝘰𝘳𝘬 𝘪𝘯 𝘓𝘪𝘷𝘦 𝘍𝘭𝘦𝘴𝘩), 1999. Photography: Daniel Lang Farris Gallery]
Museum of Contemporary Art San Diego’s Post
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🎨 Make your brand as recognizable as a Picasso painting 🎨 See the results below of a variety of settings for the same product with the words 'picasso style painting' in the prompt. While none of them are actual Picasso paintings, they all resemble his style. Creating your brand identity is more essential than ever. With the proliferation of content, your brand needs to stand out with a style as recognizable to customers as a Picasso painting. Interested in learning how Presti can help you create a distinctive brand identity? Contact us to find out more 👇 #furniture #aiphotography
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Take a look at Claude Monet’s famous Water Lilies: arguably the most famous series of paintings in the world, more than 250 images painted over a 30-year span. Even from a distance, each painting is a beautiful image, with subtle colors of blue, green, and purple. But if you’re lucky enough to take a close look at the masterpieces, you’ll understand that it’s all the tiny details that come together to display Monet’s brilliance. It’s each tiny brush stroke, each subtle use of color, and the texture of the oil-based paints. I like to paraphrase Disney and say ‘the magic is in the details.’ Paying attention to the details of any design makes it better. It’s not just seeing the perfect place setting at the table, but noticing that all the silverware lines up neatly with the edge of the plate, listening to the ambience of the room. It’s the same with brand design: the details make the difference between mediocre and magnificent. If you’re not focused on the details, you won’t be able to reach that magical place.
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Architectural Landscape, 1970s pastel watercolor painting on paper 36 x 48 cm- by V. I. Gubar – How Great Thou Art https://smpl.is/7tlar
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In this short series of posts about a European landscape painting, at https://lnkd.in/dMtwXgUG we may have read an eccentric hyperbole of the British writer Aldous Huxley, according to which the “Resurrection” by Piero della Francesca in Sansepolcro, Tuscany, is “the best picture in the world.” At https://lnkd.in/d8M73ytB, we may have explored such a masterpiece, noticing how in the background there is a play on images, between the winter trees on the left and the spring ones on the right. In our minds at least, something alike may evoke a play on concepts too, amid sacred resurrection, natural rebirth and cultural Renaissance. Here, let's consider the one which not a few art historians consider the first known autonomous, early modern landscape painting: “Landscape with a Footbridge”, oil on panel by Albrecht Altdorfer, German painter and engraver (top left image, below: National Gallery, London; ca. 1518-20). Let's compare it with ancient Roman frescoed views, much later rediscovered in the excavations of Pompeii and surroundings, now housed in various museums: top right, and bottom images. It's evident, what recurs so many centuries later, so many earlier, is the detail of a tree. So similar in any case, that “per absurdum” it might be the same one, while obviously the context changes, even if indeed not that much. In the background of Piero della Francesca's dramatic work, in the naturalistic “Landscape with a Footbridge”, even in the Pompeian idyllic scenes, it's implied something which Huxley ingeniously intuited: a contrast between easily changing culture and ever re-flowering nature, which is also a balance difficult to maintain. Let's also notice how in “Landscape with a Footbridge” there is a total absence of human figures, despite old traces of their presence and activity: the crumbling tower, and the shaky bridge. Making sure this doesn't happen is a task which lies ahead of us, likely today more than ever.
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