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Posts by Patrick Kapty

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32 minutes ago 0 0 0 0
This poster featuring a terrifying Death figure reflected a common fear in the turbulent aftermath of World War I in Germany—that the 1917 Bolshevik revolution in Russia might be replicated in Germany. Graphic designer, set designer. After serving in the army during World War I, studied painting and graphic design in Berlin, then designed posters for political and cultural programs, some produced in his father’s printing shop. Tapped by Erich Pommer, who produced many Expressionist films, as a set designer for Decla Films in 1919. In 1926 appointed head of publicity at Universum-Film AG (UFA); designed sets, advertising, and decorations for film premieres, transforming the lobbies, facades, and streets around movie theaters into total works of art using color and lighting to capture the mood of Expressionist filmmaking. In 1933, after Nazi seizure of power, lost his position at UFA because he was a Jew. Emigrated to Palestine via France in 1936. Then settled in Hollywood, where his brother Fritz was a film actor. Worked first as a draftsman for MGM and later as a designer for television and film.

This poster featuring a terrifying Death figure reflected a common fear in the turbulent aftermath of World War I in Germany—that the 1917 Bolshevik revolution in Russia might be replicated in Germany. Graphic designer, set designer. After serving in the army during World War I, studied painting and graphic design in Berlin, then designed posters for political and cultural programs, some produced in his father’s printing shop. Tapped by Erich Pommer, who produced many Expressionist films, as a set designer for Decla Films in 1919. In 1926 appointed head of publicity at Universum-Film AG (UFA); designed sets, advertising, and decorations for film premieres, transforming the lobbies, facades, and streets around movie theaters into total works of art using color and lighting to capture the mood of Expressionist filmmaking. In 1933, after Nazi seizure of power, lost his position at UFA because he was a Jew. Emigrated to Palestine via France in 1936. Then settled in Hollywood, where his brother Fritz was a film actor. Worked first as a draftsman for MGM and later as a designer for television and film.

The Danger of Bolshevism
(Die Gefahr des Bolschewismus)
lithograph
1919
Rudi Feld (1896–1994)
American, born Germany

#expressionism #germanexpressionism #thedangerofbolshevism #lithograph #rudifeld #moma
#c1919 #DieGefahrdesBolschewismus #art #modernart #germanart #jewishartist #graphic #design

1 day ago 6 1 0 0
The Gold of the Azure, 1967 has a wonderfully poetic quality about it, reminiscent of Asian art. Set against a light yellow surface, with a few white gaps to allow the canvas to "breathe", a number of stars and lines - as fine as hair - have been distributed, as well as some sombre, black dots, pardy connected by some very fine lines. A huge black sweeping movement lunges into the blue shape on the right. This shape, however, has not been painted on the yellow surface - which would have given it a distinct tinge of green - but has been inserted into an oval gap on the white canvas. The red dot in the top left corner has been painted in the same way. Thus these two colours keep their balance against the strong forcefulness of the yellow. A tiny green spot hovers above the blue oval, demonstrating a different method of painting - a gentle merging into the paint while it was still wet so that a blurred effect could be achieved. Furthermore, the blue shape has been painted with the circling movements of a semi-dry paintbrush so that the white surface has remained faintly visible and is particularly in evidence around the edge. The painting refuses to yield to any further description of its content or to any fixed interpretation. Its poetic effect is dependent on the balance of its colors, the composition of symbols as well as its complex structure as regards artistic techniques. It is from the artistic means alone that Miro developed a "content", without, however, creating a totally abstract painting. In his pictures of the 1960s Miro continued to develop his symbolic language with increasing elementary force and colorfulness.

The Gold of the Azure, 1967 has a wonderfully poetic quality about it, reminiscent of Asian art. Set against a light yellow surface, with a few white gaps to allow the canvas to "breathe", a number of stars and lines - as fine as hair - have been distributed, as well as some sombre, black dots, pardy connected by some very fine lines. A huge black sweeping movement lunges into the blue shape on the right. This shape, however, has not been painted on the yellow surface - which would have given it a distinct tinge of green - but has been inserted into an oval gap on the white canvas. The red dot in the top left corner has been painted in the same way. Thus these two colours keep their balance against the strong forcefulness of the yellow. A tiny green spot hovers above the blue oval, demonstrating a different method of painting - a gentle merging into the paint while it was still wet so that a blurred effect could be achieved. Furthermore, the blue shape has been painted with the circling movements of a semi-dry paintbrush so that the white surface has remained faintly visible and is particularly in evidence around the edge. The painting refuses to yield to any further description of its content or to any fixed interpretation. Its poetic effect is dependent on the balance of its colors, the composition of symbols as well as its complex structure as regards artistic techniques. It is from the artistic means alone that Miro developed a "content", without, however, creating a totally abstract painting. In his pictures of the 1960s Miro continued to develop his symbolic language with increasing elementary force and colorfulness.

L’Or de l’azur (The Gold of the Azure)
oil on canvas
1967
Joan Miro

#art #modernart #abstractexpressionism #surrealism #joanmiro #spain #catalonia #catalanartist #lordelazur #thegoldoftheazure #c1967 #painting #modernpainting #abstract #surrealistart #oilpainting #canvas #gold #azure #color

1 day ago 14 3 0 0
Pottery making on the Colorado Plateau, as in the central mountains, began by the first or second century CE. A variety of clays suitable for making pottery are available there. Iron-bearing clays were used by potters who fired their pots in reducing (oxygen-poor) atmospheres. These pots are typically gray. Vessels were sometimes constructed of white-firing clay, which lacks iron. Sometimes, a thin layer of white-firing clay (a slip) was applied to darker clay used to build pots, creating a background that would contrast with and improve the visibility of black painted decoration. Black-on-gray pottery appeared by 600 CE, red-on-orange by 700 CE, and black-on-white by 825 CE. Black-on-red, black-on-orange, and polychrome pottery (featuring three or more colors) was also made on the Plateau. By 1300 CE, potters on the Hopi Mesas began producing yellow pottery, which they fired using coal. The Pueblo Indians of northern Arizona and New Mexico are descendants of the Ancestral Pueblo (Anasazi) archaeological culture of the Colorado Plateau, as well as other ancient groups. CE stands for Common Era, a chronological convention equivalent to AD.

Pottery making on the Colorado Plateau, as in the central mountains, began by the first or second century CE. A variety of clays suitable for making pottery are available there. Iron-bearing clays were used by potters who fired their pots in reducing (oxygen-poor) atmospheres. These pots are typically gray. Vessels were sometimes constructed of white-firing clay, which lacks iron. Sometimes, a thin layer of white-firing clay (a slip) was applied to darker clay used to build pots, creating a background that would contrast with and improve the visibility of black painted decoration. Black-on-gray pottery appeared by 600 CE, red-on-orange by 700 CE, and black-on-white by 825 CE. Black-on-red, black-on-orange, and polychrome pottery (featuring three or more colors) was also made on the Plateau. By 1300 CE, potters on the Hopi Mesas began producing yellow pottery, which they fired using coal. The Pueblo Indians of northern Arizona and New Mexico are descendants of the Ancestral Pueblo (Anasazi) archaeological culture of the Colorado Plateau, as well as other ancient groups. CE stands for Common Era, a chronological convention equivalent to AD.

Geometric black on gray pot
painted fired clay
circa 600 CE
Anasazi culture
Colorado plateau
USA

#prehispanic #precolumbian #ancientart #ancientpottery #art #craft #pottery #anasazi #coloradoplateau #claypot #blackongray #600CE #ancientamerica #usa #arizonastatemuseum

1 day ago 31 7 0 1
This statue is the oldest Buddhist sculpture with an inscribed date that has ever been found in Korea. The inscription on the back of the halo states that it was produced in 539 in the Goguryeo Kingdom. Adapting the overall style of Buddhist sculpture from China’s Northern Wei Dynasty with domestic elements, this statue is viewed as one of the first attempts to establish and assert Korean aesthetics. It is currently exhibited in the Buddhist Sculpture Gallery of National Museum of Korea. Soon after the Goguryeo Kingdom embraced Buddhism, which had been transmitted from China’s Former Qin, Chomunsa Temple and Ibullansa Temple were built in 375, followed by Gusa Temple in Pyongyang in 393. During his reign, Goguryeo’s King Jangsu relocated the capital to Pyongyang. In accordance, he also had the tomb of King Dongmyeong moved to Pyongyang, and constructed a huge temple, Jeongneungsa Temple, next to the tomb. Unfortunately, there are no extant artifacts or records revealing the nature or style of Buddhist sculptures that were enshrined in these temples. Although Buddhism was first introduced to Korea around the fourth century of the Three Kingdoms period, the vast majority of extant Korean Buddhist sculptures were produced after 500 C.E. This gap indicates that Buddhism did not immediately take root with all of the Korean people. Finally beginning to fill in that gap, this gilt-bronze Buddha with an inscription that reads “seventh year of yeonga” marked a new beginning for the history of Korean sculpture. In the summer of 1963, the statue was accidentally discovered in Uiryeong, South Gyeongsang Province. Despite its small size (16.2 cm high), it has enormous significance as the oldest Korean sculpture with an inscribed date and the first Korean Buddhist statue showing indigenous aesthetics.

This statue is the oldest Buddhist sculpture with an inscribed date that has ever been found in Korea. The inscription on the back of the halo states that it was produced in 539 in the Goguryeo Kingdom. Adapting the overall style of Buddhist sculpture from China’s Northern Wei Dynasty with domestic elements, this statue is viewed as one of the first attempts to establish and assert Korean aesthetics. It is currently exhibited in the Buddhist Sculpture Gallery of National Museum of Korea. Soon after the Goguryeo Kingdom embraced Buddhism, which had been transmitted from China’s Former Qin, Chomunsa Temple and Ibullansa Temple were built in 375, followed by Gusa Temple in Pyongyang in 393. During his reign, Goguryeo’s King Jangsu relocated the capital to Pyongyang. In accordance, he also had the tomb of King Dongmyeong moved to Pyongyang, and constructed a huge temple, Jeongneungsa Temple, next to the tomb. Unfortunately, there are no extant artifacts or records revealing the nature or style of Buddhist sculptures that were enshrined in these temples. Although Buddhism was first introduced to Korea around the fourth century of the Three Kingdoms period, the vast majority of extant Korean Buddhist sculptures were produced after 500 C.E. This gap indicates that Buddhism did not immediately take root with all of the Korean people. Finally beginning to fill in that gap, this gilt-bronze Buddha with an inscription that reads “seventh year of yeonga” marked a new beginning for the history of Korean sculpture. In the summer of 1963, the statue was accidentally discovered in Uiryeong, South Gyeongsang Province. Despite its small size (16.2 cm high), it has enormous significance as the oldest Korean sculpture with an inscribed date and the first Korean Buddhist statue showing indigenous aesthetics.

Standing Buddha sculpture
gilt bronze
circa 539 CE
Goguryeo Kingdom
Korea

#buddha #buddhism #korea #koreanbuddhism #buddhiststatue #buddhistsculpture #ancientart #ancientsculpture #giltbronze #sculpture #art #koreanart #goguryeokingdom #c539CE #ancientkorea #seoul #nationalmuseumofkorea

1 day ago 17 5 0 0
This mask is believed to represent Quetzalcoatl or the Rain God Tlaloc; both are associated with serpents. The mask is formed of two intertwined and looped serpents worked in contrasting colors of turquoise mosaic; one in green and one in blue that twist across the face and around the eyes, blending over the nose. Turquoise mosaic feathers hang on both sides of the eye sockets. The mask is made of “cedro” wood (Cedrela odorata) with pine resin adhesive. The teeth are made of conch (Strombus) shell and the resin adhesive in the mouth is coloured red with hematite. The rattles of the serpent tails were originally gilded. They are molded from a mixture of beeswax and pine resin; the same resin mixture coats the interior surface of the mask. The Spanish friar Bernardino de Sahagún, writing in the sixteenth century, describes a mask like this one. It was a gift of the Aztec emperor Motecuhzoma II to the Spanish captain Hernán Cortés (1485-1547). The Aztec ruler thought that Cortés was the god Quetzalcoatl (Feathered Serpent) returning from the East. This mask was part of the adornments associated with this god. According to Sahagún’s description it was worn with a crown of beautiful long greenish-blue iridescent feathers, probably those of the quetzal (a bird that lives in the tropical rain forest). Though the Rain God Tlaloc was also sometimes represented with serpents twisting around his eyes, the feathers are more consistent with the image of Quetzalcoatl. The earliest image of Quetzalcoatl as the Feathered Serpent appears at Teotihuacan in Central Mexico, on the façade of the temple that now bears his name.

This mask is believed to represent Quetzalcoatl or the Rain God Tlaloc; both are associated with serpents. The mask is formed of two intertwined and looped serpents worked in contrasting colors of turquoise mosaic; one in green and one in blue that twist across the face and around the eyes, blending over the nose. Turquoise mosaic feathers hang on both sides of the eye sockets. The mask is made of “cedro” wood (Cedrela odorata) with pine resin adhesive. The teeth are made of conch (Strombus) shell and the resin adhesive in the mouth is coloured red with hematite. The rattles of the serpent tails were originally gilded. They are molded from a mixture of beeswax and pine resin; the same resin mixture coats the interior surface of the mask. The Spanish friar Bernardino de Sahagún, writing in the sixteenth century, describes a mask like this one. It was a gift of the Aztec emperor Motecuhzoma II to the Spanish captain Hernán Cortés (1485-1547). The Aztec ruler thought that Cortés was the god Quetzalcoatl (Feathered Serpent) returning from the East. This mask was part of the adornments associated with this god. According to Sahagún’s description it was worn with a crown of beautiful long greenish-blue iridescent feathers, probably those of the quetzal (a bird that lives in the tropical rain forest). Though the Rain God Tlaloc was also sometimes represented with serpents twisting around his eyes, the feathers are more consistent with the image of Quetzalcoatl. The earliest image of Quetzalcoatl as the Feathered Serpent appears at Teotihuacan in Central Mexico, on the façade of the temple that now bears his name.

Serpent mask of Quetzalcoatl
wood, turquoise, shell, resin
circa 1450 CE
Aztec
Mexico

#handmade #quetzalcoatl #mask #aztec #mexica #Tenochtitlan #mesoamerica #mexico #ancientmexico #precolumbian #prehispanic #religion #ritual #tlaloc #raingod #serpent #eyes #ancientart #indigenous #culture #art

1 day ago 12 3 1 0
With incredible economy of line, Käthe Kollwitz depicted an intimate scene of a mother resting with her baby. It is a rare moment of peace among her subjects, most of which center on the war’s devastating impact on women and children. The artist’s youngest son was killed in World War I at age 18. This knowledge adds a layer of intensity to the image as a personal memory of loss.

With incredible economy of line, Käthe Kollwitz depicted an intimate scene of a mother resting with her baby. It is a rare moment of peace among her subjects, most of which center on the war’s devastating impact on women and children. The artist’s youngest son was killed in World War I at age 18. This knowledge adds a layer of intensity to the image as a personal memory of loss.

Käthe Kollwitz (Germany, 1867–1945) :
Sleeping Woman with Child, 1929

Woodcut
11-3/4 x 14-1/8 in | 29.9 x 35.8 cm

St. Louis Art Museum

Further description in the alt text 👇

2 days ago 11 1 0 0

#davidbowie #diamondogs #c1974 #music #art #photography

1 day ago 6 1 0 0
Hundertwasser's comment on the work : "A sister painting to 224 The Long Way. I painted it in Brô's garage studio, Impasse des Sureaux, and placed it in the snow to photograph it. It was important to me that one saw something of the background in the photo, e.g., flower pots, cracks in the sidewalk, my feet, my face, a fence. I often put my pictures outside to compare them with trees and to see if they were up to the comparison: see picture 177, reproduced in the Kestner Catalogue, p. 154, on a stairway, and 176 in the Studio Facchetti catalogue, Paris, 1954, with my head. It is difficult to deal with collectors; that's why dealers are good, as a buffer. Collectors are usually not normal. So they collect what they can't do themselves. The real ones, I mean, who collect for investment purposes or because of their social or cultural status, are normal. In the case of this picture it was Henry M. Lazar. The sales negotiations and visits often lasted for weeks and months. He usually came late in the evening because he thought artists had late breakfasts." ~ from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, p. 303

Hundertwasser's comment on the work : "A sister painting to 224 The Long Way. I painted it in Brô's garage studio, Impasse des Sureaux, and placed it in the snow to photograph it. It was important to me that one saw something of the background in the photo, e.g., flower pots, cracks in the sidewalk, my feet, my face, a fence. I often put my pictures outside to compare them with trees and to see if they were up to the comparison: see picture 177, reproduced in the Kestner Catalogue, p. 154, on a stairway, and 176 in the Studio Facchetti catalogue, Paris, 1954, with my head. It is difficult to deal with collectors; that's why dealers are good, as a buffer. Collectors are usually not normal. So they collect what they can't do themselves. The real ones, I mean, who collect for investment purposes or because of their social or cultural status, are normal. In the case of this picture it was Henry M. Lazar. The sales negotiations and visits often lasted for weeks and months. He usually came late in the evening because he thought artists had late breakfasts." ~ from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, p. 303

Friedensreich Hundertwasser :
City Seen from Beyond the Sun, 1955

PVA, egg tempera and oil on canvas, primed with chalk, zinc white and fish glue

St. Maurice/Seine, Impasse des Sureaux, Brô's garden house, Oct - Nov, 1955
1500 x 1350 mm

Hundertwasser's comment on the work in the alt text 👇

2 days ago 65 10 2 1

#juangris #art #modernart #cubism #cubistart #painting #oilpainting #modernart #spain #c1913

1 day ago 10 1 0 0
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This is one of the most amazing pieces of Olmec culture. It was carved in jadeite and was made between 900-300 BC. There is debate whether it is a woman who finds praying or singing, or possibly a man with an expression of authority. Notice the long straight hair, as well as his face with a very distorted mouth, a trait present in Olmec art and that some have linked with the cult of the jaguar. The Olmec "cult of the jaguar" refers to the intense veneration of the jaguar as a primary supernatural deity in the early Mesoamerican civilization (c. 1200–400 BCE), symbolizing power, rain, and fertility. It is characterized by widespread art featuring "were-jaguars"—human-feline hybrids with cleft heads and snarling mouths—which likely represented a divine, ruling lineage or transformation between earthly and spiritual realms. It is unknown where this object was found. Part of the Dumbartok Oaks collection in the USA.

This is one of the most amazing pieces of Olmec culture. It was carved in jadeite and was made between 900-300 BC. There is debate whether it is a woman who finds praying or singing, or possibly a man with an expression of authority. Notice the long straight hair, as well as his face with a very distorted mouth, a trait present in Olmec art and that some have linked with the cult of the jaguar. The Olmec "cult of the jaguar" refers to the intense veneration of the jaguar as a primary supernatural deity in the early Mesoamerican civilization (c. 1200–400 BCE), symbolizing power, rain, and fertility. It is characterized by widespread art featuring "were-jaguars"—human-feline hybrids with cleft heads and snarling mouths—which likely represented a divine, ruling lineage or transformation between earthly and spiritual realms. It is unknown where this object was found. Part of the Dumbartok Oaks collection in the USA.

Fragment of Sculpture
carved jade
circa 900-600 BCE
Olmec culture
Mexico

#handmade #carved #jade #jadeite #olmecculture #jaguarmouth #cultofjaguar #olmecculture #BCE #prehispanic #precolumbian #ancientart #ancientculture #religion #ritual #belief #magic #transformation #jaguar #worship #mesoamerica

1 day ago 8 3 0 0
Edward Joe Chilida, commonly known as Eduardo Chillida, was a prominent Spanish Basque sculptor renowned for his monumental abstract works. Born on January 10, 1924, in San Sebastián, Spain, Chillida's career spanned several decades and left a significant mark on 20th-century art. Chillida initially pursued architecture at the University of Madrid but abandoned his studies to focus on drawing and sculpture. In 1947, he moved to Paris, where he immersed himself in the artistic milieu and began experimenting with different materials and forms. His early works were primarily figurative, but he soon transitioned to abstract sculpture, influenced by the likes of Constantin Brancusi and Jean Arp. Chillida's breakthrough came in the 1950s when he started working with iron and steel, materials that would become central to his oeuvre. His works from this period often explored the interplay of mass and void, solid and space, and were characterized by their robust, architectural forms. In 1951, Chillida held his first solo exhibition at the Clan Gallery in Madrid. His distinctive style quickly gained recognition, and he participated in various international exhibitions, including the Venice Biennale in 1958, where he was awarded the Grand International Sculpture Prize. One of Chillida's most iconic works is the "Peine del Viento" (Wind Comb) series, created between 1977 and 1979. Installed in San Sebastián, these large-scale iron sculptures interact with the sea and wind, exemplifying Chillida's interest in integrating his art with the natural environment. Throughout his career, Chillida continued to experiment with different materials, including wood, alabaster, and concrete. His works often reflected a deep philosophical engagement with space, form, and the human experience. Eduardo Chillida passed away on August 19, 2002, in San Sebastián.

Edward Joe Chilida, commonly known as Eduardo Chillida, was a prominent Spanish Basque sculptor renowned for his monumental abstract works. Born on January 10, 1924, in San Sebastián, Spain, Chillida's career spanned several decades and left a significant mark on 20th-century art. Chillida initially pursued architecture at the University of Madrid but abandoned his studies to focus on drawing and sculpture. In 1947, he moved to Paris, where he immersed himself in the artistic milieu and began experimenting with different materials and forms. His early works were primarily figurative, but he soon transitioned to abstract sculpture, influenced by the likes of Constantin Brancusi and Jean Arp. Chillida's breakthrough came in the 1950s when he started working with iron and steel, materials that would become central to his oeuvre. His works from this period often explored the interplay of mass and void, solid and space, and were characterized by their robust, architectural forms. In 1951, Chillida held his first solo exhibition at the Clan Gallery in Madrid. His distinctive style quickly gained recognition, and he participated in various international exhibitions, including the Venice Biennale in 1958, where he was awarded the Grand International Sculpture Prize. One of Chillida's most iconic works is the "Peine del Viento" (Wind Comb) series, created between 1977 and 1979. Installed in San Sebastián, these large-scale iron sculptures interact with the sea and wind, exemplifying Chillida's interest in integrating his art with the natural environment. Throughout his career, Chillida continued to experiment with different materials, including wood, alabaster, and concrete. His works often reflected a deep philosophical engagement with space, form, and the human experience. Eduardo Chillida passed away on August 19, 2002, in San Sebastián.

Eduardo Chillida was a Basque artist known for his monumental abstract iron and steel sculptures which are to be found in public places all over the world. . Chillida’s combination of sculptural form and metaphysical significance is integrated with architectural and environmental space to produce distinct urban spaces.

Eduardo Chillida was a Basque artist known for his monumental abstract iron and steel sculptures which are to be found in public places all over the world. . Chillida’s combination of sculptural form and metaphysical significance is integrated with architectural and environmental space to produce distinct urban spaces.

'From Within' sculpture
wrought iron
1953
Eduardo Chillida (1924-2002)
Spain

#handmade #art #sculpture #craft #iron #abstract #modernsculpture #modernism #moderndesign #eduardochillida #spain #basque #fromwithin #c1953 #modernart

1 day ago 11 2 0 0
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Anodized aluminum hand painted multicolored geometric border centering a painted image of crashing waves under a fiery sky - anonymous "Porthole" design brooch circa 1980s.

Available...

www.rubylane.com/item/1879775...

#handmade #oneofakind #brooch #pin #wearableart #art #memphismilano #1980s

2 days ago 8 0 0 0
Sparklehorse - "It Will Never Stop"
Sparklehorse - "It Will Never Stop" YouTube video by ANTI- Records

It will never stop
Sparklehorse

#music #indie #alternative #marklinkous #itwillneverstop #sparklehorse

www.youtube.com/watch?v=K6ZP...

2 days ago 1 0 0 0
12–13th century BCE bronze Chinese Zun wine vessel in the shape of an owl. Image from Minneapolis Institute of Art promotional material.

12–13th century BCE bronze Chinese Zun wine vessel in the shape of an owl. Image from Minneapolis Institute of Art promotional material.

this thing is amazing: 12–13th century BCE owl-shaped Chinese Zun bronze wine vessel! On display at Minneapolis Institute of Art, Gallery 214 🦉

2 days ago 1961 317 31 9

#manray #surrealism #surrealistphotography #photography #mannequinfatigué #c1926

2 days ago 5 0 0 0
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Devotional Holy Water Receptacle
gilt metal, coral
17th century CE
Trapani, Italy

#handmade #giltmetal #coral #holywater #receptacle #devotional #trapani #italy #catholic #religion #ritual #belief #ritual #art #craft #antique #17thcentury #CE

2 days ago 11 4 0 0
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Shamanic Medallion
gold, stone
c. 600-400 BCE
Chavin culture
Peru

#shamanic #figure #condormask #ritual #religion #handmade #gold #chrysocolla #inlay #precolumbian #chavinculture #peru #prehispanic #ancientart #ancientcraft #medallion #magic #power #transformation #divine #earth #art #craft

2 days ago 16 4 1 0
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Salvador & Gala Dali
gelatin silver print
1964
Richard Avedon (1923-2004)
USA

#photography #portrait #salvadordali #galadali #richardavedon #c1964 #gelatinsilverprint #surrealism #surrealistartist #art #portraitphotography #americanphotography #americanart

2 days ago 9 1 0 0
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An asymmetric 'Shark Fin' design anodized aluminum post-modernist cuff bracelet by Katz Turner and Wyatt of California c. 1980s.

Available...

www.rubylane.com/item/1879775...

#anodizedaluminum #cuff #bracelet #postmodern #sharkfindesign #katzturnerwyatt #californiadesign #wearableart #art #1980s

2 days ago 6 0 0 0
Butler studied and lectured at the Architectural Association School of Architecture in London from 1937 to 1939. He was a conscientious objector during the Second World War, being exempted from military service conditional upon setting up a small blacksmith business repairing farm implements. After winning the 'Unknown Political Prisoner' competition in 1953 he became one of the best known sculptors during the 1950s and 1960s, and also taught at the Slade School of Art.

Butler studied and lectured at the Architectural Association School of Architecture in London from 1937 to 1939. He was a conscientious objector during the Second World War, being exempted from military service conditional upon setting up a small blacksmith business repairing farm implements. After winning the 'Unknown Political Prisoner' competition in 1953 he became one of the best known sculptors during the 1950s and 1960s, and also taught at the Slade School of Art.

"Family Group"
Iron
1948
Reg Butler
UK

#sculpture #mcm #regbutler #sculptor #uk #britishmodern #modernism #vintagemodern #modernistsculpture #iron #ironsculpture #familygroup #artist #art

2 days ago 11 2 0 0
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Super vivid vintage 1980s handmade multicolor anodized aluminum post modern Flower design brooch titled "Jazz I" by American artist-jeweler Hirshman.

Available...

www.rubylane.com/item/1879775...

#hirshman #anodizedaluminum #postmodern #brooch #pin #jewelrydesign #wearableart #art #1980s #flower

2 days ago 4 0 0 0
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Untitled
gelatin silver print
1971
Takuma Nakahira (1938-2015)
Japan

#photography #art #blackandwhite #c1971 #takumanakahira #Japan #gelatinsilverprint #japanesephotography #japanesephotographer #photographer #artist

3 days ago 7 0 0 0
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Cylinder Vase
ceramic
600-800 CE
Mayan culture
Mexico

#ceramic #vase #ancientart #ancientpottery #mayanculture #mesoamerica #mexico #handmade #art #cylindervase #handpainted #precolumbian #prehispanic #maya

3 days ago 72 11 2 0
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An Atomic - Space Age pair of sterling silver modernist earrings circa 1950s by San Francisco artist-jeweler, Caroline Gleick Rosene.

Available...

www.rubylane.com/item/1879775...

#carolinegleickrosene #sanfrancisco #california #handmade #earrings #mcm #modernistjewelry #wearableart #art #1950s

3 days ago 8 0 0 0
Aaron Curry (b. 1972, San Antonio) makes sculptures and paintings whose relationship to modernism is productively fraught. Incorporating a wealth of elements from popular culture—science fiction, video games, cartoons—Curry has developed a body of work that is both a recognizable continuation of art historical narratives and a caustic, critical, and often hilarious take on the established order. In recent years he has produced a group of large-scale aluminum sculptures that upend the classical poise of Alexander Calder, foregrounding instead a surreal biomorphism and seemingly improvised compositional flair. These objects translate the hands-on immediacy of his earliest sculptures at a municipal scale, emphasizing the democratic fervor that animates his project. An ongoing collage of the lineages of Disney, Picasso, and Chicago Imagism, Curry’s work provides a funhouse-mirror vision of the future of the Western tradition. Curry has been the subject of solo exhibitions at Bass Museum of Art, Miami, FL (2018); Rubell Family Collection, Miami, FL (2014); CAPC Musée d’Art Contemporain de Bordeaux, France (2014); Lincoln Center for the Performing Arts, New York, NY (2013); and High Museum of Art, Atlanta, GA (2012). Recent group exhibitions include New Ground: Jacob Samuel and Contemporary Etching, Museum of Modern Art, New York, NY (2023); House in Motion / New Perspectives, de la Cruz Collection, Miami, FL (2023); Part 2: Au rendez-vous des amis: Modernism in Dialogue with Contemporary Art from the Sammlung Goetz, Pinakothek der Moderne, Munich, Germany (2021); and Jing’an Sculpture Park, Shanghai, China (2018). His work is in the permanent collections of institutions including the Hammer Museum, Los Angeles, CA; Minneapolis Institute of Arts, MN; Montreal Museum of Fine Arts, CA; Museum of Contemporary Art Chicago, IL; Seattle Art Museum, WA; and SFMOMA, San Francisco, CA. Curry lives and works in Los Angeles.

Aaron Curry (b. 1972, San Antonio) makes sculptures and paintings whose relationship to modernism is productively fraught. Incorporating a wealth of elements from popular culture—science fiction, video games, cartoons—Curry has developed a body of work that is both a recognizable continuation of art historical narratives and a caustic, critical, and often hilarious take on the established order. In recent years he has produced a group of large-scale aluminum sculptures that upend the classical poise of Alexander Calder, foregrounding instead a surreal biomorphism and seemingly improvised compositional flair. These objects translate the hands-on immediacy of his earliest sculptures at a municipal scale, emphasizing the democratic fervor that animates his project. An ongoing collage of the lineages of Disney, Picasso, and Chicago Imagism, Curry’s work provides a funhouse-mirror vision of the future of the Western tradition. Curry has been the subject of solo exhibitions at Bass Museum of Art, Miami, FL (2018); Rubell Family Collection, Miami, FL (2014); CAPC Musée d’Art Contemporain de Bordeaux, France (2014); Lincoln Center for the Performing Arts, New York, NY (2013); and High Museum of Art, Atlanta, GA (2012). Recent group exhibitions include New Ground: Jacob Samuel and Contemporary Etching, Museum of Modern Art, New York, NY (2023); House in Motion / New Perspectives, de la Cruz Collection, Miami, FL (2023); Part 2: Au rendez-vous des amis: Modernism in Dialogue with Contemporary Art from the Sammlung Goetz, Pinakothek der Moderne, Munich, Germany (2021); and Jing’an Sculpture Park, Shanghai, China (2018). His work is in the permanent collections of institutions including the Hammer Museum, Los Angeles, CA; Minneapolis Institute of Arts, MN; Montreal Museum of Fine Arts, CA; Museum of Contemporary Art Chicago, IL; Seattle Art Museum, WA; and SFMOMA, San Francisco, CA. Curry lives and works in Los Angeles.

Bones (Standing)
metal sheet
2009
Aaron Curry
LA, USA

#sculpture #contemporarysculpture #aaroncurry #americanart #americansculpture #losangeles #bones(standing) #c2009 #contemporaryart #art #postmodernism #postmodernsculpture

3 days ago 9 0 0 1
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Amethyst grapes with jade leaves.
19th century
Qing dynasty, China

#amethyst #jade #carved #gemstones #chineseantiques #china #chinesecarvings #handmade #antiques #grapecluster #grapes #leaves #nature #beauty

3 days ago 16 3 0 1
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Two pairs vintage modernist sterling earrings:
Adda Husted-Andersen (L) and Esther Lewittes (R)

Available...

www.rubylane.com/ni/shop/cali...

#handmade #modernist #earrings #sterlingsilver #estherlewittes #addahustedandersen #americanmodernistjewelry #vintage1950s #wearableart #art #sculpture

3 days ago 7 0 0 0
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Beraunite
USA

#mineral #beraunite #mineralspecimen #mineralogy #geology #nature #beauty #usa

3 days ago 156 24 2 0
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Ernst Ludwig Kirchner. Moonrise, Soldier and Maiden, 1905, Museum of Fine Arts, Houston

5 days ago 27 4 1 0