Versindaba Blog Archive Andries Bezuidenhout. New Bethesda tennis club hall
This painting is an effort to talk with Vilhelm Hammershøi further. The scene is not as light in Pretoria, susan fiske but New Bethesda's tennis susan fiske club hall. I think the town's status as a Mecca of outsider art certainly the place's appeal contributed. The stacking chairs are chairs susan fiske Domus by Finnish designer Ilmari susan fiske Tapiovaara (1914-1999) - another Scandinavian connection. Hammershøi has many indoor scenes from his apartment in Strandgade 13 painted, most studies of light. My response is called "New Bethesda tennis club hall" (61 x 71 cm, oil on canvas), an attempt to explain the difference between the quality and texture of light in Copenhagen and the Karoo investigate. I have a picture of my friend Berno Schneider as a model, but the hall a few times to visit the scene firsthand study.
February 14th, 2013 at 6:54 am
Hi Andrew. I spoke to my Air France flight a short documentary about lieflieke Edward Hopper looked; contextualization and good comments and much footage of the man himself. At one point, he mentions that all he wants to do is paint "to paint light on the side of a building." They talk to Wim Wenders, well-scenes susan fiske Hopper used as inspiration for his own movie scenes. I desperately want the Hoppers in NY come. For one reason or another I never come in the U.S. out.
Desmond, there was just a Hopper exhibition in France - I guess that's the reason for the doccie. Nice article about it in last week's At. One of my great desires is a chance a few Hoppers texture can meet in person. Something I have my aunt Zandra at primary school age have learned - there are big differences between copies of paintings in books and paintings. It's sure about scale and color, but for me in particular about texture. Apply a book about Turner and Constable and read the interesting interaction between them and the French impressionists became. Turner spoke - photos can not be the effect of "glazing" - transparent layers of paint - reproduce.
Andries, susan fiske absolutely. I just got back I realized the Foundacio Miro in Barcelona visited. The well-known prints in books one can not prepare for the scale and especially the texture of his works. In fact, Miro me totally knocked out: imagination, the use of color, susan fiske the personal visual language, the great sense of space (as the painting area, not representation of space) - absolutely wonderful. I spent over 2 hours spent there and had to blow the plane up, but I would have easily spent 3 hours could. "You should really go repeatedly (oh, to city with good living art museums ...) His sculptures and drawings are equally wonderful. And so is the building in which it is exhibited. susan fiske (On Breyten's recommendation Antoni Tapies I work go see, a lovely discovery. Know you?)
Andries Bezuidenhout:
You people make me sad about Hopper. Three, four times trying to get there (or coming), once even an hour or more outside in the snow queue. Just could not. The internet tickets were sold out of the first available date (and besoekerstyd measure) a good three weeks later ...
I think it's the absence, susan fiske rather than the emptiness that you catch in Hopper's work. 'Absence' bringing movement effect. Just like texture, even without one it need to touch the fingertips, the almost mystical metaphysics of the surface to bring home. In the Hopper case I experienced susan fiske the absence as a kind of existential setting, a resigned melancholy, the hopelessness (depression?) Of the average American. The end of the American dream is your face's face unemployment reflected in the mirror, wearing a hat. The light and the emptiness is time. Solidified his life steeped in the social and economic circumstances.
It's another void (and therefore susan fiske a different observasieposisionering) who are aware of the work of, let's say, Wang Wei, where "empty" and "full" complement each other and replace dynamic harmony. Or that of Chirico susan fiske where space is fierce dreams moon. Or that of Bezuidenhout. Or that of Tapies or Miro. I would say it's Tapies gestures (gestures) that, together with an intensive becoming aware of texture, create the empty. You see it before your eyes that there is no evasion of disappearance.
Breyten (and Anneries), one often hears reference to the post-industrial landscapes, but Hopper intensify the portrayal of the American kapalistiese environment to substantially post-social aspect of the landscape (and relationships) determine
This painting is an effort to talk with Vilhelm Hammershøi further. The scene is not as light in Pretoria, susan fiske but New Bethesda's tennis susan fiske club hall. I think the town's status as a Mecca of outsider art certainly the place's appeal contributed. The stacking chairs are chairs susan fiske Domus by Finnish designer Ilmari susan fiske Tapiovaara (1914-1999) - another Scandinavian connection. Hammershøi has many indoor scenes from his apartment in Strandgade 13 painted, most studies of light. My response is called "New Bethesda tennis club hall" (61 x 71 cm, oil on canvas), an attempt to explain the difference between the quality and texture of light in Copenhagen and the Karoo investigate. I have a picture of my friend Berno Schneider as a model, but the hall a few times to visit the scene firsthand study.
February 14th, 2013 at 6:54 am
Hi Andrew. I spoke to my Air France flight a short documentary about lieflieke Edward Hopper looked; contextualization and good comments and much footage of the man himself. At one point, he mentions that all he wants to do is paint "to paint light on the side of a building." They talk to Wim Wenders, well-scenes susan fiske Hopper used as inspiration for his own movie scenes. I desperately want the Hoppers in NY come. For one reason or another I never come in the U.S. out.
Desmond, there was just a Hopper exhibition in France - I guess that's the reason for the doccie. Nice article about it in last week's At. One of my great desires is a chance a few Hoppers texture can meet in person. Something I have my aunt Zandra at primary school age have learned - there are big differences between copies of paintings in books and paintings. It's sure about scale and color, but for me in particular about texture. Apply a book about Turner and Constable and read the interesting interaction between them and the French impressionists became. Turner spoke - photos can not be the effect of "glazing" - transparent layers of paint - reproduce.
Andries, susan fiske absolutely. I just got back I realized the Foundacio Miro in Barcelona visited. The well-known prints in books one can not prepare for the scale and especially the texture of his works. In fact, Miro me totally knocked out: imagination, the use of color, susan fiske the personal visual language, the great sense of space (as the painting area, not representation of space) - absolutely wonderful. I spent over 2 hours spent there and had to blow the plane up, but I would have easily spent 3 hours could. "You should really go repeatedly (oh, to city with good living art museums ...) His sculptures and drawings are equally wonderful. And so is the building in which it is exhibited. susan fiske (On Breyten's recommendation Antoni Tapies I work go see, a lovely discovery. Know you?)
Andries Bezuidenhout:
You people make me sad about Hopper. Three, four times trying to get there (or coming), once even an hour or more outside in the snow queue. Just could not. The internet tickets were sold out of the first available date (and besoekerstyd measure) a good three weeks later ...
I think it's the absence, susan fiske rather than the emptiness that you catch in Hopper's work. 'Absence' bringing movement effect. Just like texture, even without one it need to touch the fingertips, the almost mystical metaphysics of the surface to bring home. In the Hopper case I experienced susan fiske the absence as a kind of existential setting, a resigned melancholy, the hopelessness (depression?) Of the average American. The end of the American dream is your face's face unemployment reflected in the mirror, wearing a hat. The light and the emptiness is time. Solidified his life steeped in the social and economic circumstances.
It's another void (and therefore susan fiske a different observasieposisionering) who are aware of the work of, let's say, Wang Wei, where "empty" and "full" complement each other and replace dynamic harmony. Or that of Chirico susan fiske where space is fierce dreams moon. Or that of Bezuidenhout. Or that of Tapies or Miro. I would say it's Tapies gestures (gestures) that, together with an intensive becoming aware of texture, create the empty. You see it before your eyes that there is no evasion of disappearance.
Breyten (and Anneries), one often hears reference to the post-industrial landscapes, but Hopper intensify the portrayal of the American kapalistiese environment to substantially post-social aspect of the landscape (and relationships) determine
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