Light is the topic for Turner and Constable, using their
seas and sky, and afterward for its impressionists, attempting to capture its
merry consequences on the open world. From now he gets into the past glorious
waterlily ponds, his topic expands panoramically to encircle the liquid flux of
this water and its possibility reflections of the bright emptiness over. Our
editorial independence implies we place our schedule and voice our own
opinions. Guardian journalism is free of political and commercial prejudice
rather than affected by billionaire shareholders or owners. This implies we can
explore with guts and report together with honesty -- providing a voice to
people not as heard, investigating where others turn off, and rigorously
challenge those in power. Writers are always advised to write about what they
understand, but what if artists portray it? If they only painted what was
facing these, or that which was within them, art history could be brief of all
kinds of masterpieces, in The Sistine Chapel into The Last week, Liberty on the
Barricades into The Raft of the Medusa. Chardin painted what he saw - colored
condensation to a glass, the reflected glory within a copper pan, a cherry's
velvet upholstery. His paint imitates what it depicts, along with his slow-won
observations instruct the eye to unwind, slow down, enjoy the joy of just
looking. Morandi, in contrast, reveals that each episode in a still life could
be emotionally thrilling: a few bottles and a box edgily in the odds, a
maternal jug threatening its little brood of cups. And Lucian Freud's bare
figures are bodied forth to such a level as to make sense of his opinion that,
"As much as I'm concerned, the paint will be your individual."
Subscribe into the Art Weekly email
Read
Willem de Kooning once said that toxin was why oil painting by the gift village has been invented, and also for a few painters that the medium determines the
topic. Cézanne's apples accept both the luminosity and the burden of the paint,
even more, luminous and monumental than truth. Frank Auerbach's portraits,
fantastic hulks of clotted pigment thickly painted and overpainted, signs of
every sequential sitting, every previous effort to get up on the face and
character of the sitter, signify both memory and mutability. Each seed at a
loaf, each brass tack, each tuft of a carpet has its moment, but Vermeer's
exact motif is that the passing of light. Look at The Artist in His Studio: the
artist painting by the gift village his muse as mild pops the map on the wall, then sheening round
the tiles, burnishing bronze, marble, and lace, peeking out of sketchbook to
yarn and, finally, the hand which holds the brush. The artist paints mild as
the source of revelation. Dürer once risked six times on a freezing ship to
paint a whale washed up on a shore. But artists like Chardin and Morandi hardly
left home, discovering everything they had in the house. The Guardian will
participate with the most crucial issues of the time -- by the escalating
climate disaster to widespread inequality into the effect of significant tech
in our own lives. In some time when factual information is a must, we think
that every one of us, across the globe, deserves access to accurate coverage
with ethics in its heart. Locating subject matter may be a lifelong battle.
Mondrian spent years painting by the gift village and rivers until he discovered kind with
geometric abstraction. Guardian journalism has been supported by several
million subscribers throughout the planet -- meaning we have managed to
maintain all our coverage open to everybody, and also our editorial liberty is
guarded. However, we must keep growing the number of subscribers that are
investing in our future -- from 2022, we plan to get two million fans around
the globe. We want your support to maintain delivering quality journalism, to
keep our will and to guard our valuable liberty. Every reader participation,
large or little, is so precious. For Rembrandt and Hals, the development of the
middle classes in the Dutch Republic generated both a direct subject and a
marketplace.
We are doing something different... Before, academic
heritage conveniently chose the topics for you. You can do portraits,
historical or religious scenes, genre paintings, landscapes, or still lifes. If
used by the church, such as Caravaggio, the Bible provided you with tales. By
Aelbert Cuyp's cows to Ruisdael's twilight landscapes, by the tulip into the
guttering candle along with the checkerboard flooring, 17th-century Holland
initiated numerous subjects. Vermeer shuts the door on the outside world with his
girls lost in thought, in letters, in audio, sessions of a still, quiet idea.
However, his insides show precisely how the material of a painting could be a
lot more than its topic. All painters assert, to an extent, together with those
who arrived before them, and possibly some subjects are taken: Van Gogh's
sunflowers, Degas's ballet dancers, Cézanne's Mont St Victoire. However,
Canaletto hasn't obstructed the Venetian perspective, and Rembrandt can inspire
additional self-portraits. If you do not know where to begin, take Leonardo's
information and examine the stains on your walls: there you will discover
endless new kinds to jumpstart a painting.
