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‘Endless Rhythm’ (1934) Robert Delaunay

Robert Delaunay painted this oil on canvas to ‘explore the belief that color is a thing in itself with its own powers of expression and form.’ (http://en.wikipedia.org/wiki/Robert_Delaunay).

His ‘new and individual use of pictorial rhythms and colour harmonies had an immediate appeal to the senses and, combined with poetic subject matter, distinguished him from the more orthodox Cubist painters.’ (http://www.britannica.com/EBchecked/topic/156349/Robert-Delaunay).

The dynamic effect and impression of movement Delaunay captured in his art reflects his desire to express ‘the effects of colour and light when they are not bound to an object.’ (http://www.britannica.com/EBchecked/topic/433206/Orphism).

In his own words, written in a letter to August Macke (1912) Robert Delaunay says ‘For me, every man distinguishes himself by his essence his personal movement, as opposed to that which is universal.’ Because ‘Discerning the quality of rhythms is a movement, and the essential quality of painting is representation the movement of vision which functions in objectivizing itself toward reality. That is the essential of art, and its greatest profoundness.’ (Both quotes from: http://www.artchive.com/artchive/D/delaunay.html).

You can see the original painting at the Tate Museum: http://www.tate.org.uk/art/artworks/delaunay-endless-rhythm-t01233

See more ‘Rhythms’ and plenty more artworks by Robert Delaunay at Wiki Paintings and Wikimedia Commons: http://www.wikipaintings.org/en/robert-delaunay

Image Source: http://www.tate.org.uk/art/artworks/delaunay-endless-rhythm-t01233

Signs Of Spring For Van Gogh

While in Provence during the spring of 1890 Vincent Van Gogh began painting ‘Tree Branches With Almond Blossom’, partly to celebrate the birth of his nephew:

‘I started right away to make a picture for him, to hang in their bedroom, big branches of white almond blossom against a blue sky.’

Van Gogh in a letter to his Mum, 20th February 1890

One of several almond blossom paintings made in southern France, the effect of the sunlight attracted Vincent to paint the serene yet gently vivid colour formations, intended to represent awakening, hope and rebirth.

The style of Japanese wood block artists, including Hiroshige, were a major influence on Van Gogh at this time. The picture above reflects his interest in collecting many Japanese prints and applying to his own work what he discovered about painting flat patterns of colour and no shadow:

Attracted to this style of painting which used bolder blocks of colour and a blurry perspective between 2d and 3d representation in the final picture, Vincent adopted similar techniques, breaking away from his previous trend in colour and form to experiment with lighter touches and softer boundaries in some areas.  Among the pencil sketches Vincent drew during his artist career, the one shown here highlights the similar shapes, angles and strokes used by both artists:

While the above drawing still contains elements of shading associated with more traditional artistic techniques, it is useful as a hint at the processes of transformation in Vincent Van Gogh’s creative expression.

To read more about this painting see: http://en.wikipedia.org/wiki/Almond_Blossom

For more Van Gogh paintings see: http://www.vangoghmuseum.nl

For Hiroshige paintings see: http://www.hiroshige.org.uk/

To read over 800 letters written by Van Gogh see: http://www.vangoghletters.org.

Image Source (Almond Blossom):  http://www.wikipaintings.org.

Image Source (Cherry Tree):  http://www.wikipaintings.org.