Frisco Texas Custom Picture Framing and Art Gallery has the largest selection of art and framing products at the best prices. Our custom picture framing and art gallery is perfect for special holiday's such as birthday, Christmas, Mothers Day, Fathers Day, Valentines Day, Anniversay, engagement, wedding gift, house warming and more. Our Frisco, Texas art gallery features such artists as Pablo Picasso, Picaso, Vincent Van Gogh, vangogh, Andy Warhol, Claude Monet, Ansel Adams, Kim Anderson, Kandinsky, Leonardo Da Vinci, Edvard Munch, Piet Mondrian, Gustav Klimtl, Henri Matisse, Joan Miro, Salvador Dali, M.C. Escher, Rene Magritte, Jackson Pollock, Paul Klee, Roy Lichtenstein, Rembrandt, Cezanne, Seurat, Degas, Manet, and Claude Manet.
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Painters, Sculptures, watercolor, art supplies
Kimble Museom of Art
Kimbal Museum of Art
Discounted Art of Frisco, Texas has one of the most comprehensive collections of art you will find in any art gallery. Our art gallery contains art from such artists as Van Gough, Matisse, Degas, Picasso and Monet. The art in our gallery comes in a wide variety of picture frames. Discounted Art of Frisco, Texas will be glad to show you art ranging from cubism, impressionism, realism, etc. Feel free to search through the art in our art gallery and find a piece of art that you can appreciate for years to come. Discounted Art of Frisco, Texas is your source for art - art gallery.
Western Art on Rise Again!
The popularity of western art is once more on the rise. According to Danny Medina, writing in Art Talk (contact the paper), the Coeur d'Alene Auction held in Reno, NV, went over $10 million, and a Charlie Russell watercolor, 15x24, brought $1.1 million. The current (October, 2000) issue of Art Talk is loaded with western and cowboy art - contact the paper and ask for a subscription, either by e-mail, or mail to P.O. Box 8508, Scottsdale AZ 85252. Now, the above item may be old news, but the fact is that interest in cowboy art is slowly but surely on the upswing. This is the news we heard at the Cowboy Artists and Photographers of America (CAPA) art show sale in Las Vegas, NV (December, 2002).
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List of Texas Museums
A.C. McMillan African American
Museum-Emory, Texas Admiral Nimitz Museum-Fredericksburg,
Texas
African American Museum Houston - Houston, Texas Age of Steam Railroad Museum
- Dallas, Texas
Agriculture Heritage Museum - Lubbock, Texas
Air Defense Artillery Museum - El Paso, Texas Air Education
& Training Command Museums - San Antonio, Texas Air Intelligence Agency Heritage
Hall- San Antonio, Texas Alameda - San Antonio, Texas Alamo - San Antonio, Texas Albert B. Alkek Library, Special Collection-San
Marcos, Texas
Alvin Museum Society - Alvin, Texas Amarillo College Natural History
Museum - Amarillo, Texas Amarillo Museum of Art-Amarillo,
Texas American Airpower Heritage Museum
- Midland, Texas American Cotton Museum
- Greenville, Texas American Museum of Miniatures
- Dallas, Texas American Quarter Horse Heritage Center
& Museum - Amarillo, Texas
American Wind Power Center - Lubbock, Texas Amon Carter Museum - Fort
Worth, Texas Arlington Museum of Art
- Arlington, Texas
Armstrong County Museum - Claude, Texas Art Center of Waco
- Waco, Texas Art Museum of Southeast Texas
- Beaumont, Texas Art Pace, A Foundation for Contemporary
Art - San Antonio, Texas
Artesia Historical Museum & Art Center - Artesia, New Mexico Asian Cultures Museum
- Corpus Christi, Texas Austin Children's Museum
- Austin, Texas Austin Nature and Science Center
- Austin, Texas Barbers Hill/Mont Belvieu Museum
- Mont Belvieu, Texas Battleship Texas BB35 -
La Porte,Texas
Bay Area Heritage Society - Baytown, Texas Bayless-Selby House Museum
- Denton, Texas
Beaumont Heritage Society - Beaumont, Texas Beeville Art Museum-Beeville,
Texas Bell County Museum - Belton,
Texas Biblical Arts Center -
Dallas, Texas
Big Sandy Museum, Inc. - Big Sandy, Texas Blaffer
Gallery - Houston, Texas Blanton Museum of Art
- Austin, Texas Blue Star Art Space - San
Antonio, Texas Bob
Bullock Texas State History Museum - Austin, Texas
Border Patrol Museum & Memorial Library - El Paso, Texas
Bosque Memorial Museum - Bosque, Texas Brazoria County Historical Museum
- Angleton, Texas Brazos Valley Museum of Natural
History - Bryan, Texas Brown County Museum of
History, Inc. -- Brownwood, Texas
Brownsville Historical Association - Brownsville, Texas Buddy Holly Center
- Lubbock, Texas Buffalo Gap Historic Village
- Abilene, Texas Burton Cotton Gin & Museum
- Burton, Texas Bywaters Collection
- Dallas, Texas Capitol Complex Visitors Center-
Austin, Texas Carson County Square House
Museum -Panhandle, Texas Cattle Raiser's
Museum - Fort Worth, Texas The Center for American History
at the University of Texas - Austin, Texas Central Texas Oil Patch Museum
- Luliing, Texas Chappell Hill Museum
- Chappell Hill, Texas Chihuahuan Desert Research Institute-Fort
Davis, Texas Children's Museum of Houston-
Houston, Texas Children's Museum of New
Braunfels - New Braunfels, Texas Collin County Historical
Society Central Museum - McKinney, Texas Contemporary Arts Museum - Houston,
Texas Contemporary Art for San Antonio/Blue
Star Art Space - San Antonio, Texas Cooke County Heritage
Society - (e-mail) - Gainesville, Texas Corpus
Christi Museum of Science & History- Corpus Christi, Texas Coryell Museum & Historical
Center - Gatesville, Texas Crobsy County Pioneer
Memorial Museum - Crosbyton, Texas Crocket County Historical Museum
- Ozona, Texas Cowboy Artist of America Museum
- Kerrville, Texas Cultural Activities Center-Temple,
Texas Dallas County Heritage Society
Old City Park - Dallas, Texas Dallas Historical Society
- Dallas, Texas Dallas Holocaust
Memorial Center - Dallas, Texas Dallas Museum of Art - Dallas,
Texas Dallas Museum of Natural History-Dallas,
Texas Dallas Visual Art Center
- Dallas, Texas The Daughters of the Republic of Texas
Library - San Antonio, Texas Denton County Courthouse-on-the-Square
Museum - Denton, Texas Denton County
Historaical Museum, Inc - Denton, Texas Denton County Historical
Society - Denton, Texas Depot Museum-Tyler, Texas Dishman
- Beaumont, Texas Discovery Science Place-Tyler,
Texas DOC International Tobacco Museum
- Houston, Texas Don Harrington
Discovery Center - Amarillo, Texas Dr Pepper Museum and Free
Enterprise Institute - Waco, Texas Dublin Dr Pepper Bottling Company Museum,
Dublin, Texas Earle-Harrison House - Waco,
Texas East
Texas Oil Museum- Kilgore, Texas El Campo Museum of Natural
History- El Campo, Texas El Paso Museum of Art -
El Paso, Texas El Paso Science Museum
- El Paso, Texas El Progreso Memorial Library
- Uvalde, Texas Elisabet Ney Museum-
Austin,Texas Elissa - Texas Seaport
Museum, Galveston, Texas (e-mail)
Ellen Noel Art Msueum,
Odessa, Texas Ellen Trout Zoo - Lufkin,
Texas Ellis County Museum Inc.
- Waxahachie, Texas Environmental Education Center
- Seagoville, Texas Farmers
Branch Historical ParkFarmers Branch, Texas Flight of the Phoenix
Aviation Museum - Gilmer, Texas Florence Ranch Homestead -
Mesquite, Texas Floyd County Historical
Museum - Floydada, Texas Fort Bend Museum - Richmond,
Texas Fort Worth Museum of Science and
History - Fort Worth, Texas French
Legation Museum - Austin, Texas Friends of the Governor's Mansion
- Austin, Texas Friends of the Jourdan Bachman
Pioneer Farm - Austin, Texas Frontiers of Flight Museum-Dallas,
Texas Galveston Arts Center (e-mail)-
Galveston, Texas Garza County Museum -
Post, Texas George Bush Library and
Museum - College Station, Texas George Ranch Historical Park
- Richmond, Texas Gillespie County Historical
Society - Fredericksburg, Texas Grace Armantrout Museum - George
West, Texas Grace Museum - Abilene,
Texas Greater Denton Arts Council
- Denton, Texas Guthrie Museum
Complex - Guthrie, Texas Harris County Heritage Society
- Houston, Texas Harrison County Historical
Museum- Marshall, Texas The Harry Ransom Humanities Research
Center- Austin, Texas Heard Natural Science Museum
and Wildlife Sanctuary - McKinney, Texas Heart
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of Steam Railroad Museum - Dallas, Texas The Alameda - San Antonio,
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for the Future - Dallas, Texas Tyler Museum of Art - Tyler,
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and Museum - Austin, Texas University Art Collections &
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Dalhart, Texas
Pablo Picasso
Early Works - Picasso was recognized as an artistic prodigy at an early age. These works illustrate his technical capability at that stage of his career. However, he was not satisfied with the limited possibilities in such a traditional mode of representation. His constant, incessant striving for new means of expression is the primary lesson of Picasso's art. Blue Period - Shortly after moving to Paris from Barcelona, Picasso began to produce works that were suffused in blue. This particular pigment is effective in conveying a sombre tone. The psychological trigger for these depressing paintings was the suicide of Picasso's friend Casagemas. The Blue Period work is quite sentimental, but we must keep in mind that Picasso was still in his late teens, away from home for the first time, and living in very poor conditions. Rose Period - In 1905-6, Picasso's palette began to lighten considerably, bringing in a distinctive beige or "rose" tone. The subject matter also is less depressing. Here are the first appearances by the circus performers and clowns that will populate Picasso's paintings at various stages through the rest of his long career. Beginning of Cubism - In 1905-6, Picasso's palette began to lighten considerably, bringing in a distinctive beige or "rose" tone. The subject matter also is less depressing. Here are the first appearances by the circus performers and clowns that will populate Picasso's paintings at various stages through the rest of his long career. Analytical Cubism - By 1910, Picasso and Braque had developed Cubism into an entirely new means of pictorial expression. In the initial stage, known as Analytical Cubism, objects were deconstructed into their components. In some cases, this was a means to depict different viewpoints simultaneously; in other works, it was used more as a method of visually laying out the FACTS of the object, rather than providing a limited mimetic representation. The aim of Analytical Cubism was to produce a conceptual image of an object, as opposed to a perceptual one. At its height, Analytical Cubism reached levels of expression that threatened to pass beyond the comprehension of the viewer. Staring into the abyss of abstraction, Picasso blinked...and began to start putting the pieces of the object back together. Synthetic Cubism - In 1912, Picasso took the conceptual representation of Cubism to its logical conclusion by pasting an actual piece of oilcloth onto the canvas. This was a key watershed in Modern Art. By incorporating the real world into the canvas, Picasso and Braque opened up a century's worth of exploration in the meaning of Art. Some of the finest Synthetic Cubist work, both visually and conceptually, are the collages. I highly recommend the stimulating Picasso and Braque: A Symposium, published in association with the "Picasso and Braque: Pioneering Cubism" exhibition of 1992. The world's leading art scholars offer incisive essays and round table discussions of Cubism. This book changed my entire conception of what art really is. Between the Wars - The collaboration between Picasso and Braque was ended by the First World War. After the war, Picasso, reflecting society's disillusionment and shock with the technological horrors of the war, reverted to a Classicist mode of representation. At the same time, however, he was continuing to push Cubism into new paths. During the '30s Picasso became tangentially connected with the Surrealist movement. Although Andre Breton tried to recruit Picasso, he remained ultimately aloof from any school of art throughout his career. Picasso the Ledgend - By the late '30s, Picasso was the most famous artist in the world. He was called upon to depict the brutality of fascist aggression in the Spanish Civil War with his monumental "Guernica". Many other paintings from this period reflect the horror of war, but there is a consistent depiction of personal interest as well. The women in Picasso's life had a major impact on his artistic production, and some of the best examples are from this period. The Late Work - In the last two decades of his long career, Picasso produced more work than at any other time of his life. During this period, some works are not only dated by month and day, but with a numeral (I, II, III, etc.) indicating multiple works created that single day! This late period tends to be overlooked, but contains some of the finest of Picasso's paintings. Some critics maintain Picasso was creatively lazy at this point, but a close look at the work is very rewarding. He had achieved a level of effortless artistic expression that, I believe, has still not been fully appreciated after more than 25 years. Regardless of your position on Picasso's personal and artistic life, each of us can, in view of our own mortality, be awed by his final self-portrait. An early 20th-century school of painting and sculpture in which the subject matter is portrayed by geometric forms without realistic detail, stressing abstract form at the expense of other pictorial elements largely by use of intersecting often transparent cubes and cones. Cubism, highly influential visual arts style of the 20th century that was created principally by the painters Pablo Picasso and Georges Braque in Paris between 1907 and 1914. The Cubist style emphasized the flat, two-dimensional surface of the picture plane, rejecting the traditional techniques of perspective, foreshortening, modeling, and chiaroscuro and refuting time-honoured theories of art as the imitation of nature. Cubist painters were not bound to copying form, texture, colour, and space; instead, they presented a new reality in paintings that depicted radically fragmented objects, whose several sides were seen simultaneously. The art of painting original arrangements composed of elements taken from conceived rather than perceived reality. -- Guillaume Apollinaire, The Beginnings of Cubism, 1912. After Cubism, the world never looked the same again: it was one of the most influential and revolutionary movements in art. The Spaniard Pablo Picasso and the Frenchman Georges Braque splintered the visual world not wantonly, but sensuously and beautifully with their new art. They provided what we could almost call a God's-eye view of reality: every aspect of the whole subject, seen simultaneously in a single dimension. The Cubist movement in painting was developed by Picasso and Braque around 1907 and became a major influence on Western art. The artists chose to break down the subjects they were painting into a number of facets, showing several different aspects of one object simultaneously. The work up to 1912 is known as Analytical Cubism, concentrating on geometrical forms using subdued colors. The second phase, known as Synthetic Cubism, used more decorative shapes, stencilling, collage, and brighter colors. It was then that artists such as Picasso and Braque started to use pieces of cut-up newspaper in their paintings. Cubism in General Cubism began with artists Pablo Picasso and Georges Braque, after the creation of Picasso's 1906-1907 painting "Les Demoiselles d'Avignon" (Young Ladies of Avignon). The term cubism derived its name from comments made by painter Henri Matisse and critic Louis Vauxcelles, who described Braque's 1908 work "Houses at L'Estaque" as looking rather like a bunch of cubes. Cubism can be defined as either analytical or synthetic. Analytical cubism occurred between 1908 and 1912, when Braque and Picasso were becoming terribly aware of the space found around and inside an object. In an analytical cubist painting, the object was "taken apart" and reshaped with the use of flat intersecting planes. The Synthetic Cubism stage occurred from 1912 to 1913. A Synthetic Cubist work had bits of real objects worked into the picture. Items like newspaper clippings, rope and other "found objects" were attached to the canvas. This was the beginning of a "flimsy sculpture" known as Collage. Movements such as Futurism, Constructivism and DeStijl were all outgrowths of Cubist theory and practice. Important Works: Les Demoiselles d'Avignon, Pablo Picasso Houses at L'Estaque, Georges Braque Important Artists (selected list): Braque, Georges Picasso, Pablo Mondrian, Piet (Neo-Plasticism: 1917-1944) Juan Gris Fernand Leger Georges Braque Type of Work: Painting Born:1882 Died:1963 Nationality: French Style/Movement:Fauvism;Cubism Best Known For:Co-Founding the Cubist movement with Pablo Picasso Important Works:Large Nude, 1907-1908 Woman with a Mandolin, 1937 Bio: Georges Braque and Pablo Picasso were the artists behind the Cubist art movement. In his younger years, Braque worked as an apprentice in a decorator's studio where he learned the tricks of the trade. He studied at L'Ecole des Beaux-Arts in Paris but was more content to work on his own with little direction. He moved from fauvism to cubism after spotting some of Picasso's work which appealed to him tremendously. Braque and Picasso succeeded in their attempts to create a revolutionary new art form. They let the art world know and see that several points of view of an object could be viewed at one time. In addition, they put forward the idea of spatial reconstruction and they expressed perfectly the idea that even though depth could be "faked", painting is in fact a 2-dimensional art form. Resources: Cubism The Reconstruction of Space.
Henry Matisse
Henri Émile Benoît Matisse was a French artist, leader of the Fauve group, regarded as one of the great formative figures in 20th-century art, a master of the use of color and form to convey emotional expression. Henri Matisse was born in December of 1869 in Le Cateau, France. He began painting during a convalescence from an operation, and in 1891 moved to Paris to study art. Matisse became an accomplished painter, sculptor and graphic designer, and one of the most influential artists of the 1900s. Matisse was born the son of a middle-class family, he studied and began to practice law. In 1890, however, while recovering slowly from an attack of appendicitis, he became intrigued by the practice of painting. In 1892, having given up his law career, he went to Paris to study art formally. His first teachers were academically trained and relatively conservative; Matisse's own early style was a conventional form of naturalism, and he made many copies after the old masters. He also studied more contemporary art, especially that of the impressionists, and he began to experiment, earning a reputation as a rebellious member of his studio classes. Matisse's true artistic liberation, in terms of the use of color to render forms and organize spatial planes, came about first through the influence of the French painters Paul Gauguin and Paul Cezanne and the Dutch artist Vincent van Gogh, whose work he studied closely beginning about 1899. Then, in 1903 and 1904, Matisse encountered the pointillist painting of Henri Edmond Cross and Paul Signac. Cross and Signac were experimenting with juxtaposing small strokes (often dots or “points”) of pure pigment to create the strongest visual vibration of intense color. Matisse adopted their technique and modified it repeatedly, using broader strokes. By 1905 he had produced some of the boldest color images ever created, including a striking picture of his wife, Green Stripe (Madame Matisse) (1905, Statens Museum for Kunst, Copenhagen). The title refers to a broad stroke of brilliant green that defines Madame Matisse's brow and nose. In the same year Matisse exhibited this and similar paintings along with works by his artist companions, including Andre Derain and Maurice de Vlaminck. Together, the group was dubbed les fauves (literally, “the wild beasts”) because of the extremes of emotionalism in which they seemed to have indulged, their use of vivid colors, and their distortion of shapes.
Edvard Munch
"[An] anxiety haunts the work of Edvard Munch, [that] is expressed with a formal inventiveness that impinges upon the emotions before we are even aware of the subject; the deeper regions of the psyche area accessible only through the potent agency of rhythm and color. " When Munch began studying art in Christiania (now Oslo), Norwegian artists practiced a form of Protestant, populist realism. Munch was, however, from the very start, an innovator. True, he painted genre scenes, but in a spirit all his own. His mother died of tuberculosis when he was five. At fourteen, he watched his fifteen-year-old sister Sophie succumb to the same disease. When, at twenty-two, he acquired the technical means to portray it, her death became an obsession to which he returned again and again: the wan face in profile against the pillow, the despairing mother at the bedside, the muted light, the tousled hair, the useless glass of water."Norway had long been under the influence of German aesthetics. Until 1870, Norwegian artists usually went to Düsseldorf to study and pursue a career. Later, they went to Paris, Berlin, Munich and Karlsruhe. But by 1880, Paris had become the center. And so it was that Munch, in 1885, undertaking his first journey at twenty-two, was led to discover French art and the Symbolist spirit. It was in these circumstances that Munch's personal neurosis, the anxiety which women caused him (although he pursued them incessantly until the great psychological crisis of his forties), entered the ambit of cultural anxiety expressed in Symbolist art. "Munch was chiefly concerned with his own existential drama: My art, he declared, is rooted in a single reflection: why am I not as others are? Why was there a curse on my cradle? Why did I come into the world without any choice?, adding 'My art gives meaning to my life. Thus he considered his entire work as a single entity: The Frieze of Life. The frieze was manifestly an expression of anxiety (for example, in The Scream) but also of tender pathos: of the dance of life. (This seems to have been a common subject at the time; we find Gustav Mahler alluding to it in reference to the dance-like movements of his symphonies.) Munch perceived sex as an ineluctable destiny, and few of his works represent Woman (capitalized as usual) in a favorable light. In Puberty a skinny young girl meditates, sitting naked on her bed beneath the threatening form of her own shadow, while in The Voice a young woman, alone in the woods, attends to some inner whisper; these are the most sensitive representations of woman in Munch's work."In another iconic image, the Madonna, of which he painted various versions between 1893 and 1902, overtly offers her ecstatic sexuality and yet remains inaccessible. Why inaccessible? A lithographic version suggests the answer: around the frame which encloses the seductress the straggling spermatozoa wriggle in vain while, in the lower left-hand corner, a pathetic homunculus, a wizened and ageless wide-eyed fetus, lifts its supplicant gaze toward the goddess."Munch's lithograph verges on irony, to which he was not averse. Even so, modifying the well-known phrase, we may wish to suggest that irony is the courtesy of despair. Munch's art represents women in the light of trauma. Seduction itself is a source of anxiety; satisfaction brings remorse (Ashes), and jealousy and separation are experienced as terrifying and depressing events.
"The personal aspect of Munch's work need not concernius in relation to a coherent and authoritative whose themes are common to many other artists of the time. But it should be noted that, at around forty-five, Munch suffered a profound depression and spent eight months in a sanatorium in Denmark. Thereafter he gave up the anxiety-laden subject matter so central to his work and began painting everyday subjects with the same vigorous brushwork and expressionistic colors as before. His motives may have been prophylactic. He later claimed to a friend that he had simultaneously given up women and alcohol, though here again irony is not ruled out."
Wassily Kandinsky
"The term "Composition" can imply a metaphor with music. Kandinsky was fascinated by music's emotional power. Because music expresses itself through sound and time, it allows the listener a freedom of imagination, interpretation, and emotional response that is not based on the literal or the descriptive, but rather on the abstract quality that painting, still dependent on representing the visible world, could not provide. "Kandinsky's special understanding of the affinities between painting and music and his belief in the Gesamtkunstwerk, or the total work of art, came forth in his text "On Stage Composition," his play "Yellow Sound," and his portfolio of prose poems and prints Klange (Sounds, 1913). Music can respond and appeal directly to the artist's "internal element" and express spiritual values, thus for Kandinsky it is a more advanced art. In his writings Kandinsky emphasizes this superiority in advancing toward what he calls the epoch of the great spiritual. "Wagner's Lohengrin, which had stirred Kandinsky to devote his life to art, had convinced him of the emotional powers of music. The performance conjured for him visions of a certain time in Moscow that he associated with specific colors and emotions. It inspired in him a sense of a fairy-tale hour of Moscow, which always remained the beloved city of his childhood. His recollection of the Wagner performance attests to how it had retrieved a vivid and complex network of emotions and memories from his past: "The violins, the deep tones of the basses, and especially the wind instruments at that time embodied for me all the power of that pre-nocturnal hour. I saw all my colors in my mind; they stood before my eyes. Wild, almost crazy lines were sketched in front of me. I did not dare use the expression that Wagnet had painted my hour musically."It was at this special moment that Kandinsky realized the tremendous power that art could exert over the spectator and that painting could develop powers equivalent to those of music. He felt special attraction to Wagner, whose music was greatly admired by the Symbolists for its idea of Gesamtkunstwerk that embraced word, music, and the visual arts and was best embodied in Wagner's The Ring of the Nibelung, with its climax of global cataclysm. One can also presume that Kandinsky, philosophically a child of the German Romantic tradition, was strongly attracted to Wagner's use of medieval Germanic myths and legends, including those of the world's creation and destruction, as symbols that allowed for the translation of his philosophical attitudes toward the world view, religion, and love. For instance, Kandinsky was enthralled by Tristan and Isolde as an expression of undying love and spiritual transformation. But in Wagner there is also an affinity with the philosophy of Schopenhauer, who considered music to be of central importance in man's emotional life.
Marcell Duchamp
"The Large Glass has been called a love machine, but it is actually a machine of suffering. Its upper and lower realms are separated from each other forever by a horizon designated as the "bride's clothes". The bride is hanging, perhaps from a rope, in an isolated cage, or crucified. The bachelors remain below, left only with the possibility of churning, agonized masturbation. Duchamp invents the working parts of these two sexual machines, which are as arbitrary and absurd as the machinery of Roussel which inspired them. Their mechanisms are so complicated that they are usually accompanied by a diagram, which leaves the viewer feeling a little helpless. In an artistic essay without punctuation, someone named "davidantin" quite rightly wrote, "now duchamp takes fragments of science his relation to science is that of a scavenger you reach in and you say what a nice set of wires and you pull them out and if you survive you say now doesn't that look great ... duchamp takes all sorts of physical laws they are physical laws in the sense that they are phrased like such laws this does this in such a way the feeble cylinders actuate the desire motor love gasoline you really don't know what he's talking about..." Still, it is useful here to give a rough summary of their "functioning". Some additional ideas for the machinery were never carried out and exist only potentially in the notes. "The bride is made of several parts that supposedly work together like the parts of a motor. The motor runs on self-secreted love gasoline, inspired by Roussel's glass-caged worm, which created music with its metallic secretions. Despite her mechanization, the bride is also called the "arbor-type", recalling the young girl under the trees in Duchamp's painting, Young Man and Girl in Spring of 1911. The hanging figure, or "Pendu femelle", derives from the Munich Bride painting. It has a "halo", which blossoms out into stripped flesh, coral-colored with a tinge of green. It corresponds to the comet's tail of the "headlight" child from Duchamp's 1912 car trip through the Jura mountains, namely his interpretation of the functioning headlight as a comet with, unusually, its tail in front. Here, the veil-like halo appears to protrude roughly from the bride's forehead. The headlight child was male; Duchamp compared him with Jesus, as the divine blossoming of his mother, with whom he was to be united, as well as with God. Since the notes refer to the bride's stripping as a cinematic blossoming, a halo and a milky way, it is clear that ideas are mixing here, as are the sexes of the bride and the headlight child. The flesh-colored protruding veil takes on explicit male qualities. The three wafting squares that so resemble the flat surface of the snow shovel in his Advance of the Broken Arm were derived from square sections of net curtain - one meter by one meter - that Duchamp had hung above a radiator and photographed as models. Although they have become soft like a veil, he called them "draft pistons", which also have male connotations in their mechanical functioning.
A Swiss-born painter and graphic artist whose personal, often gently humorous works are replete with allusions to dreams, music, and poetry, Paul Klee is difficult to classify. Primitive art, surrealism, cubism, and children's art all seem blended into his small-scale, delicate paintings, watercolors, and drawings.Klee grew up in a musical family and was himself a violinist. After much hesitation he chose to study art, not music, and he attended the Munich Academy in 1900. There his teacher was the popular symbolist and society painter Franz von Stuck. Klee later toured Italy (1901-02), responding enthusiastically to Early Christian and Byzantine art. Klee's early works are mostly etchings and pen-and-ink drawings. These combine satirical, grotesque, and surreal elements and reveal the influence of Francisco de Goya and James Ensor, both of whom Klee admired. Two of his best-known etchings, dating from 1903, are Virgin in a Tree and Two Men Meet, Each Believing the Other to Be of Higher Rank. Such peculiar, evocative titles are characteristic of Klee and give his works an added dimension of meaning. After his marriage in 1906 to the pianist Lili Stumpf, Klee settled in Munich, then an important center for avant-garde art. That same year he exhibited his etchings for the first time. His friendship with the painters Wassily Kandinsky and August Macke prompted him to join Der Blaue Reiter (The Blue Rider), an expressionist group that contributed much to the development of abstract art. A turning point in Klee's career was his visit to Tunisia with Macke and Louis Molliet in 1914. He was so overwhelmed by the intense light there that he wrote: "Color has taken possession of me; no longer do I have to chase after it, I know that it has hold of me forever. That is the significance of this blessed moment. Color and I are one. I am a painter." He now built up compositions of colored squares that have the radiance of the mosaics he saw on his Italian sojourn. The watercolor Red and White Domes (1914; Collection of Clifford Odets, New York City) is distinctive of this period. Klee often incorporated letters and numerals into his paintings, as in Once Emerged from the Gray of Night (1917-18; Klee Foundation, Berlin). These, part of Klee's complex language of symbols and signs, are drawn from the unconscious and used to obtain a poetic amalgam of abstraction and reality. He wrote that "Art does not reproduce the visible, it makes visible," and he pursued this goal in a wide range of media using an amazingly inventive battery of techniques. Line and color predominate with Klee, but he also produced series of works that explore mosaic and other effects. Klee taught at the Bauhaus school after World War I, where his friend Kandinsky was also a faculty member. In Pedagogical Sketchbook (1925), one of his several important essays on art theory, Klee tried to define and analyze the primary visual elements and the ways in which they could be applied. In 1931 he began teaching at Dusseldorf Akademie, but he was dismissed by the Nazis, who termed his work "degenerate." In 1933, Klee went to Switzerland. There he came down with the crippling collagen disease scleroderma, which forced him to develop a simpler style and eventually killed him. The late works, characterized by heavy black lines, are often reflections on death and war, but his last painting, Still Life (1940; Felix Klee collection, Bern), is a serene summation of his life's concerns as a creator.
Birthday Present
Fathers day
Mothers day
anniversary
gift idea
gift
present
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Moved by the Music IV by Alfred Gockel
Dancing by Alfred Gockel In Blue by Antonio Vega Moved by the Music I by Alfred Gockel Moved by the Music II by Alfred Gockel Nu Bleu I by Henri Matisse Moved by the Music III by Alfred Gockel Blue Nude by Henri Matisse The Scream by Edvard Munch Toss I by Alfred Gockel The Dream by Pablo Picasso Boogie Woogie Piano Man by Alfred Gockel Spontaneous Jam by Alfred Gockel Le Repos by Pablo Picasso Guernica by Pablo Picasso Three Musicians by Pablo Picasso Heart Throb by Alfred Gockel Affection by Alfred Gockel Make Your Move by Joseph Holston Toss II by Alfred Gockel The Concert by Marc Chagall Compromise I by Marie Oudkerk Jazz V by Alfred Gockel Guernica (on special paper) by Pablo Picasso Moved by the Music VII by Alfred Gockel Senecio by Paul Klee Dancing Angels by Alfred Gockel Fun in the Sun VIII by Alfred Gockel The Three Musicians by Pablo Picasso DJ by Keith Haring Fun in the Sun I by Alfred Gockel Blaue Frau II - Kurz Belichtet by Jorg Schroder The Scream by Edvard Munch The Scream by Edvard Munch La Joie de Vivre (on special paper) by Pablo Picasso Icarus, from ''Jazz'' by Henri Matisse The Dream by Pablo Picasso Moved by the Music V by Alfred Gockel Les Demoiselles d`Avignon by Pablo Picasso Lady Apart (serigraph on special... by Paul Klee Untitled by Keith Haring Fun in the Sun II by Alfred Gockel Blue Note II by Alfred Gockel Femme a la Fleur 1932 by Pablo Picasso The Lovers by Marc Chagall The Dream by Pablo Picasso Nude Descending a Staircase No. 2 by Marcel Duchamp Earth Marks I by David Manje Untitled, 1988 by Keith Haring The Scream by Edvard Munch Best Buddies, 1990 by Keith Haring Nude Descending a Staircase No. 2 by Marcel Duchamp Guernica by Pablo Picasso Fun in the Sun III by Alfred Gockel Perfectly Balanced by Alfred Gockel Quartet by Alfred Gockel Lelant Mauve by John Miller Les Amoureaux by Man Ray Guernica, 1937 by Pablo Picasso Woman with Book by Pablo Picasso Blaue Frau I - Kurz Belichtet by Jorg Schroder Nude Descending a Staircase No. ... by Marcel Duchamp Way to Go by Alfred GockelTwo Girls Reading, 1934 by Pablo Picasso Les Amoureux aux Marguerites by Marc Chagall Jazz Icarus by Henri Matisse Common Ground by Alaagy 36x24 Wall Poster Three Musicians by Pablo Picasso 28x22 Fine-Art Print Grabbin' the Headlines by Joseph Holston 11x14 Fine-Art Print Blue Nude I, II, and III (serigr... by Henri Matisse 39x20 Fine-Art Print Couple of Lovers on a Red Backgr... by Marc Chagall 16x20 Fine-Art Print The Dream by Pablo Picasso 24x36 Fine-Art Print Sorrows of the King by Henri Matisse 16x12 Fine-Art Print Upwards by Wassily Kandinsky 20x28 Fine-Art Print Blau/Grune Frau by Jorg Schroder 20x28 Fine-Art Print St. George I by Wassily Kandinsky 40x40 Fine-Art Print Woman at a Window by Pablo Picasso Woman/Flower, 1946 by Pablo Picasso Le Cirque Bleu by Marc Chagall Compromise II by Marie Oudkerk Don Quixote by Alfred Gockel Latin Dance by Alfred Gockel La Lecture, 1934 by Pablo Picasso Untitled by Keith Haring Fun in the Sun V by Alfred Gockel Heart by Keith Haring Blues V by Alfred GockelBirthday by Marc Chagall Rot/Gelbe Frau by Jorg Schroder The Scream by Edvard Munch Moved by the Music VI by Alfred Gockel Moved by the Music VIII by Alfred Gockel Come Fly with Me by Alfred Gockel Heart Kids by Romero BrittoDancing from Fear by Paul Klee Symphonic Strings by Joseph Holston Reach Out I by Alfred Gockel I and the Village, 1911 by Marc Chagall The Life of the Party by Alfred Gockel The Hero 30x21 Fine-Art Print Quest (with foil and metallic ink) by Eric Waugh Jacqueline aux Mains Croisees by Pablo Picasso Ice Skaters ''Gliding Start'' (s... by Henri Matisse La Nuit des Temp by Chock Dora Maar by Pablo Picasso L`Acrobate by Pablo Picasso Solo Performance I by Alfred Gockel The Dream by Pablo Picasso And Fix the Hairs of the Star (e... by Joan Miro Dream by Alfred Gockel 20x28 Fine-Art Printonly $23.99 Boogaloo by Alfred Gockel Three Musicians by Pablo Picasso Retrospect, 1989 by Keith Haring Fun in the Sun VII by Alfred Gockel Endless Love by Alfred Gockel Explosive Performance III by Alfred Gockel Trio by Alfred Gockel Reach Out II by Alfred Gockel Disco Fever by Alfred Gockel Embrace by Alfred Gockel Joy of Living by Pablo Picasso Sketch for the Dance by Henri Matisse Couple au Dessus de St. Paul by Marc Chagall I and the Village by Marc Chagall Femme Devant Miroir by Pablo Picasso Vuelo De Pajaros by Joan Miro Quest (metal imprint and gold ap... by Eric Waugh Untitled by Keith Haring Sitzende Frau Blau (textured paper) by Jorg Schroder Hero Print 17x21 Fine-Art Print Solo Performance II by Alfred Gockel Heritage Blues by Alfred Gockel Untitled, 1987 by Keith Haring Untitled, 1988 by Keith Haring Femmes et Singes by Henri Matisse Happy Cat and Snob Dog by Romero Britto Le Chanteur by Joan Miro Venetian Interlude by John Miller Base Blue by Brian Grimwood The Scream by Edvard Munch Untitled by Keith Haring Untitled, 1989 by Keith Haring Jammin' II by Alfred Gockel Combo by Alfred Gockel Le Lanceur de Coteaux by Henri Matisse Sans Titre by Joan Miro Personnage et Oiseaux by Joan Miro Pole Vaulting by Alfred Gockel Time for Love by Jorg Schroder Reclining Woman with Blond Hair,... by Pablo Picasso The Scream, 1893 by Edvard Munch Frau in Blaues Interieur (textur... by Jorg Schroder Turm-Oil I by Alfred Gockel 16x20 Fine-Art Print only A Meeting of Minds by Alfred Gockel 18x18 Fine-Art Print other sizes available only $19.99 Coolest Jazz by Alfred Gockel 28x39 Fine-Art Print only $44.99 A Toute Epreuve (embossed & on s... by Joan Miro 16x20 Fine-Art Print only $22.99 Baby (Black) by Keith Haring 34x24 Fine-Art Print only $24.99 Animal Composition by Joan Miro Sur la Plage, 1961 by Pablo Picasso Dancer II by Wilhelm Gorre Bridge Over the Seine by Marc Chagall The Matador by Joan Miro The Musicians by Nicholas de Stael Harvest of Lemons by Paul Klee Portrait de Dora Maar by Pablo Picasso La Tristesse du Roi by Henri Matisse Sitting Woman with Green Scarf by Pablo Picasso The Scream by Edvard Munch Paradies, 1911/12 by Wassily Kandinsky Hommage a Klimt II (gold foil) by Robert Eikam Walking II by Heinz Hock Family I by Friederike During Family IV by Friederike During Untitled by Keith Haring Hero Swatch La Chute d'lcare (serigraph on s... by Henri Matisse Madame de Pompadour by Henri Matisse Jazz V by Alfred Gockel Le Conteur by Moga Inverted Personages by Joan Miro Sunny Side by Alfred Gockel Outbound by Alfred Gockel Explosive Performance IV by Alfred Gockel Winged Horseman by Alfred Gockel Head to Head by Alfred Gockel Two Guitars are Better by Alfred Gockel Group Gyrations I by Alfred Gockel Don Quixote by Pablo Picasso Sketch for the Dance by Henri Matisse Female Torso by Joan Miro The Three Musicians by Pablo Picasso Deux Femmes by Joan Miro Das Gebet by Alexei von Jawlensky Woman in Garden by Pablo Picasso Figure Stylisee (serigraph on sp... by Pablo Picasso The Clown, from ''Jazz'' by Henri Matisse Carota by Joan Miro Man and Woman by Joan Miro Personatge Davant al Sol by Joan Miro L`Oiseau Au Regard Calme by Joan Miro Nude on a Red Background by Fernand Leger Bacchanale (serigraph) by Pablo Picasso The Cowboy by Henri Matisse Untitled, 1981 by Keith Haring Male Study by Vicky Montesinos Die Spur by Bruno Haas Personnage Et Oiseau Dans la Nuit by Joan Miro Femme Et Oiseau Dans la Nuit by Joan Miro Abendlandschaft Mit Drei Madchen by August Macke La Lectrice by Pablo Picasso Frau Mit Drei Haaren by Joan Miro Femme a l`Oiseau by Pablo Picasso Carota by Joan Miro Tete Bleue et Oiseau Fleche by Joan Miro Le Disque a la Poursuite de Lalo... by Joan Miro Leute am Blauen See by August Macke Turchisches Cafe by August Macke Women Taking a Bath with a Town ... by August Macke Etudes by Pablo Picasso Portrait of Dora Maar by Pablo Picasso The Dream by Pablo Picasso Veil Homme Assis Mougins 1970 by Pablo Picasso Sencitas by Salvador Dali Interieur Hollandais I by Joan Miro Portrait de Mrs Mill en 1750 by Joan Miro Femme Avec Trois Cheveux Entourn... by Joan Miro Upside-Down Figures by Joan Miro La Chute d Icare by Henri Matisse Half Closed Eye by Alfred Gockel Three Women by Fernand Leger Pochoir by Joan Miro Peinture by Joan Miro Montasia I by Laurie Fields Montasia II by Laurie Fields 22x66 Fine-Art PrintSerie I, 1947 by JoanMiroMaternite by B. DiawaraRetour des Champs by K Kasse Dog in Front of the Sun by Joan Miro Solamente (additional color) by Antonio Dojer Figures dans la Nuit, 1960 by Joan Miro Duft Flirt by Jorg Schroder Poor Man's Cotton by Hale Aspacio Woodruff Lincoln Center Festival (serigra... by Kenny Scharf Base Red by Brian Grimwood Promenarde by August Macke Der Graue und die Kuste, 1938 by Paul Klee Man Reading by August Macke The Girl, Figure on White by Kasimir Malevich Suprematism by Kasimir Malevich Torso by Kasimir Malevich Matisse a Marrakech by Bruno Donzelli The Scream, 1895 by Edvard Munch Symphony in Rose, 1923 by Alexei von Jawlensky Guernica by Pablo Picasso Footballers by Nicholas de Stael Basketball Players I by Jim Mort Untitled
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