A piece of my life
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Reblogged from cavetocanvas, Posted by cavetocanvas.
cavetocanvas: George Stubbs, Horse Devoured by a Lion, 1763 From the Tate Gallery: This work is presumed to be one of a pair with the Tate’s Horse Frightened by a Lion, which was exhibited at the Society of Artists in 1763. Both are similar in style, mood, size and colouring. The theme of a horse being attacked by a lion obsessed Stubbs for thirty years. He made at least seventeen works on the theme, in various media including oil, enamel, engravings, and a relief model in Wedgwood black basalt. The theme consists of variations on two basic episodes, in which the horse scents the emergence of the lion and rises up in terror, which this painting illustrates, and the actual attack, in which the lion has leapt up onto the horse’s back and sinks his teeth into the terrified animal’s flesh. Horse Devoured by a Lion is the only known version in which the horse has collapsed to his knees under the weight of the lion. Stubbs’s interest in the subject is traditionally presumed to originate from a scene he reportedly witnessed in North Africa during his return by sea from Italy. The incident, however, is probably apocryphal, and was largely disproven with the reappearance of Horse Devoured by a Lion, which is strikingly similar to a Roman copy of a Greek sculpture group that Stubbs almost certainly saw at the Palazzo Dei Conservatori in Rome in 1754. He made many studies of caged lions at the Tower of London and at Lord Shelburne’s menagerie on Hounslow Heath. The source of the exotic landscape is the limestone cliffs of Creswell Crags on the Nottinghamshire-Deryshire border, a suitably romantic backdrop for the heroic drama. The area was well off the tourist path, and had legendary connotations as a den for prehistoric wild beasts, although Stubbs may not have been aware of this. The innovative subject proved popular and influential. It allowed Stubbs to demonstrate his virtuosity as an animal and landscape painter, while enabling him, through his reference to a classical source, to elevate animal painting to history painting. The horse’s noble submission to his inevitable fate suggests the heroic, moral overtones of stoical Roman virtue.
Reblogged from cavetocanvas, Posted by cavetocanvas.
cavetocanvas: George Stubbs, Horse Attacked by a Lion, 1769 From the Tate Gallery: Stubbs was obsessed with the subject of a lion attacking a horse, making at least seventeen works on the theme, most of which were in oil on regularly-shaped canvas. In this enamel on copper piece, Stubbs cut off the corners to form an irregular octagon, thus tightening the composition. The result is a forceful depiction which is perhaps his most successful treatment of the theme. This is Stubbs’s earliest known experiment in painting in enamel colours, and was the first time the technique - previously limited to decorative objects and miniature portraits - was used by an artist of Stubbs’s stature. He may have approached the medium out of scientific curiosity, although his exact reasons are not known. Before producing this piece, Stubbs spent two years studying the chemical changes to colours under high temperatures, and a further three years improving the support upon which the painting would be made. He used a copper plate support for this work, but was dissatisfied with the size limitations, and for later enamels commissioned the Master Potter Josiah Wedgwood to produce special large ceramic tablets.
Reblogged from cavetocanvas, Posted by cavetocanvas.
cavetocanvas: George Stubbs, Horse Frightened by a Lion, 1763 From the Tate Gallery: In order to create a convincing portrayal of the animals in his ‘Horse and Lion’ subjects, Stubbs made numerous studies of a lion in Lord Shelburne’s menagerie at Hounslow Heath, while the horse had earlier been the subject of meticulous scientific observation by the artist. In these works, Stubbs wholly departs from the restrained portraiture of well-bred animals to echo the more sublime emotions of Romanticism: terror, anguish and the throes of death. The Romantic mood is enhanced by the wild landscape setting that Stubbs chose - the dramatic rock formations of Creswell Crags, on the Nottinghamshire-Derbyshire border. The looming limestone crags are made to work in conjunction with the emotionally-charged combat between the two noble beasts. In this composition, the horse’s head, still free, is outlined against an open sky, while in later episodes the animals are engulfed in the dark mass of the rocks, as the horse succumbs to its fate.
Reblogged from cavetocanvas, Posted by cavetocanvas.
cavetocanvas: Joel-Peter Witkin, Las Meniñas, New Mexico, 1987
Reblogged from cavetocanvas, Posted by cavetocanvas.
cavetocanvas: Roy Lichtenstein, Drowning Girl, 1963 Things to think about when studying: What were the dots that Lichtenstein used called? What movement is this work from? How does Lichtenstein alter his popular sources to create a work of art rather than a direct copy?
Reblogged from cavetocanvas, Posted by cavetocanvas.
cavetocanvas: Eugène Delacroix, Liberty Leading The People, 1830
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cavetocanvas: Eadweard Muybridge, The Horse in Motion, 1878
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cavetocanvas: Gustav Klimt, Portrait of Adele Bloch-Bauer I, 1907
Reblogged from f-ckyeahheadlines, Posted by f-ckyeahheadlines.
f-ckyeahheadlines: Tiger answering all the critics’ questions Respect. 
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