Art blog @ Artmam.com

An auction is basically a public sale wherein any object is sold to the highest bidder. It can be defined as a process of purchasing and selling things by offering them up for bid, taking bids and selling the things out to the highest bidder. This is what is generally the case. However, a sale to the lowest bidder may also take place, in cases where land is sold for non-payment of taxes to anyone willing to take it for the shortest term; or where a contract is offered to an individual or party willing to take it for the shortest term; or where a contract is offered to an individual or party willing to perform it at the lowest price. Such cases too seem to fairly come under the purview of the term ‘auction’.

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The Baroque was a phenomenon that occurred worldwide, but the traditions and impetus of the art varied widely from country and even region. Second, the baroque is a comparatively huge period of time (150 years). Third, traditions between media–painting, sculpture, architecture - varied widely. Generalizing between any of the categories can lead to grossly wrong assumptions. Remember to search for material as specific to your region, time period, and medium as possible. Modern art historians prefer to consider the period by years rather than by stylistic name.

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Dali returned several times to the theme of the Classical goddess of love and the modern sailor in the mid 1920s. Not only does he encapsulate within this encounter a many-layered relationship between tradition and modernity, Neo-Classicism and the avant -garde, but also the life of the Mediterranean port. The Neo-Classical figure of Venus looks to Picasso’s classicism of the early 1920s; the massive, slightly flattened curves of her body and the simple white drapery recall Picasso’s Three Women at the Spring, while the vigorous dance of the unfinished Venus and Sailor of 1926 is closer to a work like The Race (Two Women running on the Beach) What is often called “the return to order” was for Picasso a deeply pondered dialogue with the art of the past.

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Between summers, as a teenager, Dali used to dream of Cadaques, where he spent the holidays with his family and was free all day to paint. “Cadaques is above all very picturesque, very bright and very calm.” The light, the boat , the white houses along the quay, the steep alleys leading up to the church on the hill, the terraced olive groves, the monastery high on Mount Pani with the mountain beyond and above all the series of beautiful bays made it an ideal place for the young artist. Back in Figueres in October 1920.  Dali and his family regularly spent their summers there, in a white house on the beach at the bay of Es Llane, rented from and eventually bought from their close friends the Pichots, a local dynasty of artists and musicians. The journey over the tortuous mountain road separating Cadaques from the Ampurdan plain where Figueres lies was by cart and used to take all day.

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Op Art began with the desire to involve a correlation between seeing and understanding. The art movement involved manipulating the eyes or creating an optical illusion. Similar to other movements, the Op Art artist did not use conventional paint and brush art technique . The birth of Op Art began officially with an article in Time Magazine. In 1964, Time Magazine published an article featuring an art movement involving optical illusions. Since the artists focused on eye manipulation, Time Magazine coined this new movement “Op Art”.

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Everyone has an opinion on love, but few are brave enough to define it. This universal and apparently inconsistent emotion seems almost incapable of definition.
Can you explain what is love?
Some people say that it “…is  a deep, tender, ineffable feeling of affection and solicitude toward a person…”, others insist that Love is just a “biorhythmic compatibility” or warm attachment, or that it is not a necessity, but it is life’s greatest gift and luxury.How many poeple, so many definitions could be found.

 

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The legend of William Tell suddenly enters Dali’s work in 1930 as a new dramatic focus to the oedipal myths familiar to the Surrealists but with a very personal significance for the painter. The story of the 14th-century Swiss patriot, a famous bowman, who refused to acknowledge the authority of the occupying Austrian forces and was condemned to shoot an arrow through an apple placed on his son’s head, was re-interpreted by Dali to become the vehicle for a threatening and cannibalistic myth of the Father.

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What is postmodernism? Are the post-modern characteristics still apparent in contemporary architectural design? According to scholars, “Postmodernism, by definition resists definition”.
If postmodernism is then difficult to be defined, on what principles can one judge if postmodernism in architecture is in still emerging? Postmodernism in its regional/vernacular forms reflects neighbourhood culture. Some argue that postmodernism is a reaction to the forces of “creative destruction”.
Evaluating and categorizing architects according to styles, periods, theoretical backgrounds, and philosophical ideas, from Itkinos and Brunelleschi, to Borromini and Le Corbusier, is a very challenging process that requires a deep understanding of the key elements that influence the architects’ design.

     

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In many times and places, the Erotic part of life has been celebrated in a playful, creative way. Any study of art history world wide quickly revels that nearly every single civilization produced erotic art works. The history of erotic art proves two things, firstly that every great artist brings their own unique take on sexuality. That can be both a blessing and a curse, since sometimes despite the skill or wit of an artist - their personality and sexual preferences can alienate viewers who do not share their feeling about sex or fetish. Secondly that certain sexual practices have had universal interest to artists. From the surreal eroticism of Salvador Dali to the kitsch eroticism of Jeff Koons, erotic art has always inflamed opinion and, even today, such images are considered provocative, dangerous, and unwelcome in the public sphere.

      

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Exhibited under the title The Image of Desire at Dali’s first solo show in Paris in 1929 at the Galerie Goemans, this was one of the two painting of the eleven in the exhibition that contained a reference to his mother. The other exhibited as Sacre Coeur (Sacred Heart), but now known by the large in-scription across its surface. Apart from some early portrait, Dali’s mother very rarely appears in his work, but this absence was not indifference.

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