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ART IS LIFE: DAY 55 – Friday, 24th 2022 The Digital Art Project (The Dap) is an Art Project aimed at fostering creativity in under 10 minutes. It serves as an Art Diary where I take 10 minutes to express my rainbow of emotions through painting daily. 🖌️😊 I would like to start this post by stating that life is sacred, and as artists, we are markers of our times. The art that we leave behind is not only a reflection of our inner selves but also vestiges that future generations will look at to try to comprehend what we went through during a certain period. I believe that seeking peace ensures stability, prosperity, and the preservation of life, making it the preferred path for humanity’s progress, and that was simply the inspiration behind this painting on the 55th day of 2022. It was a day when the world watched the Ukraine war starting. I woke up that morning and looked at my phone notification with the headline: 'Full-Scale Invasion of Ukraine.' I woke up my wife, screaming, 'There's a war starting in Europe.' The weight of those headlines was palpable and resonated in my head. I ran to my room, where my materials awaited, and I began to draw. As my hand moved across the canvas, I found myself pondering a profound question: 'What can a dove do when two giants are locked in combat?' It was during this moment of reflection that I recalled an ancient African saying: 'When two elephants fight, it is the grass that gets hurt.' In my painting, I depicted the chaos that unfolded that day. On one side, I used shades of red and yellow, symbolizing the intensity of the conflict to come. On the other side, I chose green and yellow, a representation of hope amidst adversity. A streak of yellow ran through the center and on both sides, like a fragile bridge between two worlds on the brink of collision. For the digital version of this artwork, I added drops of blood, serving as a foreboding sign of what lay ahead for all the people involved. This painting forms the emotional core of my 'Art is Life: 10 Minutes Arts' diary, where some memories are etched vividly, while others continue to take shape in my mind. I will be sharing with you the behind-the-scenes of each painting to the best of my recollection. Together, let us explore how art has the power to capture the essence of challenging times and the resilience of the human spirit. I would like to dedicate this painting to peace around the world and to all the world leaders who are currently and sincerely trying to bring peace to the world in all conflict zones.

ART IS LIFE: DAY 55 – Friday, 24th 2022 The Digital Art Project (The Dap) is an Art Project aimed at fostering creativity in under 10 minutes. It serves as an Art Diary where I take 10 minutes to express my rainbow of emotions through painting daily. 🖌️😊 I would like to start this post by stating that life is sacred, and as artists, we are markers of our times. The art that we leave behind is not only a reflection of our inner selves but also vestiges that future generations will look at to try to comprehend what we went through during a certain period. I believe that seeking peace ensures stability, prosperity, and the preservation of life, making it the preferred path for humanity’s progress, and that was simply the inspiration behind this painting on the 55th day of 2022. It was a day when the world watched the Ukraine war starting. I woke up that morning and looked at my phone notification with the headline: 'Full-Scale Invasion of Ukraine.' I woke up my wife, screaming, 'There's a war starting in Europe.' The weight of those headlines was palpable and resonated in my head. I ran to my room, where my materials awaited, and I began to draw. As my hand moved across the canvas, I found myself pondering a profound question: 'What can a dove do when two giants are locked in combat?' It was during this moment of reflection that I recalled an ancient African saying: 'When two elephants fight, it is the grass that gets hurt.' In my painting, I depicted the chaos that unfolded that day. On one side, I used shades of red and yellow, symbolizing the intensity of the conflict to come. On the other side, I chose green and yellow, a representation of hope amidst adversity. A streak of yellow ran through the center and on both sides, like a fragile bridge between two worlds on the brink of collision. For the digital version of this artwork, I added drops of blood, serving as a foreboding sign of what lay ahead for all the people involved. This painting forms the emotional core of my 'Art is Life: 10 Minutes Arts' diary, where some memories are etched vividly, while others continue to take shape in my mind. I will be sharing with you the behind-the-scenes of each painting to the best of my recollection. Together, let us explore how art has the power to capture the essence of challenging times and the resilience of the human spirit. I would like to dedicate this painting to peace around the world and to all the world leaders who are currently and sincerely trying to bring peace to the world in all conflict zones. 🌟✨ Join me on this 365-day journey, and maybe even more! Enjoy looking at my art, come and be part of my community : https://lnkd.in/df_BTHDF

'In our relationship with the world we are able to withdraw from the world'. 'Things refer to an inwardness as parts of the given world, objects of knowledge or objects of use, caught up in the current of practice where their alterity is hardly noticeable. Art makes them stand out from the world and thus extracts them from this belongingness to a subject. The elementary function of art, which we can discover in its primitive manifestations, is to furnish an image of an object in place of the object itself - what Bergson called a view of the object, an abstraction, and which he considers to be something less than the object, instead of seeing in it the more of what is aesthetic. Even photography functions in this way. This way of interposing an image of the things between us and the thing has the effect of extracting the thing from the perspective of the world. A situation depicted or an event recounted must first of all reproduce the real situation or event, but the fact that we relate to them indirectly through the intermediary of the picture and the story modifies them in an essential way. This modification is not due to the lighting or the composition of the picture, to the taste of and arrangements made by the narrator, but is first due to the indirect relationship which we have with them - to their exoticism, in the etymological sense of the term. What is called the disinterestedness of art does not only refer to the neutralization of the possibilities of action. Exoticism modifies the contemplation itself. The 'objects' are outside, but this outside does not relate to an 'interior'; they are not already naturally 'possessed'. A painting, a statue, a book are objects of our world, but through them the things represented are extracted from our world'. 'Even the most realistic art gives this character of alterity to the objects represented which are nonetheless part of our world. It presents them to us in their nakedness, that real nakedness which is not absence of clothing, but we might say the absence of forms, that is, the non-transmutation of our exteriority into inwardness, which forms realize. The forms and colors of a painting do not cover over but uncover the things in themselves, precisely because they preserve the exteriority of those things. Reality remains foreign to the world inasmuch as it is given. In this sense an artwork both imitates nature and diverges from it as far as possible. That is also why everything that belongs to past worlds, the archaic, the ancient, produces an aesthetic impression'. - Emmanuel Levinas, 'From Existence to Existents', 1947. ['Old Couple', 1994, Hilda Goldwag];-

Check out our collection of artists' technical art examination references https://lnkd.in/dwgzwRhv Our comprehensive research draws upon a wealth of references to uncover the specific pigments and painting techniques utilized by renowned painters throughout history. By synthesizing findings from scholarly publications, archival documents, and scientific analyses, we have gained valuable insights into the materials and methods employed by these artists. For instance, our investigation into the works of Leonardo da Vinci is informed by seminal texts such as “Leonardo’s Notebooks” and “Leonardo da Vinci: The Complete Paintings and Drawings.” These references provide detailed descriptions of da Vinci’s experiments with pigments and binders, shedding light on his innovative approaches to color mixing and application. For instance, our examination of Rembrandt’s oeuvre is supported by authoritative sources such as “Rembrandt: The Painter at Work” by Ernst van de Wetering and “Rembrandt’s Paintings Revisited” by Ernst van de Wetering and Karin Groen. These publications offer in-depth analyses of Rembrandt’s painting techniques, including his use of impasto and glazing to achieve dramatic effects of light and shadow. Furthermore, our study of Impressionist painters like Claude Monet is grounded in seminal works such as “Monet or the Triumph of Impressionism” by Daniel Wildenstein and “Claude Monet: Life and Art” by Paul Hayes Tucker. These references illuminate Monet’s innovative use of color and light, as well as his distinctive plein air painting techniques. By synthesizing insights from a diverse array of references, our research provides a nuanced understanding of the materials and techniques employed by iconic painters. This interdisciplinary approach enriches our appreciation of art history and cultural heritage while advancing scholarship in the field. Our scientific methods enable us to identify and analyze various materials and techniques used by painters throughout history. By employing advanced technologies such as multispectral imaging, X-ray fluorescence (XRF), Raman spectroscopy, and infrared (IR) imaging, we can delve into the composition and application of pigments, binders, and other materials utilized in artworks. These methods allow us to uncover hidden layers, detect alterations, and they help to authenticate artworks, providing valuable insights into the studied artists’ processes and historical contexts.

 A Letter to Art Lovers - February 2024 Finding Strength in Art: Navigating Turbulent Times Together Next Post : "Bridging Differences" - A timely painting? Interview - Upward Gallery FINDING STRENGTH IN ART: NAVIGATING TURBULENT TIMES TOGETHER As we navigate the twists and turns of life, we often find ourselves grappling with uncertainty, upheaval and even chaos. From global crises to personal challenges, life can feel like a rollercoaster ride on an endless loop.   Through the twilight of forces we feel helpless to control, however, shines an oft flickering, oft strong and bright ray of light: Art, with its ability to heal, inspire and uplift us in ways that we rarely think possible.    Art is not just about pretty pictures or catchy tunes. It's about tapping into the depths of our humanity, connecting with something greater than ourselves and finding solace in the beauty of creation and creativity. In times of turmoil, art becomes more than a luxury - it becomes a lifeline, a beacon of hope shining through the darkness.   When the world feels like it's spinning out of control, art provides us with a sense of stability, grounding us in moments of beauty and wonder. Whether it's a breathtaking painting, a soul-stirring piece of music, or a heartfelt poem that speaks to our soul, art has a way of anchoring us in the present moment and reminding us of what truly matters.   Most importantly, though, art has the power to heal. In the midst of chaos it becomes a sanctuary, a safe space where we can explore our deepest emotions, process our pain, and find the strength to carry on. Whether we are creating art ourselves or simply immersing ourselves in the creations of others, art has a unique ability to soothe our troubled minds and nourish our weary souls.   So as we navigate these turbulent times together, I encourage you to embrace the power of art. Whether it's taking a leisurely stroll through a local gallery, tuning in to a virtual concert, or simply indulging in a quiet moment of reflection with your favorite piece of art, know that you're not alone. In a world that often feels chaotic and uncertain, art is here to remind us that there is still beauty, still wonder, still hope.   And if you happen to find a piece of art that speaks to your soul, well, who am I to stand in the way of that? After all, sometimes the greatest treasures in life are found when and where we least expect them.

“𝐓𝐡𝐞 𝐒𝐜𝐫𝐞𝐚𝐦”: 𝐀 𝐃𝐢𝐠𝐢𝐭𝐚𝐥 𝐀𝐧𝐚𝐥𝐲𝐬𝐢𝐬 𝐨𝐟 𝐄𝐝𝐯𝐚𝐫𝐝 𝐌𝐮𝐧𝐜𝐡’𝐬 𝐏𝐚𝐢𝐧𝐭𝐢𝐧𝐠 by Nina Eckertz In this blog article, we take a look into contemporary Cultural Heritage research and present different digital information sources to analyse a painting. We apply these sources and their analysis techniques to The Scream, the iconic masterpiece by the Norwegian artist Munch. The insights presented in this blog post are useful for conservation, as well as the artistic analysis of the painting. Researchers such as art historians or conservators are committed to gathering new findings about the painting’s materiality and condition as well as the painting composition to reveal new insights that help for both use cases. To this end, we look for instance into research methods such as hyperspectral imaging to analyse the painting’s surface to identify the used material, as well as the artist’s biography to collect information about the art historian’s background of the painting. #datascience #art https://lnkd.in/etiRMBmi

There are many reasons some artists prefer not to share their process. It is a part of them—a flow, a way of doing, of being. It has taken them time and countless perceived failures to find a method of painting that feels, well, effortless. Perhaps they wish to keep the gems discovered along their artistic quest to themselves. Maybe they are shy or simply uninterested in sharing. Or perhaps they fear that others—collectors—will see just how “effortless” the process truly is. Many people ask me how long it takes to complete a painting. Wondering how long it takes is a valid question and one I had myself before entering the world of abstraction. This question is challenging because the answer is always variable. Given the broad spectrum of styles I paint, it becomes nearly impossible to provide a single answer. Some of the thicker application works take extra time because of the process involved. From experience, I can tell you that often the best paintings are created quickly, while the ones that take longer are a result of laborious contrivances. What is often overlooked is the many years it has taken to reach a point where painting feels effortless. This journey includes not just the technical skill of painting well but also developing an eye for what feels uncontrived and balanced. It’s a process of refining one’s vision and understanding what resonates. As Picasso once said, “It took me four years to paint like Raphael, but a lifetime to paint like a child.” This sums up the art of uncontrived abstraction. There is also a turning point in the creative process where the time spent with the brush in hand reduces, and the priority shifts to stepping back and listening to the work, understanding what it needs--wants. This introspective phase is crucial, allowing the piece to guide the final touches. This, in my opinion, is the most difficult part of learning to paint because it is so antithetical to our normal ways of laborious overthinking in the pursuit of “perfection.” For me, this is fear in a mask, and the magic is found in surrendering to trust in the process and the curiosity of going with the flow, a spontaneous dance. There is no friction, only fluidity. For me, good art is the ability to convey a feeling, a mood, a vibe in the most effortless and uncontrived way possible. I strive for the energy in my work to be natural, free from stress or worry—elements that currently belong to life’s more serious aspects, but have no place in the creative act, in my opinion. I want viewers to sense the playfulness and spontaneity in my art, to feel the organic flow and naturalness. I mindfully avoid feeling the cold, methodical rigor of art school critiques. I want collectors to experience the beauty and ease of following the natural flow, embracing the unforced and the genuine. I want my work to feel like Being, rather than doing and for it to inspire others to search for this beauty in their own lives.

Edvard Munch: Landscapes, Early and Late - Exhibition: “Edvard Munch: Trembling Earth” at the Clark Art Institute, Williamstown, Mass. - through Oct. 15 - “This show, the first of its kind in the United States, takes a fresh approach by concentrating on Munch’s use of landscape — both as primary subject and as background — and the role of nature as the visual, emotional and philosophical wellspring for his work. And without much fuss, it gives equal space to Munch early and late, reducing their differences with a new sense of consistency based, oddly, on restlessness itself. Munch refused to stay put; his constant motion can bring to mind that of the great peripatetic postwar German artist Sigmar Polke. The clue that the Clark show will not be Munch-as-usual is evident from its first painting, “The Yellow Log” of 1912. Slightly goofy, high-spirited and devoid of figures, it barely registers as a Munch. … The show benefits from being arranged thematically, in six sections, ranging from “In the Forest” to “Chosen Places.” Nearly all include early and late paintings, as well as prints. You compare dates, subjects and mediums, as well as adjustments in style, from loosely academic to strikingly improvisatory and even abstract. The paint itself ranges from thick impasto to thin washes that can presage those of Color Field paintings. All this contributes to making Munch much more vivid and relevant as a painter, not to mention as a colorist.” https://lnkd.in/d9EYB8FX Show info: https://lnkd.in/dPbmBdYV FROM our group, “Art Museums and Art Galleries: News, Reviews and Collections” ( https://lnkd.in/dweM6GQ ). Welcome to join! Please, write the basic info on your LI profile if interested to join the group. #art #paintings #landscape #Munch #exhibition