GUSTAV KLIMT’S ALL ART IS EROTIC

Gustav Klimt was born in 1963 and died in 1918 in Austria.

His father worked as a gold engraver, but was not very successful in his trade; for this reason, the family did not live a great life, and Klimt was raised in poverty stricken areas, with very little as a young child. In 1876, when he was 14 years old, Klimt enrolled in the Vienna Public Arts Schools; he was noticed right away for the talent and the art forms he created. Because of this, he received his first commission to create art for public viewing, while he was studying.

During the 1880s, Gustav Klimt, his brother Ernst, and Franz Matsch, begin a productive cooperation. They begin to do work in theaters, in churches, and public work in museums; many of the pieces which they created, were ordered by patrons who frequented the locations which they created works for. During this time, Gustav Klimt also created a piece for the Burg Theater, as well as the Kunsthistorisches Museum, which is located in Vienna. The Allegories collection that he submits, is seen as a creative, and timeless piece; because of the work, he is commissioned to do a second piece for the museum. In this second collection, the style which includes gold paint, abstract space in the art, and exotic symbolism of the female figure, is a prominent style, which he sticks with for future pieces that he creates.

Many of Klimt’s women were painted in evocative and erotic positions that emphasised sensuality and sex. They brazenly confronted the viewer with their gaze as well as their nudity. They were controversial images but appealed to a new sensibility, a celebration of sexuality that was only just emerging in a city and a society that was the playground of another famous Austrian, Sigmund Freud. In the same year, Freud published Three Essays On The Theory Of Sexuality a book that was to profoundly challenge attitudes to sex. Like Freud, Klimt wanted to put sexuality in the public sphere. Up until about 1914, many of the pieces that he created, took on this sexual under pining, and were not widely accepted, in part due to their graphic nature, and in part because of the time period that he lived in and worked in.

It was criticized due to the erotic and exotic nature. Although symbolism was used in his art forms, it was not at all subtle, and it went far beyond what the imagination during the time frame accepted. Although his work was not widely accepted during his time, some of the pieces that Gustav Klimt did create during his career, are today seen as some of the most important and influential pieces to come out of Austria.

SOURCE: https://www.gustav-klimt.com/

AMY JUDD’S MYTHOLOGICAL ART PIECES

London based painter Amy Judd paints collection’s of sensitive silent moments; some full of whimsical intrigue, others more surreal and seductive. These paintings draw inspiration from the enchanting and imaginative relationship between women and nature found in traditional mythologies and folklores.

The composition, light and positioning of the subject, creates curious images, which conjure up new “mythological” narratives or creatures within the paintings. A recurring theme is the use of Feathers as armour, and birds as familiars. The more surreal nude compositions are bold and strong, the feathers allude to strength, flight and bravery, rather than fragility.

However the paintings depicting women with birds (owls) have a calmer atmosphere, the use of negative space in the image lets the viewer breathe, the clothes worn by the figures and the muted colour palette create a nostalgic dream like feel to the paintings.

Amy Judd has looked to Chinese mythology for some of her latest works. ‘Huli Jing seduction’ takes its inspiration from stories written in the 18th century by Pu Songling and translates as ‘Fox Spirit’. The fox spirits encountered in these tales are usually females and appear as young, beautiful women. Typically fox spirits were seen as dangerous, but some of the stories in Pu’s Liaozhai Zhiyi are love stories between a fox appearing as a beautiful girl and a young human male.

SUSANNAH MARTIN’S ART AND STATEMENT

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It hardly needs to be stated that we humans have a deep need to look at one another but exactly which transformations take place within us when we observe another human being, especially a naked human being? Leaving aside, to the degree that it is possible, any sexual motivation, what do we stand to gain by observing this foreign exposed “other”? What do we establish? Certainly; intimacy, sympathy, trust. In fact, their “otherness” disappears rapidly. Or does the image provoke discomfort, an uneasiness with human intimacy? Does this uneasiness reflect a lack of balance indicative of our times? What are the causes of it?

Every article of clothing, accessory, object that we acquire as good consumers contributes to our idea of identity which we form as a type of protection. Our “stuff” allows us to feel as if we are more than what we really are, mortals. While the stuff creates a shield against mortality it also serves to define and separate us from one another, the haves from the have nots. It is however the things which we have in common which bring us closer, not our differences. What we all share is our physical presence on earth, our interdependence on nature and our collective subconscious.

By stripping my people of their clothing, I am stripping them of all social indicators, status, etc. and this allows me to focus on their essential being and relationship to nature. The increasingly disturbed relationship between man and nature is at present what is behind the greatest threats to our well being and our future existence. To serve my purpose I have picked up a tie to a very classic art form with a long tradition ( at least before the 20th century) the nude in landscape. I am updating this classic appreciation of humanity and nature with a more contemporary way of looking; a more “photographic” aesthetic, more realistic gestures and compositions, less romanticism, while maintaining a tie to the long tradition of the painted nude through my use of classical painting techniques. Through this process, I hope to make my subject more accessible to people today, lest we believe that man´s state of union with nature, and with his fellow man, is a memory of the past, lost forever.

SUSANNAH MARTIN’S ART AND STATEMENT

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Художник Марина Марина Игоревна (PAINTER MARINA MARINA IGOREVNA)

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Marina was born in 1970 in a small city called Tambov, in rural Russia. She started playing piano at a very early age and was accepted in a special school for musically gifted children at age seven.
After graduating from both musical and comprehensive school at age 17, Marina went to work in order to earn a little money to continue her musical and general education in a college. She was hired by a nearby factory as an assistant to the graphic designer at the advertising department. And here quite sudden to herself Marina found out that she is a very talented designer and fine artist.

In 1990 she successfully entered Kostroma State Necrasov University, the faculty of fine arts.
During her education, Marina actively engaged in self-education, creativity and increase its professional level, she tried her hand at different genres and technical skills.
At this time, she entered into informal group of young Kostroma painters and took part in Kostroma literary museum exhibition called “3+3”. Rather early she also started to take part in art shows and different exhibitions of Kostroma Chapter o the Russian Artists Union.

In 1996, she successfully completed training at the university, and her diploma work “Portrait of a girl in a theatrical costume” had excellent mark.

After her graduation Marina continued doing painting professionally. This was the most active period of creative research and taking part in exhibition activity, also outside from her own city. Yaroslavl and Vologda galleries and annual exhibitions had her works. In 1997 she received Grand Price at the Kostroma Regional Fine Art Show, and in 2000 she received 1st price at the National Juried Show of Portrait Art.

Marina lives in St Petersburg married to Aydemir Saidov, professional artist who also works in nude genre. The couple has an 18-years old daughter studying painting as well as her parents did.

In 2002 and 2007 Marina was selected to represent her region on the All-Russia fin art show “Best Young Talent” in the Central Palace of Art in Moscow, Russia.

During her development in the art world she tried to elaborate her own personal style and to choose the genre to work with constantly. Finally she considered “nude” theme to be the most interesting and the richest one for her painting. In 2009 Marina took part in an exhibition “Artists of Russia to Watch” and was elected “The Artist to Watch” As a result of this success in 2010 she was approached by representatives of Christie’s Auctions of London. Her work now successfully sold on Christie’s and in St Petersburg’s galleries.

SOURCE : http://marinamarina.pro/

Художник Марина Марина Игоревна

STUART LUKE GATHERER’S ART

Stuart Luke Gatherer was brought up in the Eastern Highlands of Scotland, and graduated from Edinburgh College of Art in 1995 with an MA in Fine Art. His paintings entice the viewer to interact with contemporary scenes from the vantage point of an unseen onlooker. This creates a psychological ambiguity that is emphasised by strong forms and colours modelled in dramatic light and shade.

Stuart Luke Gatherer

RENSO CASTANEDA ZEVALLOS

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He was born in Lima Peru in 1970 and lives in New York actually – Graduateded of the National School autonomous superior of Beautiful Arts of peru in the specialty of Painting of 1989-95 -Obtained in 1993 the First Honorable Mention in Drawing in the promotion called Venancio Shinki – -Conversatorio: The naked one in the Contemporary Painting in the National School of Fine Arts Rafael Rodriguez Padilla, Guatemala C.A. -1996- Painting, Sculpture and Engraving, Museum of Modern Art, Quito, Equator – International Auction Reconstruction 2000, Museum of Contemporary Art Sof?a Imber, Caracas, Venezuela 1999 -2002- Peruvian Painters, National Historic Museum Sao Paulo, Brazil -2004 counts on a painting in the permanent collection of the MoLAA (Museum of Latin-American Art of los Angeles, California- USA) SOLO EXHIBITIONS 2004- Appearances, Tamara Gallery, San Juan, Puerto Rico 2004- Appearances, Museum of the Americas, Old San Juan, Puerto Rico 2003- Evading memories, O&Y Gallery, Coral Gables –Florida, USA 2003- Covered with Skin, Tamara Gallery, San Juan, Puerto Rico 2001- Perpetual Fragments, Tamara Gallery, San Juan, Puerto Rico 2001-Instants, Praxis International Gallery Art, Lima, Peru 2000- Structure of Senses, Tamara Gallery, San Juan, Puerto Rico 1999- Expecting Illusions, Praxis International Art Gallery, Lima, Peru 1999- Remembranzas Guatemalan Institute of Hispanic Culture,Guatemala, C.A. 1999- Discovering Secrets, Cultural Center The Coves, Quetzaltenango, Guatemala 1999- Of Inside toward was, Praxis International Art Gallery, Lima, Peru 1998- Without Wrappings, Cultural Center Ricardo Palma, Lima, Peru 1996- Oils, Gallery of the American Peruvian Institute, Lima, Peru COLLECTIVE EXHIBITIONS has carried out approximately 100 of the ones that emphasize the following: 2004- Colective exhibition, Light Street Gallery, Baltimore , USA 2004- Peruvian Painters, Avima Gallery, Alicante, Espana 2004- Paintings from Peru, Cultural Center Cervantes, Tel Aviv, Israel 2003- RomanceAntillano Tamara Gallery, San Juan, Puerto Rico – Spirit of peru Is Art Gallery, Philadelphia, USA 2002- Peruvian Painters, National Historic Museum Sao Paulo, Brazil – Art Peru, Power International Gallery, Coral Gables, Florida, USA – Peruvian Scapades, Sunjin Galleries, Singapore 2001- Exposition of Paintings, Association of Peruvian Institutions in USA and Canada, Hotel Hilton, -Miami, Florida, USA – FIA 2001 Latin American Fair of International Art, Caracas, Venezuela 2000-Paintings, Residence of the Ambassador of Peru in Singapore International Auction Reconstruction 2000, Museum of Contemporary Art Sof?a Imber, Caracas, Venezuela

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