Tag Archives: Dr. Beth Harris

Ghent altarpiece : a trio of mystery and suspense

It is known for many things; not the least being that it is the most stolen piece of art of all time.It represents the first really ambitious and consummate use of oil paint and it marks the birth of realism … Continue reading

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PICASSO & ANXIETY IN 3D: Me, Myself and Aye Yay

Did Picasso show the hollowness of the everyday objects in his world because he disbelieved them, even as he acknowledged their existence? Although Picasso’s “Demoiselles D’Avignon” is clearly about Picasso’s own desire it is also an expression of his fear?, … Continue reading

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MATISSE: Line Dance With Color

Matisse emerged from WWII with a reputation among living painters second only to that of Picasso. The fresh interest in Matisse was stimulated by a late flowering in many phases of his art- drawings, book designs, and oil paintings- which … Continue reading

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CONFUSION SAYS: Matisse and the Passion of Constant Motion

His whole career, said Matisse, could be thought of as a progress toward clarity and simplification: “A constant struggle for complete expression with a minimum of elements. ” Actually, his career had many meanings, as any great artist’s must, but … Continue reading

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PICASSO, Visual Violence and the Unbinding of Desire: JUST BECAUSE

After the first World War, Andre Breton came to Picasso’s studio….. saw Les Demoiselles d’Avignon and recognised it as the definitive modern masterpiece. Breton, the leader of the surrealists, saw in it a painting about the revolutionary menace of the … Continue reading

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PICASSO : Distortion and Ruthless attack on GOOD TASTE

Was it just new forms for old feelings? Are new feelings even possible? And were not these forms somehow recycled and repackaged from pre-Christian era civilizations? In any event, the innovations of modern art cannot be explained adequately on formal … Continue reading

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GUILTY and SATISFIED: Just Above Paradise

Within a single generation early in the fifteenth century, three Flemish artists gave final, consummate expression to the Gothic spirit. … There was a fascination with the world for its own sake , as a visual phenomenon, that was allied … Continue reading

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STATIC MOVEMENT: Where To Draw The Line

“…Meaning is neither found nor given, but that it takes shape arbitrarily, and that it is dependent upon associations and circumstances that scholars, artists, and viewers all bring to their engagement with paintings. It is not constructed by any one … Continue reading

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PERSPECTIVE: Uncanny Leaps of Expression and Identity

Within a single generation early in the fifteenth-century, three Flemish artists gave final, consummate expression to the Gothic spirit… Perspective, as a systematic distortion paralleling the action of the eye- which is all perspective is, mechanically- becomes a form of … Continue reading

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PASSION & ELEGANCE: Uneasy Companions

The work of Jan van Eyck, with its balanced, reserved, and dignified realism. is usually considered the summary expression of Flemish genius. His complete Flemishness, along with his unapproachable technical perfection, may explain why his art was less easily assimilated … Continue reading

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