oh very beautiful additions i love Escher's the most .. i had to save it instantly..
thank you wiw !
somehow i am so surprised , esp seeing how analytical his art work has been and then this portrait of his is so ...
did you see by any chance what he used to make the drawing ? maybe it's watercolours? the grainy effect in the grey is nice.. i wonder if you can do that with watercolours.
beckmann's & miller's also has something quite pensive
Gius, Escher's self-portrait is a Linocut in lt. blue & dk blue.
And actually, a lot of his earlier work was more emotional
than it was cerebral.. IMO at least.
His portraits of himself and others alike, esp..
His superior technical skills and exquisite prints
seem to overshadow his more ruminative efforts..
Everything is amazing, still....
__________________ You are my center when I spin away...
This pair of photo-booth strips is one of Warhol's earliest experiments with photography, a medium that increasingly dominated his art during his peak years of innovation from 1962 to 1968. For Warhol, the photo booth represented a quintessentially modern intersection of mass entertainment and private self-contemplation. In these little curtained theaters, the sitter could adopt a succession of different roles, each captured in a single frame; the resulting strip of four poses resembled a snippet of film footage. The serial, mechanical nature of the strips provided Warhol with an ideal model for his aesthetic of passivity, detachment, and instant celebrity. Here, Warhol has adopted the surly, ultracool persona of movie stars such as Marlon Brando and James Dean, icons of the youth culture that he idolized.
These strips were owned by the collector Sam Wagstaff and, after his death, by his friend the artist Robert Mapplethorpe
Acrylic and screenprint on canvas
support: 2032 x 2032 mm
painting
Presented by Janet Wolfson de Botton 1996
T07146
Although self-conscious about his personal appearance, Warhol made self-portraits throughout his career, always presenting himself as the distanced, machine-like recorder he claimed to be. This late Self-Portrait is from a series made the year before his death. Wearing his trademark wig, he is shown staring impenetrably into the lens of the camera. The intensity of his stare immobilises the artist’s face, likening it to a skull, while his wig is strangely animated, as if blown into action.
i love Escher's the most .. i had to save it instantly..
Linear Mode
