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this-artist-is-screaming · 3 years

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18/02/21 The selfie, and the singularity of the self portrait.

When looking at self portraiture, their are two approaches we can take to it:

Biographical approach:

What happened in the artists life?

What has had an influence on them?

What has happened to the artist that has influenced their personality, or influence their inner world in a way that we can read into the art world?

Focus on the biography of the artist and how the work reflects the artists personal history or personality.

Psychoanalytical approach:

Is defined as a set of psychological theories and therapeutic methods which have their origin in the work and theories of Sigmund Freud. The primary assumption of psychoanalysis is the belief that all people possess unconscious thoughts, feelings and desires and memories.

Sigmund Freud made a profound impact at the beginning of the 20th century on his work about the power of the subconsciousness. He believed that the unconscious mind could communicate through imagery and symbolism. Surrealism came about as a reaction to Freuds writings, particularly an interpretation of dreams. Since this publication, his writings have been criticised by feminist writers such as Judith Butler who rejects his privilege of heterosexuality as deviating from the narrative. Many art historians have engaged with art over the past century to study the personality of the artist, the creative processes and effects of the art on the viewer.

Reception Theory:

Is the documentation of a performance when the private becomes public - self portraiture

Eg. Albert Doras self portrait “I have painted myself in my true colours, that is colours possessed only by the subject like my shirt, it was how he saw himself”

The claim is that self portraits can express and are supposed to express some special sort of truth about their subjects.

Critical question we should be asking:

Is our psychological readings of paintings like an autobiography intended to explain the psychology of the creative individual - analytical

Francesca Woodman

Was an American photographer between 1959 - 81. She was very young and was best known for her black and white photography featuring either herself or female models. Many of her photographs show herself or other women naked. Many of the photos have been intentionally blurred due to movement and a long shutter speed. She merges her subjects, including herself into the background and whose faces are obscured.

Her work continues to be the subject of much critical acclaim and attention years after she died by suicide at the age of 22.

Eel series: Photographed when she was living in Rome. These photographs showcase Woodman lying naked in a vulnerable state, the curve of her body echos the curved form of the eel.

While studying in Rome she came into contact with the symbolist work of Max cleaner who's influence can be seen in this series

“The image is extremely sexually charged, yet on placing herself on both sides of the camera, Woodman hovers between being in control and being defenceless in which femininity can be portrayed. The photographs are not a self portrait in the conventional sense, as it explores the possibility of all sorts of representation, instead of revealing the artists identity, what it does reveal is another side to her own character. The eel can be understood to be a phallic symbol and its representation of liberal desire. However, in this image it appears comparatively limp, still and lifeless within the bowl, in contrast, Woodman's nude body through prostrate is blurred in places which registers her freedom of movement. It can be interpreted that her posture in this series showcases one of expectancy or anticipation.”

She is not only part of the photographers subject but also as the participant in its set up, indeed the organiser of the entire scene, As the organiser of the scene, Woodman chose to direct attention to the central bowl and its contents by shaping her body around it. This composition suggests that Woodman is at once submissive and yet also freely in control of the standing desire, as represented by the phallic eel.

William Hogarth

Painter, printmaker, pictoral sacra satirist, social critic and a cartoonist.

His work ranged from realistic portraiture to comic strips, like a series of pictures called modern moral studies. He was perhaps best known for his moral series, a Harlots Progress and a Marriage A-la Mode. By far the most significant English artist of his generation

Gillian Wearing

“Signs that say what you want them to say not signs that say what someone else wants you to say” series

YBA

Went out in the streets of London, stopped people and said, “would you write on this piece of paper absolutely what you are feeling?”

Ana Mendieta

A large part of her work is autobiographical

her work reflects her displacement from Cuba when she was 12. Her parents had sent her and her sister to America for a better life, on their own.

Themes in her work included feminism, life and death, she looks as ideas of identity. She talks about afro cuban traditions in US feminism

She said in 1978 that American feminism is basically a white middle class movement, she fought for intersectionality.

She recorded her performances and actions using 35mm film slides. One of her most notable works would be ‘Untitled Rape Scene’ 1973 - The rape did not happen to her, but a college student. The response to the rape by the press and college was very dismissive and unhelpful, leading to Mendieta to re creating the scene and photographing it for awareness.

ironically she died as a result of domestic violence.

Sarah Lucas

Photographic self portraits have been an important element of Lucases work since the early 1990s. Her photographs of her eating a banana changed her perception of her masculine appearance from being a disadvantage to something she could use in her art.

“I suddenly could see the strength of the masculinity about it, the usefulness of it to the subject struck me at the point and since then I've used that”

Through her photographs she presents an identity which challenges stereotypical representations of gender and sexuality so she poses both as tough and macho but also as female and she creates an image of defiant femininity.

Rembrandt

“Forget all preconceptions and stereotypes of him” - Julie

No painter is more philosophical that Rembrandt, since the self portraits constitute an effort of self understanding that few philosophers having achieved. He created approx 100 self portraits, including over 40 paintings and created a visual diary of the artist that stand over 40 years.

His self portraits were created by the artist looking at himself in the mirror and then painting / drawing, therefore reversing his actual features. In the etching, the printing process, reverses the image and therefore shows Rembrandt in the correct orientation.

Cindy Sherman

best known for her untitled film series. A series of 69 photographs, shot in black and white film. First shown at ‘artists space’ as part of a group exhibition.

This series reflects a very critical and popular fascination with themselves and in them she dresses and poses as a number of young Hollywood starlets, bit players or B movies.

The interpretation of these images, which have been left open by the artist (since they are untitled) has been widely debated. The central ambiguity in the images is whether the depiction of vulnerable young women - does it call attention to the ways that women have been exploited or does it reinforce this process of exploitation?

Analysis of Sherman's work is usually involved in a debate as to whether the images are useful or destructive to feminist politics and theories. Sherman herself denies that her work applies to any sort of theoretical reading.

Jo Spence

Narratives of dis-ease: expunged

Spence was a feminist artist who was diagnosed with breast cancer in 1982 and she made a series of self portraits documenting her battle with the disease until her death a decade later.

The photographs express her physical and emotional state at the time and her doctor/collaborator explained:

“space is representing the honest emotions about living in an unruly body that cannot conform to the pressures of female perfection expected and idealised by western society”

Throughout the series, not one of them shows her eyes - this created a lack of identity and draws attention towards her body which is a symbol of struggle and the personal experience of isolation from the outside world. The background is dull and dreary which reflects back on the emotions held within the picture.

“Her body became property of national health”

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trendingnewsb · 6 years

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5 WTF Ways Trump Has Been Immortalized As Artwork

It wasn’t his knowledge of policy, his charm, or anything remotely leadership-like that led to the popularity of Donald Trump. If anything, it was the ease and willingness with which he turned himself into a walking meme, complete with a fandom busy creating fanfiction, fan theories (i.e. insane conspiracy theories), and, of course, tons of bad fan art. Here are some of the weirdest and wildest pieces in the current Trumpian art movement for you to absorb before they find their way into the National Portrait Gallery.

Deep Dream Trump Is Pure Nightmare Fuel

While computers are getting better at everything that makes humans so special (like opening doors), there is one area where we’ll always have them beat: abstract thought. After all, it’s hard to have a sense of whimsy when a misplaced semicolon can turn you into scrap. In fact, the closest we’ve gotten to giving computers a world of pure imagination is through “deep learning” — software that mimics how our neutrons fire and is perhaps the future of artificial intelligence. And like any good humans, we gave computers the gift of creativity, only to squander it on monstrosities like this:

Chris RodleyThat’s why you don’t share a teleporter with Muppets.

This is a deep learning interpretation of one of Donald Trump’s family photos. And if you’re wondering why Melania looks like Miss Piggy on her way to her third divorce, that’s on purpose. This art is the result of artist Chris Rodley plugging pictures of Donald Trump into a deep learning algorithm which was also “looking for images from Sesame Street.” The result is this hellscape of vacant expressions, googly eyes, and wandering hands — plus elements from Sesame Street.

Chris RodleyCourtesy of Industrial Light and Horror.

It could be a lot worse, though. You could be looking at a video of Trump transformed into an awakened eldritch horror struggling against the confines of our universe:

youtube

Though on the plus side, Trump’s hair has never looked more in its element.

Eric Cheng/YouTubeOh, like you’ve never had a wookiee sex dream.

This nightmare fuel was brought into our world by Eric Cheng, who said he created it by plugging a video of a Trump speech into a deep learning algorithm that was simultaneously thinking about Cthulhu. The level of Cthulhu influence was governed by the volume at which Trump was speaking. We’re lucky that it was one of his quieter rants. If it had been about minorities or women, that video might have accidentally opened a wormhole into the domain of the Elder Ones.

All Hail God-Emperor Trump!

To a lot of internet manbabies, Trump is the ultimate badass. He’s an ass-kicker and a risk-taker, a street fighter and shot-caller, the guy who puts the Big Mac into Mack Daddy. Of course, in order to maintain that view of Trump, you have to constantly ignore all of reality. Fortunately, the internet boys have found a way to easily block out the pesky truth by replacing it with hardcore sci-fi fan fiction!

Meet God-Emperor Trump, may his clogged arteries reign for eternity. Based on the lore of the popular tabletop gaming universe Warhammer 40,000, which is set in a ludicrously dystopian future, the cruddy side of the internet is filled with images of Trump as the iconic Emperor of Mankind, immortal ruler of the human empire bringing his never-ending war to the undesirables. Feels like satire, right? It isn’t.

via The Flama

via The FlamaHis armor appears to be made from the Ark of the Covenant, which is appropriate, since it makes us want to melt our faces off.

Sure, it’s pretty weird to pick an awesome god of war as the avatar for a dude who used alleged bone spurs as an excuse to get out of military duty, but that’s where the total disillusion comes in.

via r/Warhammer40k

Robokoboto/Art AbyssCarrying the skulls of his own supporters doesn’t seem ominous at all.

Read Next

Teach Kids The Alphabet With These Medieval Death Prints

But the comparison isn’t flattering for either side. Showing again that they have the cultural insight of someone who’s been in a coma since the ’60s, Trump fanboys seem to not realize that this Emperor of Mankind is nothing more than a freakish ghoul whose “shattered, decaying body can no longer support life,” or that his rule gave rise to “technological and cultural stagnation, and a regression into tyranny, superstition and religious obfuscation and intolerance.” So God-Emperor Trump is based on some creep who rules over a dystopia in which mindless, alien-hating fanatics sacrifice thousands daily to keep the bloated corpse of their despot ruler going. Maybe they did do their research after all.

And to put the cherry on the dumb neo-Nazi cake, the God-Emperor isn’t, uhm … white. He was born in central Anatolia (Turkey) in 8,000 BC. Meaning the web fascists have turned their white supremacy hero into a space-age Middle Eastern king.

Warhammer 40kOh yeah, this guy is totes going to preserve the white race, you dolts.

The New “Alt-Right” Cartoon Mascot Loves Dressing Up As Trump

You already know about Pepe, the lovable comic book frog who became a hate symbol. But since Pepe has gotten too mainstream, hardcore “alt-right” dudes have created a perfect mascot for the new Trump age: a poorly drawn copyright infringement.

via Will Sommer/Medium“Racist Frog, Reclining Nude”

This corpulent little shit-grinner is Groyper. No, that’s not a Trump-inspired new Pokemon (although we understand the confusion). We’re talking about Groyper the Frog, the MS Paint cartoon mascot for hardcore politicos. He even comes in many adorable outfits for fans to play dress-up with (dog whistle sold separately). There’s Papa John Groyper:

via Slate“These boxes actually contain Hungry Howie’s.”

Hulk Hogan Groyper:

via Will Sommer/Medium

Even a special edition “Are you offended yet?” Burka Groyper:

via SlateDon’t try to make sense of it. That way madness lies.

But among the favorite flavors of Groyper stands Trump Groyper, somehow looking less slimy as a lumpy frog:

via Will Sommer/MediumAnd the fake hair on the fake Trump-toad looks less ridiculous than the real hair on the real Trump-golem.

So if you’re wondering why all the worst accounts on Twitter switched up their avatars to this, that’s why. It’s definitely not because Matt Furie, the creator of Pepe, has started suing the white laces off of any popular enough site for copyright infringement. No, it’s because Pepe isn’t cool enough anymore. Not like Groyper, who’s too cool for school — art school, specifically.

Donald Trump/Twitter

The Anti-Obama Oil Painter Now Thinks Trump Is The New Messiah

Jon McNaughton is possibly one of history’s greatest artists. Not because he created anything breathtaking or profound or thought-provoking, mind, but because his works are some of the goddamn funniest examples of religious right-wing bathos.

Jon McNaughtonFirst and foremost, why would you plant a tree three feet in front a place where people will be sitting?

This lovely painting, titled You Are Not Forgotten, features Herr Conditioner and proves that you can’t make Trump look warm and charming even if you draw him yourself. But the real beauty of McNaughton’s art lies in the fact that he’s just a really, really hacky political cartoonist with a better brush stroke game. He often boasts about the number of “symbols” he manages to stuff into a single canvas. Here, the theme is unity. That’s why a not-that-keen eye can will spot that Everyman Trump is looming over a working-class family (whom he’s screwed) as they plant a flower (which he’s going to kill) in front of a crowd of veterans and soldiers (whom he dishonors), disabled people (whom he doesn’t care about), black people (whom he doesn’t like), various cabinet members (whom he’s fired), police officers (whom he’s insulted), and laborers (whom he doesn’t pay).

But McNaughton didn’t make his name by trimming half a dozen inches off of Trump’s waist. He became a conservative darling by taking dumps on President Obama for a solid eight years. Here’s his interpretation of Obama’s domestic policy:

Jon McNaughtonDid you notice the 9/11 symbolism? The thing that happened seven years before Obama was president, when a Republican was in office?

His foreign policy:

Jon McNaughtonTo be fair, Los Alamos does have a really nice golf course.

His stance on Obamacare:

Jon McNaughtonThere goes the plot for National Treasure 3.

And here again is that classic, featuring Obama trampling over the rights of the very same working man who Trump will later save while all the good Republican presidents are yelling at him:

Jon McNaughton“But I wanted to plant a tree there …”

Man, Obama really seems like a dick in these portraits. We’re surprised that the nuclear blast didn’t affect his golf swing, or that he escaped unharmed after dipping the Constitution in napalm and setting it alight in his hand, although that’s to be expected when you’re Literally Satan. His abilities are truly unending, as is his cruelty … as demonstrated by that time he forced a soldier to eat a slice of a gay wedding cake.

Jon McNaughton“It’s not even ice cream cake. Thanks, Obama.”

Save us, President Trump! Save us from that treacherous black sn- oh, you already have.

Jon McNaughtonThere is an extremely famous flag advising against this very thing!

Barron Trump, Manga Star

While Trump himself has a very divisive sort of popularity, the same can’t be said about the Trump children — Ivanka, Donnie Jr., and the one who looks like a hardboiled egg with a face drawn on it. His spawn are nigh-universally ridiculed, constantly putting their feet in those mouths they can’t ever seem to fully close. But one Trump kid is exempt from this ridicule: Barron, the unassuming, sweet-looking 12-year-old who actually has to live in the White House with his mom and dad. Making fun of a kid is not the nicest thing to do, so two sensitive artists have gone the other direction, trying to delve into the mind of this quiet boy and figuring out the turmoil he must feel from having the most powerful terrible father in the whole world — in fabulous manga form, natch.

Yuusuke Hori“At least it’s not a racist amphibian.”

This very melodramatic piece was posted by artist Yuusuke Hori right after Trump’s inauguration. It shows Barron in sparkly bishonen form with a title that reads “My loud, annoying dad is president, so the quiet unassuming life I wanted is completely over.” It was only meant as a silly mockup cover, but because it got insanely popular, we eventually got the for-realsies The Adventures Of Barron And His Loud-Mouthed President Father, and it’s everything we’ve ever wanted.

Joy LingWell, except for Trump not to be president, but still.

To all the non-otaku out there, TAOBAHLMPF (created by Brooklyn-based artist Joy Ling) sees Barron, who really just wants to “watch Netflix and play Pokemon,” teaming with Sasha and Malia Obama to solve the puzzle surrounding a “mysterious anomaly” that appeared after his father took office — which is not a polite way to refer to Kellyanne Conway. We don’t want to give away too many spoilers, but one of the central conflicts revolves around Barron trying to persuade his father to help put things right. Oh, that’s right, Donald Jerwillickers Trump makes an appearance, or at least the DJT from the universe where he doesn’t believe that exercise is a liberal plot to sap his precious bodily fluids.

Joy Ling“Please don’t tell me which flui-“ “Semen.”

Adam Wears is on Twitter and Facebook, and has a newsletter about depressing history that you should definitely subscribe to.

Art is great for letting some of the tension out, in case that’s a thing you need to do in this day and age, so maybe pick up some Bob Ross oil paints?

Support Cracked’s journalism with a visit to our Contribution Page. Please and thank you.

For more, check out 8 Hilariously Offensive Artworks Featuring Famous Presidents and 5 Unsettling Sub-Genres Of Fan Art Lurking On The Internet.

Read more: http://www.cracked.com/article_25547_5-wtf-ways-trump-has-been-immortalized-as-artwork.html

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robbialy · 6 years

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Crispin and Scapin, 1863 by Daumier. Honoré Daumier (born Feb. 20/26, 1808, Marseille—died Feb. 11, 1879, Valmondois, France), prolific French caricaturist, painter, and sculptor especially renowned for his cartoons and drawings satirizing 19th-century French politics and society. His paintings, though hardly known during his lifetime, helped introduce techniques of Impressionism into modern art. Background and early life Traits of Daumier’s ancestry—a violent temperament, a generous and rather fanciful turn of mind, and an easily aroused capacity for pity—all form part of his character. His mother’s family was from a village in which samples of unique ancient sculptured reliefs—fierce primitive human heads—had been found. His grandfather and father both worked in Marseille as “glaziers”—that is to say, dealers in frames (or passe-partout pictures) and decorative tableaux that they painted themselves. His godfather was a painter. When Daumier was seven, his father abandoned his business in order to go to Paris and, like so many Provençals, seek his fortune as a poet. He was presented to the king, Louis XVIII; but his swift fall from favour—he was famous only for a fortnight—unbalanced him mentally. After apparently being confined for many years, he died in the Charenton asylum. Daumier received a typical lower middleclass education, but he wanted to draw, and his studies did not interest him. His family therefore placed him with an old and fairly well-known artist, Alexandre Lenoir. Lenoir, a student and friend of Jacques-Louis David, a leading classicist painter, was more an aesthetician than a painter. He had a pronounced taste for Rubens, one of whose works he kept in his collection. A connoisseur of sculpture, he had saved the most beautiful medieval and contemporary sculptures from the Revolutionaries, which inspired a lasting interest in Daumier. Daumier was then not at all the uncultured, self-taught genius that most art historians of the late 19th and early 20th centuries have depicted. He did not rise from an artistic void—he was the child of artists, however modest and unsuccessful they had been in making a name. Added to the advantage of this ancestry, he also benefitted from a more interesting artistic education than his contemporaries. At the age of 13 his father’s breakdown forced Daumier to seek paying work. He first became a messenger boy for a bailiff and, from this experience, acquired his familiarity with the world of the lawcourts. He worked next as a bookseller’s clerk at the Palais-Royal. The Palais-Royal, with its arcades surrounding the garden, was one of the busiest spots in Paris, and there Daumier saw, parading before his employer’s window, all the characters of the Comédie humaine, about whom he would later talk with his friend Balzac: not only men and women of fashion, intellectuals, and artists but also “captains of industry,” or swindlers, as they were commonly called—all of whom lent themselves to caricature. Daumier’s development was thus complete at that moment when, about 1825–28, he decided to give up everything to embark on the artistic career of which he had dreamed so long. He was a young man of about 18 or 20, from a family of painters, who had had an opportunity to admire Rubens, had learned to analyze sculpture, and had been able to observe the appearance and behaviour of different classes of society. Physically he was ugly, at least according to the taste of his time. Heavyset like Balzac, although probably smaller, he had small but lively eyes and a large nose. He always kept a pipe in his mouth, in order to mask his Provençal accent and the frequent lisp of his native region. Daumier could not, of course, live from painting or from sculpture as he had set out to do. He therefore accepted commissions for lithographs—portraits and, at a very early age, cartoons of morals and manners (caricatures de moeurs), the first of these dating from 1822, when he was scarcely 15 years old and was just beginning to produce lithographs. Although some of his first works were signed, many others were not: they were portraits of celebrities that were signed by another native of Marseille, Zéphirin Belliard, Daumier’s elder by 10 years and the author of a lavish Iconographie des contemporains. For the most part these portraits were mediocre, modelled on another artist’s style, but they constituted an excellent apprenticeship for someone interested in the human physiognomy. His life, devoted entirely to his work, was to be divided into two parts: from 1830 to 1847 he was a lithographer, cartoonist, and sculptor; and, beginning in 1848 and lasting until 1871, he was an Impressionist painter whose art was reflected in the lithographs he continued to produce. Constant work was not a burden to him; while producing 4,000 lithographs and 4,000 illustrative drawings, he sang sentimental songs whose foolishness made him laugh, and, “unconcerned with his works, he was always out drinking cheap wine with barge captains.” Satirical lithographs In 1830 Daumier began his satirical work: his busts lampooning certain contemporary types and his many lithographs. He enjoyed the company of grandiloquent men and mainly associated with men of the left. It was at this time that Charles Philipon, a liberal journalist who had founded the opposition journal La Caricature, invited him to become a contributor. King Louis-Philippe generally tolerated jokes at his expense, but, when unduly provoked, rather than bring suit against a paper, he preferred to seize it, a procedure that meant ruin for its staff and financial backers. Only once during his reign did he deal severely with an offender—with Daumier in 1832, and then only after the second of the artist’s most violent attacks. Sentenced to six months in prison, Daumier spent two of them in the state prison and four in a mental hospital, the king apparently wanting to show that one had to be mad to oppose and caricature him. After his release in February 1833, Daumier was never again indicted, even though in his cartoons he continued to attack a regime, a form of society, and a concept of life that he scorned, while at the same time creating unforgettable characters. Daumier’s types were universal: businessmen, lawyers, doctors, professors, and petits bourgeois. His treatment of his lithographs was sculptural, leading Balzac to say about him that he had a bit of Michelangelo under his skin. Daumier’s sculptures have still not been sufficiently studied. The 15 or so small busts that he modelled in clay for the window of the satirical journal for which he worked and that remained there some 30 years occupy an important place in the history of sculpture. Scarcely differing from official busts, but with the accentuation of a detail that made them caricatures, they constitute an unforgettable gallery of the politicians of the July monarchy. The complete series has not been preserved: it included a Louis-Philippe, which Daumier hid, and other pieces that were broken in moving. A few copies of the busts were cast in bronze in the 20th century, and their originality is the more striking when they are compared with similar pieces of that period. Daumier’s only close friends were sculptors, all of them romantic, poor, and ardent left-wingers. Although intimate with these few friends, Daumier did not form part of any of the many artistic or literary coteries of the time. He was not inclined to frequent salons, or even saloons. When he went to a café, it was with his neighbours on the Île Saint-Louis, where he lived between 1833 and approximately 1850 in a studio on the quay d’Anjou. This old studio still exists, at the top of a house overlooking a world of roofs and open windows, behind which his models lived. Nor did his wife, to whom he was very attached, his dear “Didine” (Léopoldine), mix in artistic circles; she was a dressmaker. In 1848 Daumier believed the era of social justice for which he had militantly fought for 20 years had arrived, and he took part in the official competition for the representation of the republic that was to replace the portrait of the king in all the municipal buildings of France. His rough sketch was beautiful, and, had he agreed to complete the painting, he would have received the prize. Impressionist techniques He did not do so, however, for he had become preoccupied with new technical studies; earlier than others, he had discovered Impressionism—faces and bodies devoured by the surrounding light and becoming one with the atmosphere. He painted a great deal, and the more so as his studies in the new technique did not interest the satirical journals to which he now submitted drawings devoid of humorous meaning. He was supported by Charles Baudelaire and by that poet’s friends. The two men had met in 1845 and saw each other more frequently after 1848. Baudelaire, who “adored him,” wrote in 1857 the only significant article on Daumier to appear in the painter’s lifetime. Daumier was indeed the first of the Impressionists. As early as 1848, his lithographs show contours effaced by light. Two factors, however, prevented this fact from being noticed: the lack of interest in his lithographs shown by historians of painting and the lack of research to establish the exact dates of the lithographs. These dates were not necessarily those of their appearance. It has been shown, for instance, that the Impressionist lithographs, which appeared around 1860, had been rejected by journals in 1848 as being too bold, too modern. Because of this lack of demand, Daumier’s Impressionist lithographs are not very numerous, but his painting shows that he was won over to Impressionism. The paintings, also, were too few in number to assign him his true place in the history of Impressionism—before Manet and Monet, both of whom admired him greatly. The dating of Daumier’s paintings has given rise to controversy. Nineteenth-century art historians and those prior to 1938 dated them largely in relation to the paintings of his contemporaries. But it now seems more reasonable to date them from his lithographs, for it is not likely for an artist who changes styles frequently to work differently when drawing on a lithographic stone than when painting on canvas. When Daumier imagined a form, he would fashion and refashion it numerous times in his lithography. It is not likely that he would wait four to six years after he had stopped dealing with it in his lithographs to treat it in his painting. The question may be studied again, but not on the basis of documents of the period, for Daumier’s notebooks were too abbreviated, and critiques by his contemporaries were rare, since he seldom showed his works, and they went largely unnoticed. Daumier’s paintings are highly original, both in their style and in the subjects they present. He created the painting of morals and manners (la peinture de moeurs) featuring in his work the everyday life on the Île Saint-Louis and its quays, such as children playing in the water, one of them brought back to its parents after an accident; horses leaving a water trough; washerwomen wearily returning up the stairs from the river or fighting against the wind, their bundles in their arms; drinkers in a pub; and masons on a scaffold. He was stirred by the theatre, then by railroads, which he used as a means of showing galleries of faces as powerful in their impact as those of the Ventre législatif (“Legislative Belly” or “Vile Body of the Legislature”). Earlier, the Palais de Justice had provided him with the opportunity of drawing his dramatically impressive lawyers (see photograph). Then he went to Valmondois, on the outskirts of Paris, and depicted rustic scenes. Much of his painting was devoted to artists’ studios—not studios of a studied picturesqueness but those where artists were concerned with creating works of art. These subjects are found again in his lithographs, together with topical subjects, such as seaside resorts, hunting, and winter scenes, all of which, having been commissioned, seemed to inspire him less. Thus he transposed into his painting what had until then belonged to the domain of the caricatures of morals and manners. Daumier was not often inspired by religious subjects, except for the image of Christ, insulted and ridiculed, in which there appears to be personal allusion—that of a man who each day hoped to draw his last cartoon so that he could devote himself to painting. On the other hand, mythology excited him during his Rubens period under Lenoir; but in this case, obviously, the subject was only a prop for the painting. On several occasions Daumier painted historical subjects. He painted Camille Desmoulins, the Revolutionary leader, rousing the crowd in 1789; and his Emigrants of 1857 is an allusion to the authoritarian empire of Napoleon III, a painting that echoes the words of the proscribed Victor Hugo: “It is not I who am proscribed, it is liberty; it is not I who am exiled, it is France.” The types that Daumier created did not always survive him. He created a Louis-Philippe, but above all Robert Macaire (the typical businessman of Louis-Philippe’s reign). His Bons Bourgeois probably served as a reference for the French middle class up to the 1940s. In any case, his Lawyers remain up-to-date. Following tradition, Daumier took pupils who learned their craft by copying and imitating his works. Two of them are known by name: Boulard and Gill. Their works are known—incorrectly—as faux Daumier, for works are only false when one is unable to see that they are the exercises of pupils. Less solitary than he is said to have been, and admired by the new school, notably by Manet, Daumier grew old: sadly, for he would have liked to give up his lithographic work in favour of painting, but he could not do so. But he was happy in the knowledge that his lithographs preserved their force, as Hugo said in 1870 when Daumier symbolized his great satirical poem Les Châtiments by a crucified eagle. In 1871, Daumier, who had discreetly refused to be decorated by the empire, became a member of the leftist Paris Commune. He was almost blind during his last years. His drawings, like those of Edgar Degas, gained a magnificent wholeness. He had one last joy, an exhibition at the Durand-Ruel Gallery in 1878. People began to say that his paintings were at least as good as his lithographs, though it was more the republican than the artist that they wished to celebrate. As a cartoonist, Daumier enjoyed a wide reputation, although as a painter he remained unknown. His fame was not based, any more than it is today, on critical appreciations but, rather, on the smiling or laughing admiration of those who read the satirical journals.

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5 WTF Ways Trump Has Been Immortalized As Artwork

Deep Dream Trump Is Pure Nightmare Fuel

Chris RodleyThat’s why you don’t share a teleporter with Muppets.

Chris RodleyCourtesy of Industrial Light and Horror.

It could be a lot worse, though. You could be looking at a video of Trump transformed into an awakened eldritch horror struggling against the confines of our universe:

youtube

Though on the plus side, Trump’s hair has never looked more in its element.

Eric Cheng/YouTubeOh, like you’ve never had a wookiee sex dream.

All Hail God-Emperor Trump!

via The Flama

via The FlamaHis armor appears to be made from the Ark of the Covenant, which is appropriate, since it makes us want to melt our faces off.

via r/Warhammer40k

Robokoboto/Art AbyssCarrying the skulls of his own supporters doesn’t seem ominous at all.