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#arthistory

25 posts22 participants0 posts today
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Laura G, Sassy 70’s

Tonight at dusk begins Yom Hashoah, the Jewish memorial day for the Holocaust. In remembrance, your art history post for today is by Malva Schaleck (1882-1944), who was murdered in Auschwitz: Self-Portrait, 1944, pencil and oil pastel on cardboard, 30 X 44 cm, Ghetto Fighters House Museum, Lohamei HaGeta’ot, Israel. #arthistory #holocaust #YomHaShoah

“In 1942 Schaleck was transported to the Terezin ghetto. This was a period of physical difficulty and emotional distress. Despite her failing health, she created many works in secret, depicting scenes of ghetto life. Her works were done in pencil, charcoal and watercolours, and were hidden in the walls of the buildings. Discovered after liberation, they are a faithful testimony of various aspects of the living conditions in the Terezin ghetto-camp.

After refusing to draw a doctor who was a collaborator, Malva Schaleck was sent to Auschwitz on 18 May 1944. She died there.” ~ holocaust-art.ort.org/artists/

“Her final work, presumably created during her last months in Theresienstadt, is a poignant self-portrait. In the image below, we witness the artist with a bowed head, gazing downward. Her hair is pulled back, revealing a visage that appears aged and almost cadaverous. The touch of red on her lips accentuates a final semblance of life.” Daily Art Magazine: dailyartmagazine.com/malva-sch

A sensitively drawn portrait of a woman, wearing a scarf around her hair. Depicted in three-quarter view, looking downward.
Public
WerkstattGeschichte

Heute vor 250 Jahren wurde der britische Maler #WilliamTurner geboren. Er bannte das Zusammenspiel von Licht, Technik & Bewegung in der Natur auf völlig neuartige Weise auf die Leinwand, wie auch sein Gemälde "#SlaveShip" (1840) zeigt. Ein Ausschnitt ziert das Cover unseres Doppelhefts #WerkstattGeschichte 66/67 (2015) mit dem Thementeil "europas sklaven", hg. v. Doris Bulach & Juliane Schiel:
▶️ werkstattgeschichte.de/alle_au

@histodons @historikerinnen @arthistory

Frontcover von WerkstattGeschichte 66/67 (2015) "europas sklaven" mit einem Ausschnitt des Gemäldes von William Turner "Slave Ship" (1840); es zeigt ein Segelschiff ohne Segel an den Masten vor einem aufziehenden Sturm auf hohen Wellen vor einem orange-goldenen Sonnenuntergang im Hintergrund; im Vordergrund in den Wellen sind Körper von sterbenden und toten Versklavten zu erkennen, die über Bord geworfen wurden (so der Originaltitel: "Slavers Throwing Overboard the Dead and Dying – Typhon Coming On").
#histodons#Slavery#ArtHistory
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Laura G, Sassy 70’s

Your art history post for today: by Swiss artist Jean Etienne Liotard (1702-1789), A Lady in Turkish Dress and Her Servant, ca. 1750, oil on canvas, 28 1/2 x 22 1/2 in. (72.4 x 57.2 cm), The Nelson-Atkins Museum of Art, Kansas City, Missouri. #arthistory #oilpainting #Art

From the museum: “Liotard’s painting of the women in the hamam is staged. Although they are dressed in Turkish clothing, the women are not Turkish Muslims but Franks, a catchall term used to describe Europeans living in the Ottoman Empire. As a European man, Liotard had no access to Muslim women, nor did he or any man, Frankish or Muslim, have access to the bath when women were present. Liotard’s painting thus presents the viewer with a fictional glimpse into the unseen lives of women in the empire.”

In this painting by Jean Etienne Liotard, a sumptuously clothed woman, wearing the layered garments typical of Ottoman Turkish women’s dress, gestures to her more modestly attired attendant. Every detail of clothing is carefully and accurately rendered in thin, smooth layers of paint, from the sheen of the servant’s striped silk habit to the details of her mistress’s embroidered red robe, loose trousers, and scarves, and the reflected light on her gold coin necklace, filigree bracelet, and delicate rings. The basin (kurna) in the background indicates that the women are in the public bath (hamam), as do the high pattens or clogs (nalin) that both wear to protect their feet from the damp floor. The double-sided comb and pot of henna on the servant’s tray additionally reference the rituals of the bath.
Public
Laura G, Sassy 70’s

Your art history post for today: by Frederick Carl Frieseke (1874–1939), “Girl Reading," c. 1903-04, oil on canvas, 32 × 25 3/4 in., Museum of Fine Arts Houston. #arthistory

Info from another institution, the National Gallery of Art, Washington, DC: “At the height of his career, in the 1910s and early 1920s, Frieseke was perhaps the most popular of all living American artists. He received numerous awards and medals and saw his work purchased by private collectors and major museums. Decades after the initial introduction of Impressionism by Monet and his contemporaries, Frieseke assumed this style for his work, choosing to ignore the newer artistic movements of the early twentieth century. Nevertheless, his paintings were acclaimed in both the United States and in Europe…

In the decades following his death, however, after artistic tastes had changed considerably, his work was nearly forgotten until it received renewed attention as interest in American Impressionism grew in the 1960s.”

An oil painting of a seated woman in a long white dress and wearing a hat, reading a book.
Public
Laura G, Sassy 70’s

For Easter, my art history post presents my all-time favorite depiction of the Resurrection: by Matthias Grünewald (ca. 1470-1528), part of his Isenheim Altarpiece, a tour de force of Northern Renaissance painting. Even in reproduction, it has powerful impact: Christ emerging with blinding light and color, the Roman soldiers prostrate upon the ground.

None of the Gospel writers describe the actual event of the Resurrection. None of them were there to see it happen. They tell us of the aftermath, the encounters with Jesus. The most tender meeting occurs in the Book of John, with Mary Magdalen. "Woman, why are you crying?" He asks her, as she mistakes him for the gardener. Then, when he calls her by name, she recognizes him and cries out "Rabboni!" (which means Teacher).

Christ emerging from the tomb with blinding light and color, the Roman soldiers prostrate upon the ground. Khan Academy's website describes the Altarpiece as the most fantastically weird artistic production of Renaissance Christianity, "Christ is wreathed in orange, red and yellow body haloes and rises like a streaking fireball... " I couldn't put it better myself
#arthistory#Easter
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