Is Art is a woman? That the big S, and is not promoted on the strength of the public sometimes ... No, art can not be analyzed in this way. But it can be noted that, depending on gender, men and women see the art other things, have different tastes. How many guys in fact like Frida Kahlo, while most of the known art historyczek I lost her? Why men seek different experiences, images and the sculptures are asking more questions ... Anyway, not to try to answer this question, somewhere in the distance looms the question of "women's art" - not a feminist, not calling for the elimination of real or imagined oppression, but art created by women for women and for women. He was already a post of its kind in this blog (link ), was a post, as it appeared in the nineteenth century ( link), so it's time for my favorite contemporary author. Barbara Fox ... the very name sounds lovely. And her work is even better.
This work can not knocks some considerable size. On a sheet of paper the size of 13 to 19 inches by Barbara Fox and gouache watercolors she painted still lifes pretty successful against the wall with reproductions of famous paintings that look like photos from the Polaroid. As the dopowiedziała their work in one of the American Directories "I accepted a new way to make own more personal still lifes. (...) "Blessing" originated when I saw how późnowieczorne sunlight poured onto the floor in the dining room. It was so beautiful that I just had to capture the scene. Clasped a pair of pears and pot, creating a still life. And when I started painting, I realized that the pears and a pitcher have a feminine shape. " It's obvious that this scene needed a woman's hand and ... the soul. The sensitivity of the artist, even if deliberately emphasized because of the requirements catalog is clearly visible on the out side painting. Almost half a meter card becomes something more than just a still life, femininity permeates this picture, makes it unique, though of course you can see imperfections Workshop Barbara (those eyes, "Girls with a Pearl Earring" ... - grrr, is too far from Vermeer).
But let's look at the screen through a different prism, through what is so unique in the painting, and so able to capture the moment (or its generation). Pears do not seem to be too stable, a swept aside, and the middle almost slumps for two more pękatym "girlfriends" on the left. Presented next version of the image is not only because the watercolor is known to me as well as more elongated (and cut the top and bottom), plus the lack of differing signatures under one of the pears. I get here later reproductions believe man is placed in the internet ...;) Both lines, however, a "magiczność" scene, we were able to generate Barbara Fox. Pears do not seem natural, and fioletowożółciste light is far from that, which usually appear to us to set fruit. In general, the use of violet and lily of color makes this little space of the house becomes a human embodiment of its owner. Typically, in art and literature we are talking about pars pro toto - a component of the body, which symbolizes the whole. Here also we have a pars pro toto, but not physical shell, but the soul.
Let us look at a woman in the background - Vermeer, probably the only artist who was able to seventeenth-century Dutch women to choose, and then present those that may still embody the ideal of feminine beauty. Next Tahitanka the image of Gauguin, the impression of a passive woman, the painter conductive into temptation (although at that time had a daughter the same age). Finally, Modigliani, which acts in conjunction with images de Kooning became the symbol of twentieth-century female nude. And all of these images transform slowly in the eyes of the viewer into the essence of body and soul, representatives of the fair sex. Somewhat obscured by the pitcher thus constitute a kind of base for the artist, who shapes his own identity by reference to tradition, but also those fleeting moments that with painstaking diligence is trying to shed that how a woman's technique is watercolor or gouache.
Focus on Gauguinie, because his presence here is significant. Surely you do not need to remind the reader that his stay in Tahiti ended romance with a teenage girl, painted in "Manau tupapau. Obnoxious ghost in the background here was a form of disguise theme, which was an act radically violates moral norms of society, which had already even accept the crude beauty of the title character in "Olympia" by Manet. It is true that Gauguin painting late nineteenth century, can not pass up such a "masculine" look on women as merely sexual objects, as it seems to impute Griselda Pollock, but at first glance that the artist was fascinated by the openness of contemporary society, compared with an ever pruderyjną France. As in the end he wrote: "I saw many women look spuszczających. Perceived them as wishing to be "wziętymi" without words, brutally. Almost in the same bound for rape. " Oh, that Gauguin ... as you can see an educated civilized man can not cope with the culture of the time, acknowledged by him for the primitive world. But what Barbara wanted to tell us precisely using postimpresjonisty work, which had time obrosnąć rather large feminist literature? Rather reaches after the closed form of a passive woman, seemingly independent, but being treated without any restrictions oglądowi feminine. In this context, Modigliani nude woman is more active and aware of their femininity (and the associated forces manipulating male recipient).
background evolution is therefore more suggestive than the first - a typical wife and mother for a copy of Vermeer's masterpieces, which looks at the trusting eyes of the recipient. This is probably caused in 1664 or 1665, a painting from a museum in The Hague Maurithuis is quite unusual, because in fact it is not a portrait. Rather, it is one of the most famous "throne", which in Dutch means "face" - shows a more or less idealized face, rather than specific individuals. Some painters of that time created a bit satirical ryjki, referring to the popular addictions, bad habits or character traits. Others, however, illustrated with each other in an unusual grimace (like Rembrandt opens his mouth.) Vermeer painted a similar picture and identify appropriate to a servant of the artist (as in the famous book and film with Scarlett Johansson) and her daughter Maria, you may be doomed to failure. This is not a character was at stake, but to the ideal of feminine beauty, naturalness, of course, permeates the entire painting and moving the viewer. Quiet, confident sweet eyes, red lipstick gently pulling the viewer's attention, finally, a perfect balance, "gravity" of an image by dropping pieces of headgear - it all makes Vermeer, one of the best artists in the history of Europe (and to think that waiting until the second half. XIX century to its re-discovery). For the customer experience synaesthesia refers to Barbara Fox, leaving looking at the work face to face with three exceptional women in the history of painting.
Barbara Fox did not get it up "to a more artistic career. Since the completion of art school in 1979 worked mainly as an illustrator, and sometimes I just sold the images to the secondary and tertiary American museums (like the museum in Green Bay, Wisconsin). A few years ago, in 2006 the artist a bit "appreciated" and employed in design of commemorative coins and medals issued by Congress, but it is hardly a remarkable artistic career. A total of a little pity, because something in these paintings is what makes even a simple workshop and sometimes imperfect, are a relief for tired eyes contact of the complex art. At the same time are very feminine and I think you agree with the painter, who claims that her "goal is to faithfully reproduce the image, yet beautiful, that through the use of color and shading to show the objects in a novel way."
PS. If after this alert someone says that I'm not romantic, it's totally do not know what to say, out of romance (yes, a hint to you, Beato phenomenal ....)
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