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Canvas Tube @canvas.tube

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Egon Schiele -
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Egon Schiele -"No erotic work of art is filth if it is artistically significant; it is only turned into filth through the beholder if he is filthy."⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Egon Schiele Two Girlfriends 1915 pencil and watercolor on cardboard ⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ #egonschiele #schiele

Egon Schiele -
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Egon Schiele -"To restrict the artist is a crime. It is to murder germinating life."⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Egon Schiele Seated Couple 1915 pencil and watercolor on cardboard 52 x 41.1 cm⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ #egonschiele #schiele

Egon Schiele -
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Egon Schiele -"Art cannot be modern. Art is primordially eternal."⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Egon Schiele Mother and Child 1914 watercolor and charcoal on paper 48.2 x 31.9 cm⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ #egonschiele #schiele

Devastating turn in fortune, the humiliation of the experience, and moreover the ensuing tragedy of pan-European #war and the revolution in Russia, altered the course of Jawlensky’s life and art. In Das blasse Mädchen mit grauen Zopfen (“The Pale Girl with Gray Braids”), the artist continued his signature, pre-war series of expressive women’s heads, while contemplating a more introspective and spiritual sense of the world, and the nature of his response to the chaos into which it had descended.
Jawlensky and his family circle resettled in the lakeside village of Saint-Prex. “It was very tiny, our house, and I had no room of my own, only a window which I could call mine,” he later reminisced. “I tried to continue painting as I had in #Munich, but something inside me would not allow me to go on with those colorful, powerful, sensual works. My soul had undergone a change as the result of so much suffering... I had to discover different forms and colors to express what my soul felt” ⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀
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Alexej von Jawlensky (1864-1941)
Das blasse Mädchen mit grauen Zopfen
1916
oil over pencil on linen-finish paper laid down on masonite
63.5 x 49.5 cm⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
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#alexejvonjawlensky #jawlensky
@canvas.tube

Devastating turn in fortune, the humiliation of the experience, and moreover the ensuing tragedy of pan-European #war and the revolution in Russia, altered the course of Jawlensky’s life and art. In Das blasse Mädchen mit grauen Zopfen (“The Pale Girl with Gray Braids”), the artist continued his signature, pre-war series of expressive women’s heads, while contemplating a more introspective and spiritual sense of the world, and the nature of his response to the chaos into which it had descended. Jawlensky and his family circle resettled in the lakeside village of Saint-Prex. “It was very tiny, our house, and I had no room of my own, only a window which I could call mine,” he later reminisced. “I tried to continue painting as I had in #munich, but something inside me would not allow me to go on with those colorful, powerful, sensual works. My soul had undergone a change as the result of so much suffering... I had to discover different forms and colors to express what

Alexej von Jawlensky -
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Alexej von Jawlensky - "My art in the last period has all been in small format, but my paintings have become even deeper and more spiritual, speaking truly through colour. Feeling that because of my illness I would not be able to paint very much longer, I worked like a man obsessed on these little 'Meditations' (a long series of small paintings he made during the last years of his life, with as main motif the schema of a face, ed.). And now I leave these small but, to me, important works to the future and to people who love art."⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Alexej von Jawlensky (1864-1941) Portrait of Alexander Sakharoff 1909 Oil on canvas 69.5 × 66.5 cm⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ #alexejvonjawlensky #jawlensky

Alexej von Jawlensky -
@canvas.tube

Alexej von Jawlensky - "The artist expresses only what he has within himself, not what he sees with his eyes."⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Alexej von Jawlensky (1864-1941) Blaue Schürze  1909 Oil on board 102.5 × 69.5 cm⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ #alexejvonjawlensky #jawlensky

Adrian Ghenie -
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Adrian Ghenie - "One of the artists I was always inspired by was #titian, during the Renaissance in Venice. He painted semi-transparent layers, one upon the other, so each layer functions as a light box for the next. If you want to have a very special red, you will put a red yellow under it. Or if you want the red to be cold, you would use blue. Imagine how abstract you are required to think! You start a composition that, in the end, has to be a #crucifixion, with spots of color that are completely different from the final image. This sense of anticipation fascinates me. You work with this painting in an in-between phase for months, and all the layers are created to get to the final one."⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Adrian Ghenie Pie fight study 2013 Oil on canvas 50 × 40 cm⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ #adrianghenie #ghenie #pie

Adrian Ghenie -
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Adrian Ghenie - "On one hand, I work on an image in an almost classical vein: composition, figuration, use of light. On the other hand, I do not refrain from resorting to all kinds of idioms, such as the surrealist principle of association or the abstract experiments which foreground texture and surface."⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Adrian Ghenie The Lidless Eye (for Parkett no. 99) 2016-17 Multiple of cut-and-pasted printed paper on printed paper 23 × 20.3 cm⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ #adrianghenie #ghenie #vangogh

Adrian Ghenie -
@canvas.tube

Adrian Ghenie - "I’m not trying to make my biography like I grew up in a communist dictatorship—I was just a kid, I didn’t have any trauma, But what happened in Romania after ’89 - the fall of the Berlin Wall— was very interesting. When you realize a whole country can be manipulated and made to believe one thing about itself, and then the regime falls and you find out that no, it was the other way around . . . I saw how it is possible to manipulate a whole country. What is the truth? What is trauma? Do we just think we’re humiliated, or are we really humiliated? In the end, wars and tragedies are all the same."⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Adrian Ghenie Untitled (Study for DADA Room) 2011 Oil on Canvas 200.7 x 144.8 cm⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ #adrianghenie #ghenie

Robin F. Williams -
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Robin F. Williams - "They are imagined for the most part. I often start with a drawing and then photograph myself, or friends as reference. I pose for paintings myself frequently because I know I can capture exactly the gesture, body language or expression. The images are in my mind and body already as I’m drawing them. I feel like an animator sometimes. I just have to get the gesture down, and acting it out myself can be helpful." ⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Robin F. Williams Fighters 2018 Oil on canvas 72 x 64 inch⠀⠀⠀⠀⠀ ⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ #robinfwilliams #robinfrancescawilliams

Robin F. Williams -
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Robin F. Williams - "Cigarettes have an incredible psychological weight and symbolic power. That’s another reason they are so addictive. I’m painting about psychological weight and symbolic power more than I’m painting about smoking. #cigarettes have served as a stand-in for sex, desire, femininity, masculinity, strength, freedom, fun, youthfulness, wisdom, immortality or death to name just a few. To acknowledge that observation in my work makes cigarettes a stand-in for the fragility of identity (which advertisers would be unlikely to espouse.) It’s not propaganda for the product itself. It’s closer to the opposite. " ⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Robin F. Williams Drag 2017 Acrylic on canvas 34 x 32 inch⠀⠀⠀⠀⠀ ⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ #robinfwilliams #robinfrancescawilliams

Robin F. Williams -
@canvas.tube

Robin F. Williams - "They are the stories we use to explain what we can’t understand. Why do we cling to the idea that femininity and masculinity are hierarchical and distinct? It’s that essentialist question: is there something eternal about that dichotomy? I tend to think that these ideas about gender are very fluid, but I wonder why we hold on so dearly to the idea of feminine and masculine as separate. Maybe so we can rank them or eroticize them. I don’t know, but I like to run experiments with the paintings." ⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Robin F. Williams Burn 2017 Acrylic, airbrush, oil and oil stick on canvas 50 x 48 inch⠀⠀⠀⠀⠀ ⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ #robinfwilliams #robinfrancescawilliams

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