The Slave Ship, originally titled Slavers Throwing overboard the Dead and Dying—Typhoon coming on, is a painting by the British artist J. M. W. Turner, first exhibited in 1840. Measuring 35 3/4 x 48 1/4 in. in oil on canvas, it is now in the Museum of Fine Arts, Boston. In this classic example of a Romanticmaritime painting, Turner depicts a ship, visible in the background, sailing through a tumultuous sea of churning water and leaving scattered human forms floating in its wake.
Join us for an in-depth conversation with legendary performer, writer, and political activist Caetano Veloso about the legacy of Tarsila do Amaral. An internationally renowned Brazilian pop singer, Veloso was a leading figure of Tropicália, a movement that contributed to the rediscovery of do Amaral’s work in the 1970s. The discussion is moderated by Luis Pérez-Oramas, curator of the MoMA exhibition "Tarsila do Amaral: Inventing Modern Art in Brazil."
"Tarsila do Amaral: Inventing Modern Art in Brazil" is on view until June 3: http://mo.ma/2eNRh5i
Born on 21 March 1987, Guim Tió Zarraluki is a Spanish artist from Barcelona and he loves olives. Please, for any enquiry send him an email at imnot@guimtio.com
Jenny Saville (born 7 May 1970) is a contemporary British painter associated with the Young British Artists. She is known for her large-scale painted depictions of nude women. Saville works and lives in Oxford, England.
Madame X or Portrait of Madame X is the title of a portrait painting by John Singer Sargent of a young socialite named Virginie Amélie Avegno Gautreau, wife of the French banker Pierre Gautreau. Madame X was painted not as a commission, but at the request of Sargent. It is a study in opposition. Sargent shows a woman posing in a black satin dress with jeweled straps, a dress that reveals and hides at the same time. The portrait is characterized by the pale flesh tone of the subject contrasted against a dark colored dress and background.
The scandal resulting from the painting's controversial reception at the Paris Salon of 1884 amounted to a temporary set-back to Sargent while in France, though it may have helped him later establish a successful career in Britain and America.
I’m interested only in expressing basic human emotions — tragedy, ecstasy, doom, and so on — and the fact that lots of people break down and cry when confronted with my pictures shows that I communicate those basic human emotions… The people who weep before my pictures are having the same religious experience I had when I painted them. And if you, as you say, are moved only by their color relationships, then you miss the point!
This painting of the Crucifixion, Eakins's only religious work, demonstrates the artist's interest in rendering the human body realistically. Jesus's sagging torso, bent knees, stretched arms, and clenched hands all suggest an actual male body hanging from a cross in the agony of his last moments. To understand the human anatomy in this position, Eakins strapped a model, one of his students, to a cross.
Eakins spent most of his life in Philadelphia, but trained in a Paris studio where the study of the nude was considered an essential basis for painting.
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