ART 111/350

Carlos Franco

Gilbert & George, Jiří Surůvka, 1999, From the collection of: Olomouc Museum of Art
The composition titled Gilbert & George, dated 1999 is part of a broader and unfinished cycle of computer manipulations in which, by changing the context and the use of telling details, he destroys the traditional image of actors. He introduces a pair of artists, important celebrities of world art and defenders of the rights of sexual minorities, in the role of ridiculous hypocrites with animal heads on the emaciated bodies of anonymous victims of the holocaust. He ridicules the superfluous nature of certain art expressions and puts them in sharp contrast with serious issues from the recent, mainly totalitarian, past of both ends of Europe. Some other works related to the author's ironical concept as described above successfully represented the Czech Republic at the 49th Biennale in Venice in 2001.
Expulsion from Number 8 Eden Close, Grayson Perry, 2012, From the collection of: Arts Council Collection
The tapestry shown is the fourth in the set – "the heart of the whole drama of taste": Tim is at a university studying computer science, and is going steady with a nice girl from Tunbridge Wells. To the left, we see Tim’s mother and stepfather, who now live on a private development and own a luxury car. She hoovers the AstroTurf lawn, he returns from a game of golf. There has been an argument and Tim and his girlfriend are leaving. They pass through a rainbow, while Jamie Oliver, the god of social mobility, looks down. They are guilty of a sin, just like Adam and Eve in Masaccio’s The Expulsion from the Garden of Eden (c.1425). To the right, a dinner party is just starting. Tim’s girlfriend’s parents and fellow guests toast the new arrival. Text (in the voice of Tim’s girlfriend): ‘I met Tim at College, he was Such a Geek. He took me back to meet his mother and Stepfather. Their house was so clean and Tidy, not a speck of dust… or a book, apart from her god, Jamie. She Says I have turned Tim into a Snob. His parents don’t appreciate how bright he is. My father laughed at Tim’s accent but welcomed him onto the sunlit uplands of the middle classes. I hope Tim loses his obsession with money.’
Ginevra de' Benci, Leonardo da Vinci, c. 1474 - 1478, From the collection of: National Gallery of Art, Washington DC
Medium: Oil paint Surface: Wood She was the daughter of a wealthy Florentine banker, and her portrait—the only painting by Leonardo Da Vinci in the Americas—was probably commissioned about the time of her marriage at age 16. Leonardo himself was only about six years older. The portrait is among his earliest experiments with the new medium of oil paint; some wrinkling of the surface shows he was still learning to control it.
The Starry Night, Vincent van Gogh, 1889, From the collection of: MoMA The Museum of Modern Art
Medium: Oil Paint Characteristics: Post- Impressionism The night sky depicted by van Gogh in the Starry Night painting is brimming with whirling clouds, shining stars, and a bright crescent moon. The setting is one that viewers can relate to and van Gogh´s swirling sky directs the viewer´s eye around the painting, with spacing between the stars and the curving contours creating a dot-to-dot effect. Van Gogh´s choice of color in Starry Night has been much debated, particularly the dominance of yellow in this and other late works. Some believe van Gogh may have been suffering from lead poisoning or a type of brain disease and that this explains his strange use of color in later paintings.
The Bitter Potion, Adriaen Brouwer, 1636 - 1638, From the collection of: Städel Museum
Medium: Oil Support: Wood The Bitter Potion, also known as The Bitter Draught and The Bitter Tonic, was produced during the last years of Brouwer's career and is among his most important works. The sitter had obviously just tasted a bitter medicine and his extremely distorted facial expression is evidence of deep disgust. The bitter tonic was believed to have been made up of herbs from the cinchona tree which helped fight off malaria. It was also known as the 'constipation of drugs'. Warm colors dominate this work, in various high and low brown tones with a strong white sheen and undercoating for the flesh which was another technique derived from Hals. Brouwer also uses a bright red interlaced with white that created an orange tone for the flushed skin that lightens this dark composition.
Diorama 5: Rice Terraces, Ifugao, circa 1150 AD, Ayala Museum Staff (Historians, Researchers, Artists) and Artisans from Paete, Laguna, 1974 - 2011, From the collection of: Ayala Museum
Medium: Diograma The terraces cover some 3,160 acres and were built even before rice was introduced into the mountains. If the terrace walls were placed end to end, they would go halfway around the world, being eight times longer than the Great Wall of China. Contrary to common belief, the terraces are not carved on the mountainsides but are built. The pond field terrace has visible parts: the flat flooded enclosure, rimmed on the outer edge by a low retaining dike; this is surrounded by an artificial or natural slope below the dike on the downhill side, and by slopes rising from the inner flooded area on the uphill side. The terraced fields are worked entirely by hand, since there are no draft animals used. Seedlings are raised in special sections of a field then transplanted entirely by hand. Harvests are community affairs using labor exchange. The pond field also serves as a fishpond, when filled with water. During off-season, the pond soil and the straw from the field are raked into mounds and mulched. Vegetables are planted on top of these mounds. More Details
Credits: All media
This user gallery has been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.