Serious Pursuits – Art history reimagined

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“Art is either plagiarism or revolution” – Paul Gauguin

a curated art selection by Alexander Collins

In the postmodern world, we find that the iconic images, colours and techniques found in historic artworks, exert a grip on our imagination. They have migrated and been appropriated through modern media, design, fashion and technology. Yet, they also descend into the work and methodology of twenty-first-century artists. We have selected a series of pieces from our portfolio that reveal the enduring impact of historic artworks and classical prototypes.

Arrival of the blue man – Ambro Dritty

Dritty’s theatrical painting style echoes the figurative sanguine drawings of the Italian Renaissance and Baroque. The composition reveals the beauty of the human body and the language of our gestures, whilst also symbolising the intimate physical bonds formed between individuals. ENQUIRE ABOUT ARTWORK

Le Jardin Oublie – Carry van Delft

This colourful abstract flower painting is abundant and energetic in movement, yet van Delft achieves a naturalistic sense of order in her composition that can be seen to take its influence from Claude Monet’s (1840-1926) flower paintings from his garden at Giverny, and seventeenth-century Dutch flower painting. ENQUIRE ABOUT ARTWORK

Les femmes porcelaines II – Pierre Marie Brisson

Brisson’s mixed media work shows ballerina figures en pointe; a subject frequently found in the paintings of Edgar Degas (1834-1917). Irony springs from the contrast between the perfection found in the positioning of the figures and the cracked paint surface. ENQUIRE ABOUT ARTWORK

Bacchante – Jan Pater

The female torso features greatly in the work of Pater. The form allows him to compose movement, tension and the sequence of lines into a combination of recognition and abstraction. The movement of the body reflects the subject of the work; Bacchante in Roman mythology, or Maenad in Greek, were the followers of Bacchus (the god of wine and harvest), and their name translates literally as ‘raving ones’. On Greek vases, they were often portrayed in a state of ecstatic frenzy through a combination of dancing and intoxication. A moment of this revelry is captured in Pater’s figure. ENQUIRE ABOUT ARTWORK

Aurora – Eppe de Haan

De Haan’s Aurora, like all his sculptures, has an implicit sense of movement; a sense of past and present. The sculpture expresses the tension between control and freedom, contrast and harmony. The idea of control carries into the subject matter; Aurora was the Roman goddess of dawn. She renewed herself every morning, and flew across the skies in her chariot announcing the arrival of the sun. Here, her cloak billows behind her, in much the way it does in Gerard de Lairesse’s (1640-1711) painting of Apollo and Aurora. ENQUIRE ABOUT ARTWORK

Venus and Mars – Zachary Eastwood-Bloom

Eastwood-Bloom’s giclée print of Venus and Mars takes its cue from the Roman god and goddess. Venus represented love, beauty, desire, prosperity and victory to the ancient Romans. Her consort in the Pantheon, Mars, was the guardian of soldiers, farmers and masculinity. The fiery rage of Mars, represented here by the jagged surface on the left, is absorbed and tempered by the assimilative and benign figure of Venus. She achieves this by uniting the opposites of male and female in mutual affection. ENQUIRE ABOUT ARTWORK

Styleroom – Jeroen Allart

Styleroom appears more like a print or a cut out than a painting, due to the absence of brushstrokes and flatness of the composition. Allart brings a sense of stillness to a scene that recalls the quiet domesticity of French eighteenth-century tea ceremonies, and genre scenes such as Le Dejeuner by Francois Boucher (1703-1770) and Interior with Card Players by Pierre-Louis Dumesnil (1698-1781). ENQUIRE ABOUT ARTWORK

The Thinker: Fianarantsoa 2014 – Pierrot Men

Pierrot Men describes his photographs as being humanist in spirit. His finely positioned images are raw, ambiguous and prompt an emotional response from the viewer. Here, a man sits in contemplation, removed by his thoughts from his uncomfortable surroundings. The work makes for interesting comparison to that of Auguste Rodin’s (1840-1917) sculpture of the same name. The Thinker, a figure seated deep in thought, was originally conceived by Rodin to sit in front of his Gates of Hell group, which depicts a scene from ‘The Inferno’; the first section of humanist scholar Dante Alighieri’s Divine Comedy. Yet, whereas Rodin’s Thinker suffers from an imaginative, theological hell, Men’s Thinker suffers from the physical hell of poverty. ENQUIRE ABOUT ARTWORK

Please contact a member of our team if you require further information with regards to one of our artworks, or if you would like us to develop a tailor-made art concept for your property.


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