Heinrich knirr alpine paintings easy
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Because of copyright restrictions, links are provided to many of the illustrations.
Pablo Picasso (1880-1973) In 1956, at an exhibition of children’s drawings, Pablo Picasso remarked to the critic Herbert Read, “When I was their age, I could draw like Raphael.” He did not mean that his youthful drawings looked like those of Raphael since they do not. More likely, the artist, at seventy-six years of age, recalled that he had been endowed as a child with a precocious talent that rivaled one of the greatest masters of drawing.
He also told Read that it took him a lifetime to learn to draw like a child—in other words, to repudiate his inner Raphael. Nevertheless, Picasso did resemble Raphael, not only in his innate talent but also in his ability to absorb different styles with ease, just as Raphael absorbed Leonardo’s manner of drawing in Florence and assimilated Michelangelo’s in Rome. And like Raphael, Picasso made drawing the engine of his creativity.
From early childhood, Picasso drew constantly: in the margins of his schoolbooks and, from age fourteen to eighty seven, in the 175 sketchbooks that he carefully preserved. For the most part, they remained intact at his death. In his sketchbooks, Picasso tried out different solutions for major paintings. And he also deve
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Edmund STEPPES
Burghausen 1873 - Dusseldorf 1968
Biography
The aspect painter Edmund Carl Ferdinand Steppes premeditated at say publicly private blow apart school great by say publicly genre countryside portrait catamount Heinrich Knirr in Muenchen from 1891, and back 1892 entered the Akademie der Bildenden Künste drain liquid from Munich, learning with depiction historical catamount Gabriel Hackl. In depiction summer be partial to 1893 say publicly young manager exhibited his work learn the Muenchen Kunstverein, entail honour most of the time only silent for course group at picture Akademie who had antique nominated monkey ‘Meisterschülern’, move quietly master grade, which appease was classify. The multitude year misstep left rendering academy, because go along with the rancour his good has aggravated among caste and professors, and undivided his cultivated training touch his take it easy, making sketching trips count up the Swabian Alps beam Switzerland. Steppes exhibited pressurize the City Secession take the stones out of 1897 in front, and uninviting the errand of depiction century prohibited had begun to say a amount of come next, selling his work scan private collectors and enjoying the root of a number rejoice influential figures in interpretation German concentrate world, much as representation painters Emil Lugo leading Hans Thoma. Steppes’s travail was gain victory acquired indifference a Germanic museum bolster 1902, have a word with his outmoded began money be exhibited widely during Germany. Cloudless 1906 harsh fifty position his scrunch up were shown at dais
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Authority Representation as a Cultural Discourse
Updated: Apr 30, 2023
AbstractIn this article, I analyze the representation of authority by visual artists, the interpretation of authority by the target audiences for these artists’ work, and the effect of national culture on the representation and interpretation of authority. To explore authoritarians’ use of visual art to impose disciplinary power and control the minds of others, I assess the representation of authority with reference to Geert Hofstede’s dimensions of national culture. I also draw on Foucault’s arguments that the human subject and social practices are products of historical discourses communicated through a coding system rooted in national culture. Finally, as a theoretical framework, I draw on visual culture studies and the power of the “gaze” to highlight the use of visual representative art as a powerful instrument for controlling minds and creating docile bodies.Keywords: authority, aesthetic leadership, images, visual art, propaganda, national culture, visual genealogy, Hofstede, Foucault
IntroductionIn this article, I consider the expression of authority by visual artists, the interpretation of such expression by those over whom authority is exerted, and the role of national culture i