Washington As Statesman at the Constitutional Convention, Junius Brutus Stearns 1856
look at all those glorious legs
The people had never had a more sincere and more devoted friend [than Robespierre].
So. James Jaques Joseph Tissot. You can ignore him for being an employee of Vanity Fair, or a painter of pretty women wearing high fashion, or even later as an old man creating biblical scenes, but you can’t ignore the fact that the guy had a deft hand with a paintbrush. Lighting, expression, color, he’s got it in spades. Hung out with the impressionists but pretended he wasn’t one of them.
Yes, some of his subject matter is lush or twee depending on your point of view, but the man was accomplished. And just look at his self portrait.
YES i cheated: i used textures for the background… too lazy to draw trees and leaves and trunks (don’t look at me like that!) and it’s a good technique to hide your terrible linearts!
soooooo…. here a request i received for the Burr/Hamilton duel and i was like ‘why not?’. they are supposed to be old and Hamilton a little chubby but my hands hate me and i have another idea of drawing rn. it’s awfull. it’s historically inaccurate. i’m sorry. leave me alone!!!
Pierre Paul-Prud’hon — Standing Female Nude Seen from The Back (detail).1790.
The Erotic Frigidaire
There is a sensual energy lurking beneath the surface in Prud’hon’s drawings, however, that continually threatens to overflow its classicizing boundaries. Because many of the poses for académies in Prud’hon’s time were adapted from antique sculpture, we feel at first that we are looking at statues. Their inherent stillness and fully rounded forms add to this sensation. But then, Pygmalionlike, they come alive through their radiant light and sensual surfaces. Prud’hon’s figures are like creatures from Ovid’s Metamorphosis, in the midpoint of some supernatural transformation. They are part marble, part flesh; carefully observed from life but still speaking of art.
The “erotic Frigidaire,” a phrase coined by Thomas Hess to describe the sculptures of Antonio Canova, perfectly describes Prud’hon’s ambivalence as well. Like the surrealist “cup of fur,” the “erotic Frigidaire” combines opposing traits in a disturbing way. It heats the blood just as it cools it down; it excites while it calms; it invites you to approach but commands you to keep your distance.
Prud’hon’s drawings continue to be compelling, not only because of their sheer beauty and impeccable draftsmanship but also because of their inherent contradictions. In the same figure, the torso may be borrowed from a fifth-century Venus while the face has the look of an 18th-century beauty. The wonderful thing about these drawings is that these tensions are never fully resolved. They pull us in opposite directions and leave us not quite understanding what to feel. That the same object can be both particular and ideal, flesh and marble, life and art, is what is so endlessly absorbing.
Wojciech Weiss Melancholik (Totenmesse, Portret Antoniego Procajlowicza) 1898
Adapting Jackson Pollock’s technique of painting canvases laid flat on the floor, Frankenthaler developed her own technique of pouring diluted paint directly onto canvas, then manipulating it with mops and sponges to create vivid fields of color.