Before Instagram there was Vincent van Gogh who painted over 30 self–portraits between the years 1886 and 1889. His collection of self–portraits places him among the most prolific self-portraitists of all time. Van Gogh used portraitpainting as a method of introspection, a method to make money and a method of developing his skills as an artist.
Vincent van Gogh (30 March 1853 – 29 July 1890) was a Dutch Post-Impressionist painter who is among the most famous and influential figures in the history of Western art. In just over a decade he created about 2,100 artworks, including around 860 oil paintings, most of them in the last two years of his life. They include landscapes, still lifes, portraits and self-portraits, and are characterised by bold colours and dramatic, impulsive and expressive brushwork that contributed to the foundations of modern art. During his lifetime, he was not commercially successful and his suicide at 37 followed years of mental illness and poverty.
Here are some examples of his selfies:
If any of these are “fakes” please let me know.
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Feel free to contact us if you would like to discuss ideas for your next project!
Thank you for all the support and encouragement over the years. Here are some of our favorite blog posts about the design process related to the field of Architecture:
- Architecture Shall Live On (My Architecture Manifesto) by @FrankCunhaIII
- Timeless Architecture – Saying Good Bye to a Teacher/Mentor is Never Easy by @FrankCunhaIII
- Architecture in Motion by @FrankCunhaIII
- X Factor of Design by @FrankCunhaIII
- Creating High Performance Buildings through Integrative Design Process by @FrankCunhaIII
- Frans Johansson: “Act & Collaborate to Drive Change” by @FrankCunhaIII
- SPACE & PROCESS by @FrankCunhaIII
- Order, Formulas, and Rules by @FrankCunhaIII
- Mixing My Work With Pleasure (Design-Build, Modern House Using Legos) by @FrankCunhaIII
- The Blind Design Paradox in Architectural Design by @WJMArchitect
- Architects Vs. “Sculptor” Architects based on a conversation btw @WJMArchitect and @FrankCunhaIII
- Ophiuchus: The Serpent Bearer (Playing With Numbers) by @FrankCunhaIII
- From Paper and Pencil to Reality Through Collaboration by @FrankCunhaIII
We would love to hear from you on what you think about this post. We sincerely appreciate all your comments – and – if you like this post please share it with friends. And feel free to contact us if you would like to discuss ideas for your next project!
A few sketches from my brief trip to Cape May after my triathlon race.
Giorgio de Chirico (July 10, 1888 – 20 November 20, 1978), an Italian artist, who in the years before World War I, founded the scuola metafisica art movement, which profoundly influenced the surrealists. After 1919, he became interested in traditional painting techniques, and worked in a neoclassical or neo-Baroque style, while frequently revisiting the metaphysical themes of his earlier work.
De Chirico is best known for the paintings he produced between 1909 and 1919, his metaphysical period, which are characterized by haunted, brooding moods evoked by their images. At the start of this period, his subjects were still cityscapes inspired by the bright daylight of Mediterranean cities, but gradually he turned his attention to studies of cluttered storerooms, sometimes inhabited by mannequin-like hybrid figures.
In autumn, 1919, De Chirico published an article in Valori Plastici entitled “The Return of Craftsmanship”, in which he advocated a return to traditional methods and iconography. This article heralded an abrupt change in his artistic orientation, as he adopted a classicizing manner inspired by such old masters as Raphael and Signorelli, and became an outspoken opponent of modern art.In the paintings of his metaphysical period, De Chirico developed a repertoire of motifs—empty arcades, towers, elongated shadows, mannequins, and trains among others—that he arranged to create “images of forlornness and emptiness” that paradoxically also convey a feeling of “power and freedom”. According to Sanford Schwartz, De Chirico—whose father was a railroad engineer—painted images that suggest “the way you take in buildings and vistas from the perspective of a train window. His towers, walls, and plazas seem to flash by, and you are made to feel the power that comes from seeing things that way: you feel you know them more intimately than the people do who live with them day by day.”
In 1982, Robert Hughes wrote that De Chirico “could condense voluminous feeling through metaphor and association … In The Joy of Return, 1915, de Chirico’s train has once more entered the city … a bright ball of vapor hovers directly above its smokestack. Perhaps it comes from the train and is near us. Or possibly it is a cloud on the horizon, lit by the sun that never penetrates the buildings, in the last electric blue silence of dusk. It contracts the near and the far, enchanting one’s sense of space. Early de Chiricos are full of such effects. Et quid amabo nisi quod aenigma est? (“What shall I love if not the enigma?”)—this question, inscribed by the young artist on his self-portrait in 1911, is their subtext.”
In this, he resembles his more representational American contemporary, Edward Hopper: their pictures’ low sunlight, their deep and often irrational shadows, their empty walkways and portentous silences creating an enigmatic visual poetry.
For more information on Giorgio de Chirico click here.
We would love to hear from you on what you think about this post. We sincerely appreciate all your comments.If you like this post please share it with friends. And feel free to contact us if you would like to discuss ideas for your next project!
Photos by FRANK CUNHA III (2015)
Media: iPhone photo
Post Edits: Snapseed App
I recently asked my friend Sophia Fine to compile a series of posts of artists and artwork that should be known in every household.
This is the third in the series…Hope you enjoy it!