about interior space -Art within houses and living spaces always speaks so much on a persona and what they may like. Basically going off a painting you can learn so much from someone and I've always had a passion for interior designing and adding to a place. I'd definitely like to expand this idea by exploring more artists and art that may fit this category and being able to connect with the artist and what their message is behind it. I plan on using more pieces that are seen at homes with a modern hint of art, but still have that vintage look to it and have fine line art as well.
statement - I'd personally love for my visitors to experience a once in a lifetime experience and be able to remember the pieces and the true meaning behind them. I feel like leaving a museum without not wanting that art piece isn't a good one, a good museum will have you leaving wanting to find a similar piece and feel inspired. I'd like for them to leave with a creative mindset and maybe ideas on how to accelerate their interior space and get cool and funky pieces to make their home feel like a safe space. I'd like to leave the mark of people being able to say "I remember those crazy pieces" or "I remember those pieces that you just can't get enough of". I'd love for people to just remember what kind of art intrigued me and inspired me.
Room One:Living Room
Interior 1958, Reginald Pollack
Context: The painting by Pollack seems to have elements of expressionism, that features loosely defined forms and vibrant brushstrokes that is taken over by shades of blue and white. It has a free flowing, energetic composition that suggests that interior scene. Although the colors aren't as warm on this piece, it still makes it a living room piece there is what it seems like a table with objects like chairs and dishes, even though the objects are fairly blurred.
Interior 1924, Preston Dickinson
Form: Dickinson does an amazing job with more of a geometric, structured style, which is kind of influenced by Cubism. The clean lines, sharp angles, and somewhat flattened perspective suggest a deliberate departure from traditional representation. The earthy tones combined with angular shapes gives the work a modernist aesthetic reminiscent of the early 20th century.
Still Life 1930, Preston Dickinson
Context: The artist's signature, seen in the. bottom right, suggests, this could be the work of an artist influenced by modernist or early 20th. century movements, possibly someone working in the vein of cubists. The piece explores more themes of domestic life or the transitory nature of everyday objects, as it typical in still life painting but with the hint of a modern twist that focuses on aesthetics and perception rather than realism.
Room Two: Kitchen
Le Gouter 1911, Jean Metzinger
Form: The cubist painting at first sight is always super bizarre and to put a face to it and distinguish. It's like an imperfect distortion, the 3D dimensions behind the women really put the image together and add to that distorted look. As seen it's shown that a women is seated air a table, holding a cup of tea. The thing is that with cubist works, the form of the subject is broken into geometric planes and facets. The multiple perspectives also portray. the subject from several angles.
The Race Track: Amateur Jockey near a Carriage 1876 and 1887, Edgar Degas
Context: In this piece, the attention to movement, form and human anatomy reveals his academic background and interest in motion rather than just light and color. The method of closely studying horses in motion was somewhat influenced by new photographic techniques. Degas had a way of being fascinated by fleeting movements.
St Antoniuskapel in the St Janskerk, Utrecht 1645, Pieter Jansz. Saenredam
Content: The painting shows the St. Anthony's Chapel within St. Janskerk, which is an important church in Utrecht. It was drawn to the beauty of Protestant churches, his depiction of this chapel emphasize the simplicity and harmony of its architectural features. During the 17th century, the Netherlands was nation following Reformation. the shift from Catholicsm to Protestantism is reflected in the architectural design and Saenredam's depiction of the church interior.
Dutch Interior (III) 1928, Joan Miro
Context: The "Dutch Interior" was known for its intimate depictions of domestic life-- people playing music, engaging in conversation, or partaking in everyday activities. Miro was involved in Surrealism, which is a structured world of Dutch genre painting and the infuses with fluid, imaginative language of Surrealism. Miro's reinterpretation is filled with a sense of playfulness and humor the figures in the painting seem to be dancing, floating, or morphing into shapes.
Room Three: Bathroom
Interior 1952, Walter Gay
Form: The form on this image is elegant, refined interior space, emphasizing elects of stillness, light, and architectural detail. The arranged room with balanced elements such as fortunate, decor and other features. The objects are symmetrically or harmoniously positing to create a sort of sense of order or calm. the colors are muted and. understated, with softer tones of cream, beige, and the light browns dominating the palette. The natural light also softly filters through the windows, gently illuminating sections of the room.
The Old Town Hall at Amsterdam 1657, Pieter Saenredam
Content: The painting features a meticulously detailed representation of the Old Town Hall, showcasing Saenredam’s talent for capturing architectural forms with clarity and precision. The building is depicted with accurate proportions and an emphasis on symmetry, reflecting the architectural ideals of the time. Saenredam often focused on interiors in his work. This piece showcases the grandeur of the hall’s interior, highlighting elements such as columns, arches, and ornate detailing that exemplify the Renaissance style prevalent in the Netherlands.
Interior with a Mother delousing her Child c.1660, Pieter de Hooch
Content: The painting depicts a quiet, intimate moment within a domestic setting, showcasing a mother attending to her child. This focus on family life reflects the values and experiences of middle-class families during the Dutch Golden Age. The act of delousing signifies the mother’s caring role and the attention she provides to her child’s well-being. This theme of maternal care is central to the narrative, highlighting the bond between mother and child and the everyday responsibilities of parenthood.
In the Conservatory 1883, Frances Jones Bannerman
Form: The composition features a balanced arrangement of figures set within the lush surroundings of the conservatory. Bannerman organizes the space effectively, drawing the viewer’s eye through the scene. The figures, often in a dynamic pose, interact with the surrounding plants, creating a sense of depth. The foreground features the individuals, while the background is filled with greenery, enhancing the sense of being immersed in a vibrant environment. The interplay of light and shadow is notable, as natural light filters through the glass structure of the conservatory. This creates highlights and soft shadows that add dimension to the figures and foliage.
Dutch Interior 1962, Cy Twombly
Form: The composition is asymmetrical, creating a dynamic balance that draws the viewer's eye across the canvas. Twombly’s use of space allows for a sense of movement and energy. The artwork consists of multiple layers of marks, lines, and colors that add depth and complexity. This layering contributes to a rich visual experience. spontaneous lines that convey a sense of immediacy. The lines vary in thickness and intensity, creating a lively rhythm throughout the piece. The color palette features a range of muted earth tones, grays, and whites, with occasional brighter accents. This restrained use of color enhances the atmospheric quality of the work.