Csendélet fotó

Still life photography. Ez a megfestetlen csendélet ugyanolyan csendet teremt az életben, mintha festmény lenne… Benne van a csendéletek arisztokratikus higgadtsága, kiszámíthatatlansága, és egy csipetnyi lomhasággal álcázott élénk frissesség. Az elrendezett kuszaság meghozza – itt a fényképen is – a minden a helyén van érzést és ugyanúgy belerángat a csendélet intimitásába, mintha festmény lenne… Fényképezzünk több csendéletet!

nemeth gyorgy - csendelet

Springtime

Claude Monet (French, 1840-1926) – Springtime, 1872 (Oil on canvas. The Walters Art Museum) – Monet moved to Argenteuil in late December 1871. In this painting, Monet was less interested in capturing a likeness than in studying how unblended dabs of color could suggest the effect of brilliant sunlight filtered through leaves. During the early 1870s, Monet frequently depicted views of his backyard garden that included his wife, Camille, and their son, Jean…

Claude Monet  – Springtime

Ophelia at the River’s Edge

Carlos Ewerbeck (German, active early 20th century) – Ophelia at the River’s Edge, c.1900 (Oil on canvas)

“There is a willow grows aslant a brook
That shows his hoar leaves in the glassy stream.
There with fantastic garlands did she come
Of crowflowers, nettles, daisies, and long purples,
That liberal shepherds give a grosser name,
But our cold maids do “dead men’s fingers” call them.”

Carlos Ewerbeck - Ophelia at the River’s Edge

Georges de Feure (1868-1943)

Of Belgian and Dutch origins, Georges de Feure was largely self-taught as an artist. He was born Georges Joseph van Sluijters in Paris, where his father worked as an architect. Returning with his family to the Netherlands with the outbreak of the Franco-Prussian war in 1870, De Feure did not come back to Paris until 1889. Settling in Montmartre, he may have trained with Jules Chéret and began working as an artist and illustrator. De Feure soon allied himself with the Symbolist movement, taking part in the Exposition des Peintres Impressionistes et Symbolistes at the Galerie Le Barc de Boutteville, alongside Gauguin and the Nabis artists, as well as showing his work at the Salons de la Rose + Croix of 1893 and 1894, where his watercolours garnered some critical praise. De Feure exhibited at the Societé Nationale in 1894, and the same year an exhibition of his watercolours was held at the Galerie des Artistes modernes in Paris, leading one critic to describe him as ‘an artist whose work is never banal, but whose symbolism is not always accessible.’ By this time De Feure was also designing posters, many seemingly influenced by Japanese prints, as well as producing colour lithographs…

Georges de Feure (1868-1943)

Ryan Pickart – Odette

But let the lover be embodied in a painter like Elstir and then we have the clue to the enigma, we have at length before our eyes those lips which the common herd have never perceived, that nose which nobody has ever seen, that unsuspected carriage. The portrait says: ‘What I have loved, what has made me suffer, what I have never ceased to behold is this. – Marcel Proust

Ryan Pickart - Odette