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Due suggerimenti: 1) Provate a guardare sottosopra “The lughing Bone” (il #3). 2) Confrontate “Doubting Thomas” (il #2) di Mark Tansey con il “Doubting Thomas”di Caravaggio.
Note dal Web: Mark Tansey, nato nel 1949 a San Jose, California è un artista americano noto al grande pubblico per i suoi dipinti monocromi.
Tratto da MOCA.org : Mark Tansey’s allegorical paintings address the meaning of art and the human impulse to make images. He pulls from a vast archive of visual material that includes his own photographs as well as clippings from magazines and newspapers. Often, as a way of determining the subject of his work, he spins the Color Wheel, a device of his own invention comprising three concentric circles set into a plywood frame, each with 180 words carved into its surface, to generate one of 5,832,000 possible three-word phrases. Arguing that representation has functions other than “capturing the real,” he has said that his work is about “how different realities interact with each other.”
Per altri spunti vedi il precedente post su Mark Tansey.
My Favourite Red Masterpiece “Triumph Over Mastery II”: (…) Tansey’s limited palette can be put to complex effect. “Triumph Over Mastery II” (1987) employs only red and white. The picture shows a modern painter standing on a ladder and wielding a paint roller. With broad sweeps of whitewash, he covers over Michelangelo’s famous mural “Last Judgment,” from the Sistine Chapel. The modern artist’s whitewash has so far obliterated the heavenly host, and it’s now sweeping across the torso of the commanding figure of Christ, having already erased the upraised hand with which he saves souls or damns them. Like Michelangelo’s image of the Savior, the painter on the ladder is a bare-torsoed man of action who, with comprehensive gestures, redeems or condemns. Pictorially, the result is an encroachment of blank, white canvas, symbol of a modern era that spans Russian avant-gardist Kasimir Malevich in the ‘teens and American Minimalist Robert Ryman today. Tansey infers an erasure of publicly engaged moral argument from 20th-Century art. (Tratto da Los Angeles Times)