Lucy caisson artist information biography
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There is an awkwardness to the way in which a sheet of A4 paper fits inre of a foolscap filing låda. ‘Foolscap’ in the name refers to the foolscap folio, a paper size that is uncommonly used and yet boxes made to its specific measurements are ubiquitous. Though they feel slightly too long for the A4 scale, the foolscap filing låda has become standard in the storage of documents, receipts, notes and exchanges.[1]
On a visit to the North Shore Rockhounds, Ron holds a slice of rock up to a cabochon sizing chart. Here a series of holes are used to guide the shaping of the rock into predetermined scales.[2] The guides sit in old ice-cream containers, alongside the home-made tools and collections of the other rockhounds. Slices of rock, ready to be shaped are filed in trays under workbenches.
In the Neues Museum in Berlin, a display of delicate stone tablets and sheets of papyrus slide back and forth from within a series of hidden drawers. Pressing a button on the
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Arnold Böcklin, life and works of the great Symbolist painter
Categories: AB Art Base / Disclaimer
Arnold Böcklin is one of the most important painters of European Symbolism. Life, style, major works.
Arnold Böcklin (Basel, 1827 - San Domenico di Fiesole, 1901) was a Swiss painter, draftsman, sculptor and graphic artist and one of the leading exponents of German Symbolism. Böcklin’s painting evolved over the years, starting in his youth with naturalist themes, then feeling a different need, which led him almost unconsciously to delve into the field of the visionary and the fantastic. The protagonists of his works thus become mythological and often mysterious and dreamlike characters, almost obscure.
Recurring much in Böcklin’s works is the inner emotionality, but above all the theme of the union of life and death, which is the protagonist of the artist’s most important and well-known works such as The Island of the Dead, • What can art do for us? Well, here are three possibles: it can create a record of the past before it disappears, it can make us laugh at life’s absurdity, it can force us to reflect on humanity’s darker side. Janette Parris, John Smith, Alia Syed and Susan Hiller all have works that exemplify these invaluable benefits that you can experience at the Whitechapel Gallery’s current exhibition, Life Is More Important Than Art. Born and raised in Newham but now based in Peckham, Janette Parris might be seen as a digital successor to East End painters like Doreen Fletcher, motivated by an urgency to record the streets they lived in before they were destroyed by predatory developers. Fletcher’s view of her dearly loved, now demolished but previously welcoming local pub, The Albion, 1992 (featured above) is one of many brilliant reproductions of works by 30 East End artists that have been complied by “The Gentle Author” in his comprehensive overview,