Valuing culture in new world disorder
The Biennale of Sydney is an opportunity to think about what matters most in an era of technology and capitalism
The Biennale of Sydney is an opportunity to think about what matters most in an era of technology and capitalism
Still-life compositions can be as personal and expressive of the artist as they are of the time in which they lived.
Still life paintings can ground us in the human experience by reflecting our sensory reactions to the world, including to food.
To find a way to end with a flourish, a gasp, a stirring thought that endures beyond the moment itself — that’s an art.
Inanimate objects have often played a critical role in animating human figures throughout the course of Western artistic history.
These two influential artists framed the period of impressionism, with its distinctive aesthetic concerns about landscapes, objects and light.
They sought out the sublime, rejecting the Enlightenment ideal of ordered nature and a benign, almost mechanical humanity.
The popularity of landscape artists waxed and waned throughout the 17th and 18th centuries, but many are now rightly revered for their craft.
It is fair to consider the history of landscape in the West as divided into two parts; before and after Claude Lorrain.
The history of figure painting shows a fascinating transformation of how painters have inculcated nudity through their art.
Original URL: https://www.theaustralian.com.au/author/christopher-allen/page/25