I have recently finished virtually Painting Sydney using the Veraxen paint-by-numbers app. It’s very relaxing and therapeutic.
International Museum Day takes place annually around May 18. The purpose of International Museum Day is to raise public awareness on the important role museums play in the development of society at an international level. Museums are non-profit, permanent institution in the service of society which are open to the public, and acquire, conserve, research, communicate and exhibit the tangible and intangible heritage of humanity and its environment for the purposes of education, study and enjoyment.
International Museum Day is coordinated by the International Council of Museums (ICOM). The International Council of Museums is a non-governmental organisation which was Created in 1946, to maintain formal relations with UNESCO and consultative status with the United Nations Economic and Social Council. ICOM also partners with entities such as the World Intellectual Property Organizatio INTERPOL, and the World Customs Organization in order to carry out its international public service missions, which include fighting illicit traffic in cultural goods and promoting risk management and emergency preparedness to protect world cultural heritage in the event of natural or man-made disasters. Members of the ICOM get the ICOM membership card, which provides free entry, or entry at a reduced rate, to many museums all over the world
International Museum Day also provides the opportunity for museum professionals to meet the public and alert them as to the challenges that museums face. The ICOM, (The International Council of Museum) are the main organisation of museums and museum professionals and have a global scope, and are committed to the promotion and protection of natural and cultural heritage, present and future, tangible and intangible.
Each year, International Museum Day highlights a different theme which is considered important to the international museum community. Museums around the world are invited to participate in International Museum Day to promote the role of museums, and to create, enjoyable and free activities around a different theme each year to advertise their work using a theme chosen by the ICOM.
Since it was created in 1977, International Museum Day has gained increasing attention. In 2009, International Museum Day attracted the participation of 20,000 museums hosting events in more than 90 countries. In 2010, 98 countries participated in the celebration, with 100 in 2011, and 30,000 museums in 129 countries in 2012. In 2011, the official IMD poster was translated into 37 languages. In 2012, this number Increased to 38. ICOM’s commitment to culture and knowledge promotion is reinforced by its 31 International Committees dedicated to a wide range of museum specialities, who conduct advanced research in their respective fields for the benefit of the museum community. The organisation is also involved in fighting illicit trafficking, assisting museums in emergency situations, and more. ICOM created International Museum Day in 1977.
More National and International holidays and events happenning on 18 May
- I Love Reese’s Day
- Accounting Day
- Emergency Medical Services for Children Day
- Mother Whistler Day
- National Cheese Soufflé Day
- National Employee Health and Fitness Day
- National No Dirty Dishes Day
- National Visit Your Relatives Day
- Turn Beauty Inside Out Day
Cartoonists’ Day takes place on 5 May. A cartoon is a type of illustration, possibly animated, typically in a non-realistic or semi-realistic style. It was founded by the National Cartoonists Society on 5 May 1990 to commemorate the date of 5 May 1895 when a man named Richard F. Outcault first introduced a small bald kid in a yellow nightshirt to the world in an incredibly popular publication called, the New York World. The Yellow Kid was an archetype of the world, rather than a particular person and was Based on people Outcault encountered as he walked the slums of the city on his rounds, he would discover the kid walking out of houses, or sitting and hanging about on doorsteps. The archetypical “kid” was always warm and sunny, friendly, generous, and free of malice and selfishness. Although the paper itself was derided by so-called ‘real’ journalists, the yellow kid was embraced by people everywhere and led to a revolution in how stories were told and presented in sequential art pieces (Frames) and became a new standard piece of content for newspapers everywhere.
The concept originated in the Middle Ages, and first described a preparatory drawing for a piece of art, such as a painting, fresco, tapestry, or stained glass window. In the 19th century, beginning in Punch magazine in 1843, cartoon came to refer – ironically at first – to humorous illustrations in magazines and newspapers. In the early 20th century, it began to refer to animated films which resembled print cartoons. In print media, a cartoon is an illustration or series of illustrations, usually humorous in intent. This usage dates from 1843, when Punch magazine applied the term to satirical drawings in its pages, particularly sketches by John Leech. The first of these parodied the preparatory cartoons for grand historical frescoes in the then-new Palace of Westminster. The original title for these drawings was Mr Punch’s face is the letter Q and the new title “cartoon” was intended to be ironic, a reference to the self-aggrandizing posturing of Westminster politicians.
Cartoons can be divided into gag cartoons, editorial cartoons, comic strips and single-panel gag cartoons. Editorial cartoons are found almost exclusively in news publications and news websites. Although they also employ humor, they are more serious in tone, commonly using irony or satire. The art usually acts as a visual metaphor to illustrate a point of view on current social or political topics. Editorial cartoons often include speech balloons and sometimes use multiple panels. Editorial cartoonists of note include Herblock, David Low, Jeff MacNelly, Mike Peters, and Gerald Scarfe.
Comic strips, also known as cartoon strips in the United Kingdom, are found daily in newspapers worldwide, and are usually a short series of cartoon illustrations in sequence. In the United States, they are not commonly called “cartoons” themselves, but rather “comics” or “funnies”. Nonetheless, the creators of comic strips—as well as comic books and graphic novels—are usually referred to as “cartoonists”. Although humor is the most prevalent subject matter, adventure and drama are also represented in this medium. Some noteworthy cartoonists of humorous comic strips are Scott Adams, Steve Bell, Charles Schulz, E. C. Segar, Mort Walker and Bill Watterson. Other Well known cartoonists include Mel Calman, Bill Holman, Gary Larson, George Lichty, Fred Neher, Peter Arno, Charles Addams, Charles Barsotti, Chon Day, Bill Hoest, Jerry Marcus, Richard Thompson, Chester “Chet” Brown and Virgil Patch.
Spanish romantic painter and Printmaker Francisco José de Goya y Lucientes was born 30 March 1746 in the village of Fuendetodos in Aragon. He studied painting from age 14 under José Luzán y Martinez and moved to Madrid to study with Anton Raphael Mengs. He married Josefa Bayeu in 1773; the couple’s life together was characterised by an almost constant series of pregnancies and miscarriages. He became a court painter to the Spanish Crown in 1786 and this early portion of his career is marked by portraits of the Spanish aristocracy and royalty, and Rococo style tapestry cartoons designed for the royal palace.
Goya was a guarded man and little is known about his thoughts. He suffered a severe and undiagnosed illness in 1793 which left him completely deaf. After 1793 his work became progressively darker and more pessimistic. His later easel and mural paintings, prints and drawings appear to reflect a bleak outlook on personal, social and political levels, and contrast with his social climbing. He was appointed Director of the Royal Academy in 1795, the year Manuel Godoy made an unfavorable treaty with France. In 1799 Goya became Primer Pintor de Cámara, the then-highest rank for a Spanish court painter. In the late 1790s, commissioned by Godoy, he completed his La maja desnuda, a remarkably daring nude for the time and clearly indebted to Diego Velázquez. In 1801 he painted Charles IV of Spain and His Family.
In 1807 Napoleon led the French army into Spain. Goya remained in Madrid during the Peninsular War, which seems to have affected him deeply. Although he did not vocalise his thoughts in public, they can be inferred from his “Disasters of War” series of prints (although published 35 years after his death) and his 1814 paintings The Second of May 1808 and The Third of May 1808. Other works from his mid period include the “Caprichos” and Los Disparates etching series, and a wide variety of paintings concerned with insanity, mental asylums, witches, fantastical creatures and religious and political corruption, all of which suggest that he feared for both his country’s fate and his own mental and physical health.
His late period culminates with the “Black Paintings” of 1819–1823, applied on oil on the plaster walls of his house the “Quinta del Sordo” (house of the deaf man) where, disillusioned by political and social developments in Spain he lived in near isolation. Goya eventually abandoned Spain in 1824 to retire to the French city of Bordeaux, accompanied by his much younger maid and companion, Leocadia Weiss, who may or may not have been his lover. There he completed his “La Tauromaquia” series and a number of other, major, canvases. Following a stroke which left him paralyzed on his right side, and suffering failing eyesight and poor access to painting materials, he died and was buried on 16 April 1828 aged 82. His body was later re-interred in Spain.
Goya is considered the most important Spanish artist of late 18th and early 19th centuries and throughout his long career was a commentator and chronicler of his era. Immensely successful in his lifetime, Goya is often referred to as both the last of the Old Masters and the first of the moderns. He was also one of the great portraitists of modern times.
Italian high Renaissance painter and architect Raffaello Sanzio da Urbino was born on either March 28 or April 6, 1483 (depending on the Julian or Gregorian calender) in Urbino in the Marche region. His father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope but died the year before Raphael was born. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, Under them, the court continued as a centre for literary culture .Court life in Urbino was depicted by Baldassare Castiglione’s The Book of the Courtier, Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. Raphael mixed inthe highest circles throughout his life. His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest. Raphael had already shown talent, according to Vasari, His father’s workshop continued and, probably together with his stepmother. In Urbino, he also came into contact with the works of Paolo Uccello, previously the court painter and Luca Signorelli.VAccording to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice he may have Also received training from Timoteo Viti, who acted as court painter in Urbino from 1495. Raphael is described as a “master”, (fully trained) in December 1500.
His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, halfway between Perugia and Urbino. Evangelista da Pian di Meleto, was also named in the commission. It was commissioned in 1500 and finished in 1501; sadly only some cut sections and a preparatory drawing remain. He also painted works for other churches including the Mond Crucifixion, the Brera Wedding of the Virgin and the Oddi Altarpiece ar Perugia. He also painted many small and exquisite cabinet paintings like the Three Graces and St. Michael, he also began to paint Madonnas and portraits. In 1502 he was invited to Siena by Pinturicchio, who was a friend of Raphael and considered him to be a draughtsman of the highest quality, to help with the cartoons, and designs, for a fresco series in the Piccolomini Library in Siena Cathedral. Although Raphael mainly worked in Northern Italy, he also spent a good deal of time in Florence. Raphael was influenced by Florentine art, whilst keeping his own developing style. Frescos in Perugia of about 1505 show a new monumental quality in the figures which may represent the influence of Fra Bartolomeo, who Vasari says was a friend of Raphael. Another major influence was Leonardo da Vinci,
Raphael’s figures became more dynamic and complex and he made drawn studies of fighting nude men, And portraits of young women that using the three-quarter length pyramidal composition of the just-completed Mona Lisa. Another of Leonardo’s compositional inventions, is the pyramidal Holy Family, . There is a drawing by Raphael in the Royal Collection of Leonardo’s lost Leda and the Swan, from which he adapted the contrapposto pose of his own Saint Catherine of Alexandria. He also perfected his own version of Leonardo’s sfumato modelling, to give subtlety to his painting of flesh, However these are much less enigmatic than Leonardo’s But retain the soft clear light of Perugino. Raphael’s Deposition of Christ draws on classical sarcophagi to spread the figures across the front of the picture space in a complex and not wholly successful arrangement. There is an influence of the Madonna in Michelangelo’s Doni Tondo in the kneeling figure on the right, but the rest of the composition is far removed from his style, or that of Leonardo. in 1508, Raphael had moved to Rome, where he lived for the rest of his life. He was invited by the new Pope Julius II, at the suggestion of his architect Donato Bramante, then engaged on St. Peter’s Basilica, who came from just outside Urbino and was distantly related to Raphael. Unlike Michelangelo, Raphael was immediately commissioned by Julius to fresco what was intended to become the Pope’s private library at the Vatican Palace. Several other artists and their teams of assistants were already at work on different rooms, many painting over recently completed paintings commissioned by Julius’s loathed predecessor, Alexander VI, whose contributions, and arms, Julius was determined to efface from the palace. Michelangelo, meanwhile, had been commissioned to paint the Sistine Chapel ceiling.
This first of the famous “Stanze” or “Raphael Rooms” to be painted, now known as the Stanza della Segnatura after its use in Vasari’s time, influenced Roman art, and remains generally regarded as his greatest masterpiece, containing The School of Athens, The Parnassus and the Disputa. Raphael was given two more rooms to paint, displacing other artists including Perugino and Signorelli. He completed a sequence of three rooms, each with paintings on each wall and often the ceilings too. The death of Julius in 1513 did not interrupt the work at all, as he was succeeded by Raphael’s last Pope, the Medici Pope Leo X, with whom Raphael formed an even closer relationship, and who continued to commission him. Raphael’s friend Cardinal Bibbiena was also one of Leo’s old tutors, and a close friend and advisor. Raphael was clearly influenced by Michelangelo’s Sistine Chapel ceiling in the course of painting the room. Vasari said Bramante let him in secretly. The first section was completed in 1511 and the reaction of other artists to the daunting force of Michelangelo was the dominating question in Italian art for the following few decades. Raphael, had already shown his gift for absorbing influences into his own personal style and One of the first and clearest instances was the portrait in The School of Athens of Michelangelo himself, as Heraclitus, which were influenced by the Sybils and ignudi of the Sistine ceiling. Other figures in that and later paintings in the room show the same influences, but still demonstrate Raphael’s own style this led Michelangelo to accuse Raphael of plagiarism. However These very large and complex compositions have since become regarded as among the supreme works of the grand manner of the High Renaissance, and the “classic art” of the post-antique West which give a highly idealised depiction of the forms represented.
After Bramante’s death in 1514, Raphael was named architect of the new St Peter’s. Most of his work there was altered or demolished after his death and the acceptance of Michelangelo’s design, but a few drawings have survived. He also designed several other buildings, and for a short time was the most important architect in Rome, working for a small circle around the Papacy. Julius had made changes to the street plan of Rome, creating several new thoroughfares, and he wanted them filled with splendid palaces. An important building, the Palazzo Branconio dell’Aquila for Leo’s Papal Chamberlain Giovanni Battista Branconio, was completely destroyed to make way for Bernini’s piazza for St. Peter’s, however drawings of the richly decorated façade and courtyard remain. The main designs for the Villa Farnesina were not by Raphael, but he did design, and decorated with mosaics, the Chigi Chapel for the same patron, Agostino Chigi, the Papal Treasurer. Another building, for Pope Leo’s doctor, the Palazzo di Jacobo da Brescia, was moved in the 1930s but survives; this was designed to complement a palace on the same street by Bramante, where Raphael himself lived for a time. The Villa Madama, a lavish hillside retreat for Cardinal Giulio de’ Medici, later Pope Clement VII, was never finished, and his full plans have to be reconstructed speculatively. He produced a design from which the final construction plans were completed by Antonio da Sangallo the Younger. Even incomplete, it was the most sophisticated villa design yet seen in Italy, and greatly influenced the later development of the genre; it appears to be the only modern building in Rome of which Palladio made a measured drawing.
In 1515 he was made “Prefect” over all antiquities unearthed entrusted within the city, or a mile outside. Raphael wrote a letter to Pope Leo suggesting ways of halting the destruction of ancient monuments, and proposed a visual survey of the city to record all antiquities in an organised fashion. The Pope’s concerns were not exactly the same; he intended to continue to re-use ancient masonry in the building of St Peter’s, but wanted to ensure that all ancient inscriptions were recorded, and sculpture preserved, before allowing the stones to be reused. The Vatican projects took most of his time, although he painted several portraits, including those of his two main patrons, the popes Julius II and his successor Leo X, the former considered one of his finest. Other portraits were of his own friends, like Castiglione, or the immediate Papal circle. Other rulers pressed for work, and King Francis I of France was sent two paintings as diplomatic gifts from the Pope. For Agostino Chigi, the hugely rich banker and Papal Treasurer, he painted the Triumph of Galatea and designed further decorative frescoes for his Villa Farnesina, a chapel in the church of Santa Maria della Pace and mosaics in the funerary chapel in Santa Maria del Popolo. He also designed some of the decoration for the Villa Madama, the work in both villas being executed by his workshop.
One of his most important papal commissions was the Raphael Cartoons (now in the Victoria and Albert Museum), a series of 10 cartoons, of which seven survive, for tapestries with scenes of the lives of Saint Paul and Saint Peter, for the Sistine Chapel. The cartoons were sent to Brussels to be woven in the workshop of Pier van Aelst. He also designed and painted the Loggie at the Vatican, a long thin gallery then open to a courtyard on one side, decorated with Roman-style grottesche. He produced a number of significant altarpieces, including The Ecstasy of St. Cecilia and the Sistine Madonna. His last work, on which he was working up to his death, was a large Transfiguration, which together with Il Spasimo shows the direction his art was taking in his final years—more proto-Baroque than Mannerist.
Raphael also collaborated with Marcantonio Raimondi to produce engravings, Raimondi created many of the most famous Italian prints of the century, and was important in the rise of the reproductive print. His interest was unusual in such a major artist; from his contemporaries it was only shared by Titian, who had alao worked with Raimondi. A total of about fifty prints were made; some were copies of Raphael’s paintings, but other designs were apparently created by Raphael purely to be turned into prints. Raphael made preparatory drawings, many of which survive, for Raimondi to translate into engraving. The most famous original prints to result from the collaboration were Lucretia, the Judgement of Paris and The Massacre of the Innocents (of which two virtually identical versions were engraved), The Parnassus (with considerable differences) and Galatea. Outside Italy, reproductive prints by Raimondi and others were the main way that Raphael’s art was experienced until the twentieth century. Baviero Carocci, an assistant who Raphael evidently trusted ended up in control of most of the copper plates after Raphael’s death, and had a successful career in the new occupation of a publisher of prints.
Raphael was also an excellent draftsmen and used drawings extensively to plan his compositions. Over forty sketches survive for the Disputa in the Stanze. He used different drawings to refine his poses and compositions. For final compositions scaled-up full-size cartoons were made, He also made unusually extensive use, on both paper and plaster, of a “blind stylus”, scratching lines which leave only an indentation, but no mark. These can be seen on the wall in The School of Athens, The “Raphael Cartoons”, as tapestry designs, were fully coloured in a glue distemper medium, as they were sent to Brussels to be followed by the weavers. Most Raphael drawings are rather precise—even initial sketches with naked outline figures are carefully drawn, and later working drawings often have a high degree of finish, with shading and sometimes highlights in white. They lack the freedom and energy of some of Leonardo’s and Michelangelo’s sketches, but are nearly always aesthetically very satisfying. He was one of the last artists to use metalpoint extensively, although he also made superb use of the freer medium of red or black chalk In his final years he was one of the first artists to use female models for preparatory drawings—male pupils (“garzoni”) were normally used for studies of both sexes.
From 1517 until his death, Raphael lived in the Palazzo Caprini in the Borgo, in a palace designed by Bramante. He never married, but in 1514 became engaged to Maria Bibbiena, Cardinal Medici Bibbiena’s niece. He is said to have had many affairs, but his deepest love was “La Fornarina”, Margherita Luti, the daughter of a baker (fornaro) named Francesco Luti from Siena who lived at Via del Governo Vecchio. He was made a “Groom of the Chamber” of the Pope, and a knight of the Papal Order of the Golden Spur. According to Vasari, Raphael’s premature death on Good Friday (April 6, 1520), which was possibly his 37th birthday, was caused by a night of excessive sex with Luti, after which he fell into a fever. Vasari also says that Raphael had also been born on a Good Friday, which in 1483 fell on March 28. During his acute illness, which lasted fifteen days, Raphael confessed his sins, receive the last rites, and to put his affairs in order, he left sufficient funds for his mistress’s care, entrusted to his loyal servant Baviera, and left most of his studio contents to Giulio Romano and Penni. Raphael was buried in the Pantheon. His funeral was extremely grand, attended by large crowds. The inscription in his marble sarcophagus, an elegiac distich was written by Pietro Bembo.
Pop Artist Andy Warhol sadly passed away on 22nd February 1987, and being a big fan of Velvet Underground and the Artwork of American Artist Andy Warhol I thought I would pay tribute. Born August 6, 1928. He was a leading figure in the visual art movement known as pop art. His works explore the relationship between artistic expression, celebrity culture and advertisement that flourished by the 1960s. After a successful career as a commercial illustrator, Warhol became a renowned and sometimes controversial artist. The Andy Warhol Museum in his native city, Pittsburgh, Pennsylvania, holds an extensive permanent collection of art and archives. It is the largest museum in the United States of America dedicated to a single artist. Warhol’s artwork ranged in many forms of media that include hand drawing, painting, printmaking, photography, silk screening, sculpture, film, and music. He was a pioneer in computer-generated art using Amiga computers that were introduced in 1985, just before his death in 1987. He founded Interview Magazine and was the author of numerous books, including The Philosophy of Andy Warhol and Popism: The Warhol Sixties. Andy Warhol is also notable as a gay man who lived openly as such before the gay liberation movement. His studio, The Factory, was a famous gathering place that brought together distinguished intellectuals, drag queens, playwrights, Bohemian street people, Hollywood celebrities, and wealthy patrons.
Warhol has been the subject of numerous retrospective exhibitions, books, and feature and documentary films. He coined the widely used expression “15 minutes of fame”. Many of his creations are very collectible and highly valuable. The highest price ever paid for a Warhol painting is US$100 million for a 1963 canvas titled Eight Elvises. Warhol’s works include some of the most expensive paintings ever sold. he started his career as a commercial illustrator, producing drawings in “blotted-ink” style for advertisements and magazine articles. Best known of these early works are his drawings of shoes. Some of his personal drawings were self-published in small booklets, such as Yum, Yum, Yum (about food), Ho, Ho, Ho (about Christmas) and Shoes, Shoes, Shoes. His most artistically acclaimed book of drawings is probably A Gold Book, compiled of sensitive drawings of young men. A Gold Book is so named because of the gold leaf that decorates its pages. In April 2012 a sketch of 1930s singer Rudy Vallee thought to be drawn by Andy Warhol was found at a Las Vegas garage sale. By the beginning of the 1960s, Warhol had become a very successful commercial illustrator. His detailed and elegant drawings for I. Miller shoes were particularly popular. They consisted mainly of “blotted ink” drawings (or monoprints), a technique which he applied in much of his early art. Although many artists of this period worked in commercial art, most did so discreetly. Warhol was so successful, however, that his profile as an illustrator seemed to undermine his efforts to be taken seriously as an artist.
Pop art was an experimental form made popular by Roy Lichtenstein, and Andy Warhol, who would become famous as the “Pope of Pop”. His early paintings feature images taken from cartoons and advertisements, hand-painted with paint drips. Those drips emulated the style of successful abstract expressionists (such as Willem de Kooning). Warhol’s first pop art paintings were displayed in April 1961, serving as the backdrop for New York Department Store Bronwit Teller’s window display. his Pop Art contemporaries Jasper Johns, James Rosenquist and Robert Rauschenberg had also featured. Eventually, Warhol Images featured just brand names, celebrities, dollar signs. He loved celebrities, so he painted them as well, frequently using silk-screening. In 1979, Warhol was commissioned by BMW to paint a Group 4 race version of the BMW M1 for the BMW Art Car Project. Warhol produced both comic and serious works; his subject could be a soup can or an electric chair. Warhol used the same techniques — silkscreens, reproduced serially, and often painted with bright colors — whether he painted celebrities, everyday objects, or images of suicide, car crashes, and disasters, as in the 1962–1963 Death and Disaster series. The Death and Disaster paintings included Red Car Crash, Purple Jumping Man, and Orange Disaster.
Warhol’s was also a sculptor and his most famous sculpture is probably his Brillo Boxes, silkscreened ink on wood replicas of Brillo soap pad boxes (designed by James Harvey), part of a series of “grocery carton” sculptures that also included Heinz ketchup and Campbell’s tomato juice cases.Other famous works include the Silver Clouds — helium filled, silver mylar, pillow-shaped balloons. A Silver Cloud was included in the traveling exhibition Air Art (1968–1969) curated by Willoughby Sharp. Clouds was also adapted by Warhol for avant-garde choreographer Merce Cunningham’s dance piece RainForest (1968).Warhol also made two cable television shows, Andy Warhol’s TV in 1982 and Andy Warhol’s Fifteen Minutes (based on his famous “fifteen minutes of fame” quotation) for MTV in 1986. Besides his own shows he regularly made guest appearances on other programs, including The Love Boat wherein a Midwestern wife (Marion Ross) fears Andy Warhol will reveal to her husband (Tom Bosley, who starred alongside Ross in sitcom Happy Days) her secret past as a Warhol superstar named Marina del Rey. Warhol also produced a TV commercial for Schrafft’s Restaurants in New York City, for an ice cream dessert appropriately titled the “Underground Sundae”.
During the 1960s, Warhol adopted the band the Velvet Underground, making them a crucial element of the Exploding Plastic Inevitable multimedia performance art show. Warhol, with Paul Morrissey, acted as the band’s manager, introducing them to Nico (who performed with the band at Warhol’s request). In 1966 he “produced” their first album The Velvet Underground & Nico, as well as providing its album art. His actual participation in the album’s production amounted to simply paying for the studio time. However After the band’s first album, Warhol and Lou Reed started to disagree more about the direction the band should take, and their artistic friendship ended, after Warhol’s death, Reed and John Cale re-united for the first time since 1972 to write, perform, record and release the concept album Songs for Drella, a tribute to Warhol.Warhol also designed many album covers for various artists starting with the photographic cover of John Wallowitch’s debut album, This Is John Wallowitch!!! (1964). He designed the cover art for the Rolling Stones albums Sticky Fingers (1971) and Love You Live (1977), and the John Cale albums The Academy in Peril (1972) and Honi Soit in 1981. In 1975, Warhol was commissioned to do several portraits of Mick Jagger, and in 1982 he designed the album cover for the Diana Ross album Silk Electric.
One of his last works was a portrait of Aretha Franklin for the cover of her 1986 gold album Aretha, which was done in the style of the Reigning Queens series he had completed the year before.Warhol strongly influenced the New Wave/punk rock band Devo, as well as David Bowie. Bowie recorded a song called “Andy Warhol” for his 1971 album Hunky Dory. Lou Reed wrote the song “Andy’s Chest”, about Valerie Solanas, the woman who shot Warhol, in 1968. He recorded it with the Velvet Underground, and this version was released on the VU album in 1985. Warhol worked in fashion and met Edie Sedgwick. Warhol’s work in fashion includes silkscreened dresses, a short sub-career as a catwalk-model and books on fashion as well as paintings with fashion (shoes) as a subject. Warhol and his friends staged theatrical multimedia happenings at parties and public venues, combining music, film, slide projections and even Gerard Malanga in an S&M outfit cracking a whip. The Exploding Plastic Inevitable in 1966 was the culmination of this area of his work.
Andy Warhol also worked in theatre and his production Pork played at LaMama theater in New York for a two-week run and was brought to the Roundhouse in London for a longer run in August 1971. Pork was based on tape-recorded conversations between Brigid Berlin and Andy during which Brigid would play for Andy tapes she had made of phone conversations between herself and her mother, socialite Honey Berlin. The play featured Jayne County as “Vulva” and Cherry Vanilla as “Amanda Pork”. In 1974, Andy Warhol also produced the stage musical Man On The Moon, which was written by John Phillips of the Mamas and the Papas. Warhol was an excellent photographer, whose pictures were mostly taken with a specific model of Polaroid camera that Polaroid kept in production especially for Warhol. This photographic approach to painting and his snapshot method of taking pictures has had a great effect on artistic photography. he took an enormous amount of photographs of Factory visitors, friends. Sadly though Warhol passed away on February 22nd, 1987 In New York City after making a good recovery from a routine gallbladder surgery at New York Hospital before dying in his sleep from a sudden post-operative cardiac arrhythmia
Italian Renaissance sculptor, painter, architect, poet, and engineer Michelangelo di Lodovico Buonarroti Simoni sadly died 18 February 1564. He was born 6 March 1475 in Caprese near Arezzo, Tuscany. Several months after Michelangelo’s birth, the family returned to Florence, where Michelangelo was raised. Michelangelo’s father sent him to study grammar with the Humanist Francesco da Urbino in Florence as a young boy. The young artist, however, showed no interest in his schooling, preferring to copy paintings from churches and seek the company of painters. At thirteen, Michelangelo was apprenticed to the painter Domenico Ghirlandaio. When Michelangelo was only fourteen, his father persuaded Ghirlandaio to pay his apprentice as an artist, which was highly unusual at the time. When in 1489, Lorenzo de’ Medici, de facto ruler of Florence, asked Ghirlandaio for his two best pupils, Ghirlandaio sent Michelangelo and Francesco Granacci. From 1490 to 1492, Michelangelo attended the Humanist academy which the Medici had founded along Neo Platonic lines. Michelangelo studied sculpture under Bertoldo di Giovanni. At the academy, both Michelangelo’s outlook and his art were subject to the influence of many of the most prominent philosophers and writers of the day including Marsilio Ficino, Pico della Mirandola and Poliziano. At this time, Michelangelo sculpted the reliefs Madonna of the Steps (1490–1492) and Battle of the Centaurs.
Michelangelo left the security of the Medici court Following Lorenzo de’ Medici’s death on 8 April 1492 and returned to his father’s house. In the following months he carved a wooden crucifix (1493), as a gift to the prior of the Florentine church of Santo Spirito, which had permitted him some studies of anatomy on the corpses of the church’s hospital. Between 1493 and 1494 he bought a block of marble for a larger than life statue of Hercules, which was sent to France and subsequently disappeared sometime circa 18th century. On 20 January 1494, after heavy snowfalls, Lorenzo’s heir, Piero de Medici, commissioned a snow statue, and Michelangelo again entered the court of the Medici.
In the same year, the Medici were expelled from Florence as the result of the rise of Savonarola. Michelangelo left the city before the end of the political upheaval, moving to Venice and then to Bologna. In Bologna, he was commissioned to finish the carving of the last small figures of the Shrine of St. Dominic. Michelangelo arrived in Rome 25 June 1496 at the age of 21. On 4 July of the same year, he began work on a commission for Cardinal Raffaele Riario, an over-life-size statue of the Roman wine god Bacchus.In November 1497, the French ambassador in the Holy See commissioned one of his most famous works, the Pietà. Michelangelo returned to Florence in 1499–1501 and was asked to complete a colossal statue portraying David as a symbol of Florentine freedom, to be placed in the Piazza della Signoria, in front of the Palazzo Vecchio and this was completed in 1504. Michelangelo also painted the Holy Family and St John, also known as the Doni Tondo or the Holy Family of the Tribune. He also may have painted the Madonna and Child with John the Baptist, known as the Manchester Madonna and now in the National Gallery, London, United Kingdom. In 1505, Michelangelo was invited back to Rome by the newly elected Pope Julius II.
He was commissioned to build the Pope’s tomb. During the same period, Michelangelo also took the commission to paint the ceiling of the Sistine Chapel, which took approximately four years to complete (1508–1512). Michelangelo was originally commissioned to paint the 12 Apostles against a starry sky, but lobbied for a different and more complex scheme, representing creation, the Downfall of Man and the Promise of Salvation through the prophets and Genealogy of Christ. The work is part of a larger scheme of decoration within the chapel which represents much of the doctrine of the Catholic Church. The composition eventually contained over 300 figures and had at its center nine episodes from the Book of Genesis, divided into three groups: God’s Creation of the Earth; God’s Creation of Humankind and their fall from God’s grace; and lastly, the state of Humanity as represented by Noah and his family. On the pendentives supporting the ceiling are painted twelve men and women who prophesied the coming of the Jesus. They are seven prophets of Israel and five Sibyls, prophetic women of the Classical world.Among the most famous paintings on the ceiling are The Creation of Adam, Adam and Eve in the Garden of Eden, the Great Flood, the Prophet Isaiah and the Cumaean Sibyl. The fresco of The Last Judgment on the altar wall of the Sistine Chapel was commissioned by Pope Clement VII.
Michelangelo was also commissioned to reconstruct the façade of the Basilica of San Lorenzo in Florence and to adorn it with sculptures. After this Michelangelo eventually left Florence for good in the mid-1530s. In 1546, Michelangelo was appointed architect of St. Peter’s Basilica in the Vatican, and designed its dome., there was concern that Michelangelo would pass away before the dome was finished. However, once building commenced on the lower part of the dome, the supporting ring, the completion of the design was inevitable. Michelangelo sadly died in Rome at the age of 88 (three weeks before his 89th birthday). His body was brought back from Rome for interment at the Basilica of Santa Croce, fulfilling the maestro’s last request to be buried in his beloved Florence.