Museum of Fine Arts, Boston’s Post

Unveiling my latest paintings, the diptych ‘Para Bellum Si Vis Pacem’. Limited edition prints are available to order now at link in bio for the next two weeks only. These paintings are 3ft x 5ft (91cm x 152cm) each, oil on birch wood. The text up top is custom designed typography screen printed by hand onto the paintings using oil-based ink. One piece, “Para Bellum”, is of the Roman goddess of war, Bellona. The other piece, “Si Vis Pacem”, is of the Roman goddess of peace, Pax. The Romans had an expression “Si vis pacem para bellum”, which means, “if you want peace, prepare for war.” In other words, you have to fight for your rights, freedom, and peace. As an American, there are many things that have been changing over a period of several decades. I’ll go more into detail on my thoughts here in future posts, but it’s plain to see if you notice, for example, how many of our tax dollars we’re sending to fund war crimes conducted by foreign nations while our domestic infrastructure crumbles. Or just how wealthy members of congress get despite having humble salaries. Or how regulatory agencies look the other way if giant corporations lobby them enough. And so on. Para bellum. -- Music by KAS:ST -- #oilpainting #painting #art #contemporaryart #neoclassicalart #neoclassicalpainting #neoclassical #ancientrome #ancientroman #bellona #pax #sivispacemparabellum #nickarcidy #arcidy #artcollection #artcollector #diptych

𝗖𝗮𝘀𝗲𝘆 𝗪𝗲𝗹𝗱𝗼𝗻 is an American contemporary artist known for his playful fun artwork. He was born in 1977 in Southern California. Weldon’s art often combines elements of pop culture, surrealism, and humor. His paintings typically feature vivid colors, unusual juxtapositions, and a playful, dreamlike quality. Check out his works here: https://buff.ly/3PO7iXN Prompt: **the head of a black cat features horns and fangs, in the style of casey weldon, magenta and cyan, meatpunk, playful mixed media works, figura serpentinata --style raw** Keywords: Not really expressed in the results but good to know: 1. “Meatpunk” is a term that blends two contrasting concepts: “meat” (referring to the organic, physical, and often messy aspects of human existence) and “cyberpunk” (a genre of science fiction that typically explores a dystopian future where advanced technology coexists with societal decay). In essence, “meatpunk” is a subgenre or concept within science fiction and speculative fiction that focuses on the raw, human elements of storytelling. Meatpunk narratives may explore themes of bodily autonomy, identity, and the consequences of merging humanity with advanced technology in gritty and visceral ways. 2. “figura serpentinata” is a style of artistic composition that was particularly prominent during the Italian Renaissance. It translates to “serpentine figure” in English. Figura serpentinata is characterized by the use of sinuous, twisting, and elongated forms in the depiction of figures, particularly in sculpture and painting. Artists of the Renaissance, such as Michelangelo and Raphael, often employed this style to create dynamic and visually engaging compositions. The figures in figura serpentinata are typically shown in graceful, twisting poses, which add a sense of movement and elegance to the artwork.

Artist Statement: Camille Hannah 2024 “You want to make me into a flower? I also have roots and from them I could flower. Earth, water, air and fire are my birthright too. Why abandon them to let you appropriate them and give them back to me. Why seek ecstasy in your world when I already live elsewhere. (…) Before I knew you, already I was a flower. Must I forget that, to become your flower?” (Irigaray 1992, 34, Passions élémentaires). How does one make art of the female body, of its morphology, and of the erotic, while avoiding the dominant sexual metaphoricity which is sceptic and organised around the male gaze? Perhaps we perceive of it instead in terms of space and thresholds and fluids, fire and water, air and earth, without objectifying, subordinating or essentializing it. Hannah’s work speaks of fluidity, object/surface and the perception of interactivity relating to a virtual form of tactility. Traversing the paradox between the prohibition of touch in relation to art - and an erotic’s of painting, interactivity relates to seduction: a correlation that enacts the ‘erotics’ of painting, and seeks to engage the viewer immediately in an aesthetics of the feminine, utilising tactile participation, close and yet distancing at the threshold of vision and touch. Her practice including paintings, installations and soundscapes, demands more than our capacity to critique; it demands our bodies, the slow trail of an eye-finger…It is therefore not possible to view her work without incorporation, reflection, multiplication; offering an alternative to ways of seeing, which demands a particular distance between subject and object, a vacillation, tactility. The viewing experience takes place as if between (at least) two subjects, and leads us on to consider intersubjective relations, in an attempt to mobilise a possible other ‘female imaginary’.

I updated my artist statement: My work focuses on how I am representing my subject rather than the what. Elements which are consistent in my work contain high contrast, loose and expressive brushwork, vivid colors, and a sense of linearity. There remains an atmospheric sense of tranquility, the passage of time, and mortality through the harmonic yet tension contained within the art. I create cropped scenes with firm compositions of intimate and isolated moments meaning to be therapeutic and meditative. The interaction between nature and civilization, or just civilization contained within itself, become recurring themes. When I am drawing and painting, I do not fear or try to hide my mistakes. I allow the "mistake", or free form of linearity and brushwork, to become an integral part of the whole composition. There remains a sense of movement within the painting through linear marks and focused, controlled composed space. The sketchy and painterly application of the paint along with the metaphorical themes help shape the purpose of image-making in contemporary society. Through intuition and improvisation, the drawings and paintings flow freely, without restraint.  

"Admirers and collectors of abstract art often do so because they have an emotional response to or connection with, the colors, forms, the texture or the energy that the artwork gives off. Abstract paintings have the power to alter and enhance the mood and the atmosphere of a living space. Even though it can be challenging for some to comprehend or enjoy this artwork, many art buffs find great value in abstract works. Art dealers and collectors attribute immense value to abstract works, as evidenced by the excellent prices it commands at galleries or private sales." https://lnkd.in/dPjUnZga #abstractart

Smoke, tracks, and a veiled moon... Above all, the history of art is a visual one. Nevertheless, it usually doesn't illustrate the written history. Rather, the former integrates the latter in an autonomous and varied, sometimes even contrasting way. This is also the case of industrial modernity, which during the 19th century was especially symbolized by the train with a steam locomotive. Below, a few relevant examples, executed in various countries and arranged in an arbitrary chronological order. Actually, they reflect different cultural and epochal sensitivities, either collective or individual. Top images: on the left, “Rain, Steam and Speed – The Great Western Railway”, by the English Romantic painter Joseph Mallord William Turner (oil on canvas: National Gallery, London; 1844); on the right, “A Train Passes”, by Giuseppe De Nittis, Italian “Macchiaiolo” and later Impressionist (oil on canvas: Giuseppe de Nittis Art Gallery, Barletta, southern Italy; ca. 1878-80). Although the latter is far later, the gloomy atmosphere of both paintings doesn't vary much. The train is still seen as a foreign body in motion, crossing a country or rural landscape. In De Nittis' work, mostly a long trail of white smoke is visible. In previous posts, we may have seen how especially French Impressionists were attracted to this subject. In Camille Pissarro's “Lordship Lane Station, Dulwich”, the atmosphere is more relaxed and conciliatory, as if not even such a modern intrusion could disturb the idyllic quiet of the surrounding landscape (bottom left image, oil on canvas: The Courtauld, London; 1871). Last, a 1879 colour print by the Japanese Kobayashi Kiyochika: “View of Takanawa Ushimachi under a Shrouded Moon” (Smithsonian Art Gallery, Washington). Here the scene becomes deeply emotional again. Somehow, it anticipates – or does inspire? – certain Surrealist depictions of trains and trams in the 20th century.

I painted this artwork with his hands on his head symbolizing fear, lies, silence and agony a citizen goes through in his or her own country A Nation where society celebrates the lies more than the truth, A nation where the citizens are scared to speak their minds, Where rule of law supercedes freedom of speech. Society where school teaches student civilized lies, where women compete with Men, where parents add no values on their own children. Where social media has taken over our responsibilities as real heroes and heroines. - https://lnkd.in/d28r9bV5 Art Details ... Title : CIVILIZED LIES Medium : In order to avoid misunderstanding. This artwork covers the combination of my hand drawn digital and traditional painted parts using oil and ink to strike a balance on the canvas as I embraced the use of mix media. Dimensions : 20" x 30 inches Year : ©2024 By : Tomiwa Adelagun Status : Original Sold 🔴 Now available Museum Grade Limited Edition Print of {20} copies after sold out there won't be a reproduction. To own a copy send a PM or email toomiwastudio@gmail.com for more inquiries. : : #tomiwaadelagun #africanchild #africanart #portrait #mixedmedia #contemporary #art