The portrait of Herzog which we all want to see, is the one he produces himself.

The lad hoofling spaghetti into himself and grabbing another handful as the stall holder is busy trying to stop the tall guy.

Having just watched the 1950s musical “South Pacific” set in the same arena, but very cheerful, and today being the 80th anniversary of the D-Day landings, seeing this image now is an interesting juxtaposition.

Come to think of it, used the phrase from the title to inquire after a man’s wellbeing just two days ago. He blamed it on his colleagues (who were at the bar with him, and who seemed to understand).

Eh, wash & glaze are kinda the same from our perspective as viewers - just differentiates type of solvent used, as determined by binding media.

Heavy draperies added to censor the painting seem to follow the same shape on the lower body, and the article mentions Artemesia’s delicate glazes under the overpainting.

So though the article doesn’t state that she painted this translucent veil, or if it is included in the digital reconstruction to indicate a query researchers were unable to resolve categorically, she included similarly diaphanous fabric in this nude https://upload.wikimedia.org/wikipedia/commons/b/b0/Artemisia_Gentileschi_-_Sleeping_Venus.JPG

Interesting to see a painting of rural life which veers sharply from the sentimental. Love the dreamy washy way the land has been done as an offset for the harsh experience of the woman & the ox.

Banging me with my favourite Irish painters tonight, so you are, though this one I feel isn’t her strongest.

There’s a glorious documentary on Manie Jellet, which you might be able to find on youtube by now. I

Have always loved Lavery, but have never seen this one or any like it.

Suspect the nunatuk in the background could be Ben Bulben https://en.wikipedia.org/wiki/Benbulbin.

Lavery mixed in the same circles as Constance Markievicz, who lived in Sligo at a similar distance to the mountain, and who fought for Irish independence. https://en.wikipedia.org/wiki/Constance_Markievicz

A 1922 Lavery portrait of his wife, Hazel as the embodiment of Ireland, Cathleen Ní Houlihan, was used as the watermark on Irish banknotes until the adoption of the Euro in 2002. https://upload.wikimedia.org/wikipedia/commons/0/0f/Portrait_of_Lady_Lavery_as_Kathleen_Ni_Houlihan_.PNG

Lady in the striped shorts and teeny tiny bolero that doesn’t at all cover my boobs & necking a beer.

& at the same time how they have a passing resemblance to glitchy pixelation.

a mid-point, of sorts.

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Meant less that he’d fully painted over elements, and more his revisions regarding the hand closest to us, his head, the back of the shoulder, the farthest breast. Also the arm farthest from us likely wasn’t visible in fact, but there’s a tension with it being unseen, similar to when an artist elects to not use foreshortening. I like that he’s grappled with resolving these questions and hasn’t hidden the struggle from us.

Like seeing that he’s had some struggles with the composition and has edited stuff out. Lends a a particular tension to the work, which feels revelatory.

And that stork on the brink of departure…

Like the friend has suggested Raphael paint you next, and he’s giving it serious thought!

For English boys of that background, it was common for hair to be left long until they were old enough to be dressed in trousers rather than shorts, usually at around 12 or 13. The fashion was beginning to decline by 1904, but Robin’s hair here would not have been intended to indicate anything about gender, nor would it have been read as such at the time. The lack of ornamentation, such as a ribbon (whether tidy or in similarly carefree style to Robin’s) would have clearly marked this as the hair of a boychild.

Extra artporn titbit: the British hired artists during the war to design dazzle patterns for ships. Wouldn’t be surprising if other countries, such as Canada did too.

Think this artist may have had things in common with Joos van Craesbeek, going by this painting & the self-portrait posted here last week.

EDIT: seems they knew each other well, that that self-portrait was previously attributed to Brouwer, that van Craesbeeck may have been Brouwer’s pupil, and that they feature in each other’s paintings.

https://en.wikipedia.org/wiki/Adriaen_Brouwer

Love the tiny details, like the match with the failed head in the jar & another on the shelf by the used match, the not-fully-burnt crumbs of tobacco in the bowl of the pipe, and evidence of wear from teeth on the mouthpiece of the stem.

Just me or are there aspects of influence from this painting apparent in Picasso’s Guernica?

Feel a bit insane making the suggestion.