Gottfried Helnwein
Annunciation (Mouse 12), 2010
Mixed Media (Oil & acrylic on canvas)
78 3/4 x 116 1/2 inches
200 x 295.9 cm
Anna, 2010
Mixed Media (Oil & acrylic on canvas)
63 x 42 3/4 inches
160 x 108.6 cm
Righteous Man II, 1999
Mixed Media (Oil & acrylic on canvas)
75 1/2 x 59 1/4 inches
191.8 x 150.5 cm
The Murmur of the Innocents 3, 2009
Mixed Media (Oil & acrylic on canvas)
86.61 x 129.53 inches
220 x 329 cm
His paintings often depicted children as victims of unexplained violence, presenting them as archetypal figures in a theatre of cruelty perpetrated by unseen forces. Equally fascinating is the artist's personification of Mickey Mouse and anime characters, projecting them into his ongoing exploration of psychological and social anxieties and society's darkest impulses. His work is visually reminiscent of contemporary cinematography.
His use of lighting and setting often created an atmosphere of anxiety or acquiescence. It is the artist's painterly treatment of the unspeakable act that gives the viewer enough comfort to contemplate the horrors he depicts. I feel sorry for the children in his work. So I wanted to do something about child abuse.
How did his family influence Matisse?
This is a film about the artist Henri Matisse. It focuses on the artist's early unremarkable life in Bahrain-en-Vermandois, a town in northern France, and his struggle to gain recognition in the art world in Paris in the late 19th and early 20th centuries. But it is also a portrait of the wider Matisse family -- especially the artist's wife (Amelie). The film's key narrator is Henry and Amelia's great-granddaughter Sophie Matisse, a member of the Matisse family, who explores the influence of family life on Matisse through her own eyes.
This video tells us all the time.
How important family is in influencing people. So Matisse has done more than just that. And we can see what's going on inside. So this documentary has deeply influenced my view of the world. The content of my work was also affected.
Childhood trauma is not something you grow up over. Pediatrician Nadine Burke Harris explains that abuse, neglect, and the repeated stresses of parents struggling with mental health or substance abuse issues have real, tangible effects on brain development. This remains true throughout a person's life, so much so that those who experience severe trauma have three times the risk of heart disease and lung cancer. It was an impassioned plea for pediatric medicine to confront the prevention and treatment of trauma. I quite agree with her.
But I still want people with childhood trauma to look forward to a better future.
So the bottom part of my work shows dragonflies, sunflowers, and zebras, which I think are beautiful things.
Sunflowers, 1888, Vincent Van Gogh, National Gallery, London, England, England.
The sunflower series shows that van Gogh's heart seems to always boil with enthusiasm and vitality, mellow as a flame of sunflower.
I also have a yearning for a better future.
My dark colors are inspired by her.
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Romanie Brooks, The Charwoman, oil on canvas, 77.1 x 102.9cm, 1904
Romaine Brooks, La France Croisée, 1914, oil on canvas, 116.2 x 85.0 cm, 45 3/4 x 33 1/2 in., Smithsonian American Art Museum
Self-portrait by Romanie Brooks, oil on canvas, 117.5×68.3cm, 1923
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Yayoi Kusama Pumpkin, 1990
Self-portrait. 1995 YAYOI KUSAMA
Dreams of Yesterday, 2006 © YAYOI KUSAMA
Zhang Xiaogang's works lead the historical problems based on blood and family system to the contemporary era and testify the social morbid with personal special spiritual experience. In the most direct and popular schema, they symbolically remind us of The Times we have experienced and are experiencing. Rather, Zhang Xiaogang's "Big Family" series is a portrait of The Times. The portrait is both zhang Xiaogang's personal and a product of his collective memory and imagination. There is never a clear boundary between memory and imagination, memory is in many cases a kind of imagination of the time. The meaning of Zhang Xiaogang's works starts from this ambiguous boundary.
Mask series The Last Supper 2001
Mask Series 1996 NO.6
As the second generation of artists under the influence of 85 artistic trends, Zeng Fanzhi's works are also marked by realism, but this realism is his own. His works are full of senses of the world, and he integrates his life, ideas, and minutiae into his art, reflecting the social landscape of the time and his personal characteristics.
This generation of artists has influenced how I see myself in the '90s,
The context of Zeng fanzhi's paintings turned inward from an observer of social objects, and began to return to himself from the world and pay attention to the practical feelings of "oneself". The meat series and the Union Hospital series are direct representations of social observation, while the mask series is a vision of self-interpretation of reality. From this point of view, mask series is a sublimation of artistic spirit. Mask seems to be a synonym for hypocrisy, but in fact it is the expression of Zeng Fanzhi's real emotions. Therefore, Mask series has become the symbolic symbol of Zeng Fanzhi's artistic process.
Thus Spoke Zarathustra: A Book for All and None
In fact, people and trees are the same. The more a tree yearns for sunlight from a high place, the more its roots have to extend to the dark ground. This is a sentence said by the great German philosopher Nietzsche. The great thinker Wang Yangming of the Ming Dynasty in China also said this. Planting words: Planting trees must cultivate their roots, and planting virtues must cultivate their hearts. People are not more expensive than having no faults, but more expensive than being able to change.
To build a world is just like a tree. The more you yearn for the sunlight from a high place, the more the roots will stretch out to the dark ground. The power of darkness is the fertile soil that nourishes the roots. The deeper and wider the roots are, the more nutrients they can suck, and they can grow into towering trees.
People really grow up through mistakes, denying themselves step by step, breaking through the bottlenecks in life and shaping themselves. Most people in the world fear the darkness, and without this courage, it is difficult to have great wisdom radiate. Therefore, there are not enough people who really make great contributions to the family and society. Only by embracing the darkness and defeating the darkness can you get the sunlight from the heights.
Also sprach Zarathustra