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Nothing particular happened to disrupt the morning of the second day. I continued to follow the increasingly oppressive meanders of this strange swamp,0despairing of ever finding further traces of another human being, when I became aware of a gentle lapping noise coming from a nearby pool. I?d barely caught a glimpse of a naked young woman?s graceful curves when she was bitten by a snake, and then she fled. I will never forget the expression on her pale face: a mixture of surprise and fear, pain and pleasure. So much so that I wondered to what extent she had not yielded to the desire to be the serpent?s victim.0Promising myself not to mistake water snakes for floating branches, I set off in pursuit of the bather. After a few minutes, the sight of an unexpected scene stopped me in my tracks. A group of Naiads, similar in every way to the one I was chasing, were frolicking in the sludgy green waters, joyous and carefree: one hanging upside-down from a branch, the others playing with the severed tentacles of a giant octopus?

kunst --- eenentwintigste eeuw --- kunstenaarsboeken --- artists' books --- Khatibi Sanam --- Iran --- België --- schilderkunst --- 75.071 KHATIBI --- schilderen [kunst] --- Khatibi, Sanam --- painting [image-making] --- 75.07 --- Khatibi, Sanam °1979 (°Teheran, Iran) --- Belgische kunstenaars --- Vrouwelijke kunstenaars --- Schilderkunst ; schilders

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"Bill Traylor (ca. 1853-1949) is regarded today as one of the most important American artists of the twentieth century. A black man born into slavery in Alabama, he was an eyewitness to history--the Civil War, Emancipation, Reconstruction, Jim Crow segregation, the Great Migration, and the steady rise of African American urban culture in the South. Traylor would not live to see the civil rights movement, but he was among those who laid its foundation. Starting around 1939, Traylor--by then in his late eighties and living on the streets of Montgomery--took up pencil and paintbrush to attest to his existence and point of view. In keeping with this radical step, the paintings and drawings he made are visually striking and politically assertive; they include simple yet powerful distillations of tales and memories as well as spare, vibrantly colored abstractions. When Traylor died, he left behind more than one thousand works of art. In Between Worlds: The Art of Bill Traylor, Leslie Umberger considers more than two hundred artworks to provide the most comprehensive and in-depth study of the artist to date; she examines his life, art, and powerful drive to bear witness through the only means he had, pictures. The author draws on a wealth of historical documents--including federal and state census records, birth and death certificates, slave schedules, and interviews with family members-- to clarify the record of Traylor's personal history and family life. The story of his art opens in the late 1930s, when Traylor first received attention for his pencil drawings on found board, and concludes with the posthumous success of his oeuvre"--

Outsider art --- 741.07 --- 75.07 --- 7.077 --- Traylor, Bill 1853-1949 (Verenigde Staten) --- Outsider Art --- Afro-Amerikaanse kunst --- Naive art --- Art --- Tekenkunst ; tekenkunstenaars A - Z --- Schilderkunst ; schilders --- Amateurkunstenaars --- Traylor, Bill, --- mezzotint [process] --- outsider art --- African American --- Traylor, Bill

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Painter and sculptor Rosa Bonheur (1822-1899) led a highly nontraditional life, especially for a woman in the nineteenth century. She kept lions as pets, was awarded the Legion of Honor by Empress Eugénie, and befriended "Buffalo Bill" Cody. She became a painter at a time when women were often only reluctantly educated as artists. Her unconventional artistic work habits, including visiting slaughterhouses to sketch animal anatomy and wearing mens clothing to gain access to places like a horse fair, where women were not allowed, helped her become one of the most beloved female painters of her time. Among the artworks discussed are The Horse Fair and Ploughing in the Nivernais.

Painters --- Women painters --- 75.07 --- Bonheur, Rosa 1822-1899 (°Bordeaux, Frankrijk) --- Vrouwelijke kunstenaars --- Schilderkunst ; 19de eeuw ; Realisme --- Thema's in de schilderkunst ; dieren --- Biografieën --- Women artists --- Schilderkunst ; schilders A-Z --- Bonheur, Rosa, --- Bonheur, Marie-Rosalie,

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Cassatt, Mary --- Women artists --- Impressionism (Art) --- 75.07 --- Aesthetics --- Art, Modern --- Modernism (Art) --- Painting --- Post-impressionism (Art) --- Artists, Women --- Women as artists --- Artists --- Schilderkunst ; schilders --- Cassatt, Mary, --- Stevenson, Mary, --- Exhibitions --- 76.07 --- Schilderkunst ; grafiek ; 1872-1930 ; Mary Cassatt --- Cassatt, Mary 1844-1926 (°Pittsburgh, Pennsylvania, Verenigde Staten) --- Kunst ; van vrouwen ; 19de en 20ste eeuw --- Grafische kunst ; grafische kunstenaars A-Z --- Cassatt, Mary, 1844-1926

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De jonge Belgische kunstenaar Ben Sledsens (°1991) is nog maar net aan een carrière in de beeldende kunst begonnen, maar hij wordt al omarmd door de kunstwereld. Op zijn grote canvassen vertaalt hij de klassieke genres van de schilderkunst - het portret, het stilleven, het interieur, het landschap - naar de beeldtaal van zijn eigen rijke universum. Hij verknipt het alledaagse leven en zet de ervarinƯgen naar zijn hand. Het resultaat lijken momentopnames van het gewone, dat toch telkens bijzonder en poëtisch aanvoelt. De invloed van grootmeesters als Matisse, Rousseau en Bruegel is in zijn kleine utopieën niet ver weg. Geïnspireerd door de natuur ontstaan de werken van Sledsens organisch. Geen strakke lijnen of vooropgezette schema's, maar wel een natuurlijk vloeiende weerspiegeling van zijn gedachten van het moment. De eenvoud van zijn onderwerpen maakt de beelden net erg vatbaar voor interpretatie. De kijker vult zelf het narratief aan dat nog alle kanten uit kan. Sledsens' doeken zijn letterlijk groot genoeg om erin te kunnen stappen en nodigen uit om er in gedachten in te verdwijnen. De werken van Sledsens zijn steeds subtiel met elkaar verbonden, bij-voorbeeld door weerkerende objecten. In het beëindigen van één werk ligt reeds de kiem van een ander. Op die manier vormt zijn prille oeuvre als het ware één groot verhaal. Exhibition: Tim Van Laere Gallery, Antwerp, Belgium (06.09. - 20.10.2018).

Drawing --- Painting --- drawings [visual works] --- Nature --- easel paintings [paintings by form] --- Sledsens, Ben --- 75.07 --- Schilderkunst ; schilders --- Exhibitions --- Schilderkunst ; 21ste eeuw ; 2016-2018 ; B. Sledsens --- Sledsens, Ben °1991 (°België) --- Belgische kunstenaars --- Tekenkunst --- Schilderkunst --- tekeningen --- schilderijen --- natuur --- MAD-faculty 19 --- hedendaagse schilderkunst --- kunstenaars 20-21ste eeuw