Art Now Artist at the Rise of the New Millennium by Uta Grosenick

By Uta Grosenick

Modern paintings in a nutshell (TASCHENs twenty fifth anniversary specific version) This paintings Now twenty fifth anniversary distinct version brings jointly contemporary paintings and biographical details for over eighty of todays so much influential artists, forming a extensive and colourful spectrum of the paintings that has formed the paintings global in recent times. Featured artists contain: Matthew Barney, Maurizio Cattelan, John Currin, Tacita Dean, Thomas call for, Rineke Dijkstra, Douglas Gordon, Andreas Gursky, Thomas Hirschhorn, Damien Hirst, Mike Kelley, Martin Kippenberger, Jeff Koons, Sharon Lockhart, received Ju Lim, Paul McCarthy, Mariko Mori, Sarah Morris, Vik Muniz, Takashi Murakami, Shirin Neshat, Albert Oehlen, Chris Ofili, Gabriel Orozco, Jorge Pardo, Elizabeth Peyton, Thomas Ruff, Cindy Sherman, Thomas Struth, Wolfgang Tillmans, Rirkrit Tiravanija, Luc Tuymans, Jeff Wall.

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Pl. III, fig. XL. 8 Roberto Longhi (F. Zeri, La Galleria Spada, Florence, 1954, p. 89, no. 289, fig. 108) attributes the Sta. Maria in Aquiro paintings to an unknown foliower of Honthorst, the same painter who executed the Taking ofChrist in the Galleria Spada, Rome. The author can see little connection between the Spada painting and tllose in Sta. Maria in Aquiro and has placed the Spada picture in the group attributed to Crijn Hendricksz. Volmarijn [J. R. Judson, "Possible Additions to Crijn Hendricksz Volmarijn," OudHolland (Mededelingen R.

6) In both works the principal figure is solid, three-dimensional and naturalistic. This altarpiece of 1618 represents a step further along in the development of form based upon nature as the model. The bone structure of the figures in both paintings is carefully portrayed with the help ofillumination, but there is one difference. Whereas in the Crowning with Thorns the light falls with all of its 1 Though one can see the beginnings of this in the angel carrying the torch in The Lamentation, Honthorst is still rather distant from the young Jesus in the Montecompatri painting, the angel to the left in the Uffizi Nativity and the doctor's assistant in the 1622 Dresden Dentist; to name but a few.

Paul was ordered by Cardinal Scipione Borghese, who had restored Santa Maria della Vittoria and wished to present the priests with a new altarpiece. 2 We have no written documents giving a 1 When one compares the Palazzo Patrizi painting with a Lamentation in the Borghese Gallery, Rome, painted upon slate and accepted as Turchi, one sees a certain affinity between the two works. The refined character of Christ's face, His elegant hair and beard, the knotty musdes of the body over which the light plays, are executed in a similar manner in both paintings.

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