New Website
I have not heard of the Dr. X for some time, and I have worries for him.
Also, I direct you to the website here. It "surveys the entire extent of the universe touching upon phenomenon from the largest to the smallest size and covering the entire cosmic interval from past to present. It presents observations as well as the theories which explains the phenomena."
I have found this website from my researches into this painting, which I admire:
X left behind a book containing this, which has this text of explanation:
"This view of Saturn seen from Titan was envisaged in 1944 by the pioneer space artist Chesley Bonestell, soon after Titan's atmosphere was discovered. It influenced a generation of space artists and astronomers."
Also, please enjoy of a video to explain OMA's latest project in Beijing, the CCTV building. This is true journalism.
posted by Latouche at Large at 12:23 AM
1 Comments:
I think I've actually seen this painting, at I think a show at the Musuem of Flight, where it was planted on cubicle walls underneath the vast room full of real aircraft. Not the best conditions.
This was a powerful period of illustration, generally between about 1910 and 1950, where classically trained illustrators knew how to see and draw and were freed, rather than becrutched, by photography as a mutable reference source. The magazine market needed color images to attract people, and color printing of photography was very dull and unsatifactory at the time. These small, usually tempera paintings reproduced tremendously well.
The insatiable market led to powerful technique and fertile imaginations.
It was of course, quickly undone partly by the permutations of modernism in the graphic arts, which, obsessed with the new (and the cheap), embraced abstraction and machine-assisted imagery. Today, if they want the same rich look, art directors are usually reduced to using old paintings and whoring it up a bit with modern typography.
An interesting exception are the Camel cigarette girl ads, which succeed in being sexy, interesting, retro and contemporary. (It takes a village of corporate evildoers to raise a first rate modern illustrator.)
Illustration has not really recovered. It may not. Art directors will lay out gazillions for teams of digital artists but won't pay for paintings even if that's the look they want; they're too invested in the technology, and they've been burned by bad artists. So the talent either goes digital and cooperative, or goes into fine art.
The best of these guys cranked out 2 or 3 small paintings a day (!), but perfectly doable if you really understand the visual principles. (This is a bigger, more ambitious piece).
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