Pierre Roy (1880 – 1950) was an active participant in the surrealist group in Paris in the 1920s and ’30s. With its realistic rendering of ordinary objects placed in a claustrophobic, anonymous setting, The Storm (1928) typifies “the uncanny“ – a feeling often resulting from the encounter of familiar things in illogical arrangements or contexts. The term was popularized in the early 20th century by Sigmund Freud, and became a prime interest of the Surrealists.
Photographed in the LA County Museum of Art (LACMA).
Created over a span of two years, Bathroom Sink (1994) is based on a tableau the artist meticulously arranged in her home bathroom. Catherine Murphy went to extraordinary lengths to leave the scene of cut locks of hair undisturbed, including building a second bathroom, so that this one could be exclusively dedicated to painting. Continue reading Modern Art Monday Presents: Catherine Murphy, Bathroom Sink→
Painting is one of the most fun and creative activities that both kids and parents can enjoy together. It’s a fantastic way for children to express themselves, develop new skills, and even spend quality time with family.
Not only does it foster creativity, but it also strengthens the bond between parents and their little ones. Whether you’re looking for something simple or more adventurous, there are endless ways to explore the world of painting. Continue reading 10 Creative Painting Ideas for Kids and Parents→
In Sunday Morning (1940), artist Emil Kosa Jr. (1903 –1968) captures a quiet scene with people arriving at a little church in the California countryside. In wagons and on foot, they gather from all around, many coming down the hill from the houses we can see in the distant background. Continue reading Modern Art Monday Presents: Emil Kosa Jr. Sunday Morning→
In 1930, Paul Nash (1889 – 1946) traveled to the South of France, staying in a hotel by the sea. The image in Harbour and Room (1932–36) derives from a reflection of a ship in the large mirror which hung in front of his bed. The critic Herbert Read, admired Nash’s response to surrealism, writing “he has dared to transform the English tradition.” In 1936, Harbour and Room was included in both the International Surrealist Exhibition in London and Fantastic Art, Dada, and Surrealism in New York City.
