UNDRESSING by Bob Kessel

Bob Kessel’s art series “GIRLZ” features pictures based on sunbathing at the beach like the picture “UNDRESSING” shown above. These pictures are available as signed and numbered limited edition fine art prints. Contact Bob Kessel for pricing and availability.

NUDE WITH MONET by Bob Kessel

_

Bob Kessel has created a new art series titled, “THE NUDE” based on the works of artists throughout time. The pictures are available as limited edition fine art prints, signed and numbered by the artist. Contact Bob Kessel for prices and availability.

If there is one genre of art that seems to have played a greater role than any other, it is the nude. For at least 30,000 years, humans have represented the naked form in a variety of ways. From the ideal to the real, the Romantic to the Surrealist, there has been almost no end of works devoted to the unclothed human body.

The English language, with its elaborate generosity, distinguishes between the naked and the nude. To be naked is to be deprived of our clothes, and the word implies some of the embarrassment most of us feel in that condition. The word ‘nude’ on the other hand, carries, in educated usage, no uncomfortable overtone. … In fact, the word was forced into our vocabulary by critics of the early 18th century to persuade the artless islanders that, in countries where painting and sculpture were practiced and valued … the naked human body was the central subject of art.

Rubens did for the female nude what Michelangelo had done for the male. He realised so fully its expressive possibilities that, for the next century, all those that were not slaves of academism, inherited his vision of the body as pearly and plump. Round the Venuses or Dianas of the Fontainebleau School hangs a smell of stylish erotism, impossible, like all smells, to describe, but strong as ambergris or musk. One reason is that a trace of Gothicism, with all that it implies of seductive guesswork, persists in their proportions. Up to the time of le Moyne or even Houdon, the bodies of French goddesses retain the small breasts, long tapering limbs, and slightly accented stomachs of the sixteenth century. To this tradition of quasi-Gothic elegance certain painters of the dix-huitieme, Watteau above all, added Rubens’ feeling for the colour and texture of skin. No other painter has had a more sensitive eye for texture than Watteau, and the rarity of his nudes may even reflect a kind of shyness born of too tremulous desire which the spectacle of the living surface aroused in him. Perhaps the very unfrigid statues in his parks are telling us that he could only contain his excitement when the body was supposed to be of stone.

FISH RED STUDIO by Bob Kessel

•

Bob Kessel has created an art series based on Henri Matisse. The pictures are available as signed and numbered limited edition fine art prints. Contact Bob Kessel for prices and availability.

influenced by the works of the post-Impressionists Paul Cezanne, Gauguin, Van Gogh and Paul Signac, and also by Japanese art, Matisse made color a crucial element of his paintings. Matisse said, “In modern art, it is indubitably to Cézanne that I owe the most.” By studying Cézanne’s fragmented planes — which stretched the idea of the still life to a forced contemplation of color surfaces themselves — Matisse was able to reconstruct his own philosophy of the still life.

Matisse’s career can be divided into several periods that changed stylistically, but his underlying aim always remained the same: to discover “the essential character of things” and to produce an art “of balance, purity, and serenity,” as he himself put it. The changing studio environments seemed always to have had a significant effect on the style of his work.

In these first years of struggle Matisse set his revolutionary artistic agenda. He disregarded perspective, abolished shadows, repudiating the academic distinction between line and color. He was attempting to overturn a way of seeing evolved and accepted by the Western world for centuries by substituting a conscious subjectivity  in the place of the traditional illusion of objectivity .

When Fauvist works were first exhibited Salon d’Automne in Paris they created a scandal. Eyewitness accounts tell of laughter emanating from room VII where they were displayed. Gertrud Stein, one of Matisse’s most important future supporters, reported that people scratched at the canvases in derision. “A pot of paint has been flung in the face of the public” was the reaction by the critic Camille Mauclair. Louis Vauxcelles described the work with the historic phrase “Donatello au milieu des fauves!” (Donatello among the wild beasts), referring to a Renaissance-type sculpture that shared the room with them. His comment was printed on 17 October 1905 in Gil Blas, a daily newspaper, and passed into popular usage. Derain himself later called the Fauves’ color “sticks of dynamite.” The painting that was singled out for attacks was Matisse’s Woman with a Hat, a portrait of Madame Matisse.

Due to the recurrent incidence of nude women and intensely sensual interpretation many observers have assumed that as a man Matisse must have been a hedonist. On the contrary, historic examination demonstrates that in reality, he was rather a self-abnegating Northerner who lived only to work, and did so in chronic anguish, recurrent panic, and amid periodic breakdowns. While Picasso recompensed himself, as he went along, with gratifications of intellectual and erotic play Matisse did not. In an age of ideologies, Matisse dodged all ideas except perhaps one: that art is life by other means.

Matisse’s uninhibited celebration of women is often believed to have initiated from Cézanne’s painting Three Bathers (1882) (which he had acquired for himself along with a Van Gogh and a Gauguin). However, Matisse depicts women as nurturing, welcoming, and unlike the forbidding, massive clay-like presence of those of Paul Cezanne.

Matisse continued to evolve in unexpected directions even though never became an abstract painter (though some of his most adventurous works, such as the View of Notre Dame of 1914 or the Yellow Curtain of 1916 come close). His motifs were always recognizable, and the tension between the subject and the formal aspects of the painting was a central concept of his artistic ideal.

OSLO O SOLE MIO by Bob Kessel

Bob Kessel has created a new art series based on the works of Edvard Munch. They are available as limited edition fine art prints. Contact Bob Kessel for prices and availability.

Munch was a Norwegian painter and printmaker whose intense, evocative treatment of psychological and emotional themes was a major influence on the development of German Expressionism in the early 20th century. His painting The Cry (1893) is regarded as an icon of existential anguish.

A gifted Norwegian painter and printmaker, Edvard Munch not only was his country’s greatest artist, but also played a vital role in the development of German expressionism. His work often included the symbolic portrayal of such themes as misery, sickness, and death. The Cry, probably his most familiar painting, is typical in its anguished expression of isolation and fear.

Munch was born on Dec. 12, 1863, in Loten, Norway. He grew up in Christiania (now Oslo) and studied art under Christian Krohg, a Norwegian naturalistic painter. Munch’s parents, a brother, and a sister died while he was still young, which probably explains the bleakness and pessimism of much of his work. Paintings such as The Sick Child (1886), Vampire (1893-94), and Ashes (1894) show his preoccupation with the darker aspects of life.