Francine Wilhelm, “Include a bird in your journal art”, charcoal on paper, 12”x12”
Loneliness does not come from having no people around you, but from being unable to communicate the things that seem important to you.
—Carl Jung (1875-1961)
Holy Trinity, 2011
51.5 x 51.5 inches; acrylic, graphite and charcoal on paper
Elizabeth Malaska, MFA
What tha Bumboclaat!, 2011
51.5 x 51.5 inches; acrylic, graphite, charcoal and gesso on paper,
Virgin and Child
Dieric Bouts (Netherlandish, Haarlem, active by 1457–died 1475)
Date: ca. 1455–60 Medium: Oil on wood Dimensions: 8 1/2 x 6 1/2 in. (21.6 x 16.5 cm)
Dieric Bouts has based this small, exquisite image on the ancient Byzantine formula for the affectionate Virgin (glykophilousa)—a type popular in the Netherlands. However, he has dispensed with the gold background and halo of Byzantine practice and has endowed the painting with a human tenderness and simplicity not found in icons. With his subtle and tactile modeling of the flesh, the artist heightened the illusion of living, breathing beings. Focusing on the loving relationship of a mother and her son, his portrayal emphasized human emotions and enhanced the intense inner experience of private devotion.
“For me, a color is a force. My pictures are made up of four or five colors that collide with one another, and the collision gives a sense of energy. When I put green, it doesn’t mean grass. When I put blue, it doesn’t mean sky.” —Henri Matisse, Chatting with Henri Matisse: The Lost 1941 Interview, available August 2013
Richard Diebenkorn was influenced by myriad aspects of Matisse’s oeuvre, including his later collages, which Matisse referred to as “painting with scissors.” Diebenkorn’s Untitled (Yellow Collage), currently on view in Richard Diebenkorn: The Berkeley Years, 1953—1966, clearly embodies Matisse’s apt adage.