テート・ギャラリーさんのインスタグラム写真 - (テート・ギャラリーInstagram)「#WorkoftheWeek is 'I Love the Whole World' by Canadian-born American artist Agnes Martin (1912–2004) whose paintings have been described as 'essays on inward-ness and silence.'⁣ ​⁣ ​✏️⁣ ⁣ Martin described the way in which she created each new work, whereby she would see the finished painting in her mind’s eye and then translate this vision into reality. However, as she said, ‘we can see perfectly, but we cannot do perfectly’, so while her ‘inspiration’ was perfect, the final painting always contained slight imperfections – wavering pencil lines, peach stripes or pooled paint – brought about by the human hand. Martin aimed at perfection in the knowledge that she could not achieve it. She explained: ‘I hope I have made it clear that the work is about perfection as we are aware of it in our minds, but the paintings are very far from being perfect – completely removed in fact – even as we ourselves are.’ ⁣ ⁣ This work is on display in Tate Modern's free collections route, open from 27 July 2020. Click the link in our bio to find out more.」7月9日 0時43分 - tate

テート・ギャラリーのインスタグラム(tate) - 7月9日 00時43分


#WorkoftheWeek is 'I Love the Whole World' by Canadian-born American artist Agnes Martin (1912–2004) whose paintings have been described as 'essays on inward-ness and silence.'⁣
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​✏️⁣

Martin described the way in which she created each new work, whereby she would see the finished painting in her mind’s eye and then translate this vision into reality. However, as she said, ‘we can see perfectly, but we cannot do perfectly’, so while her ‘inspiration’ was perfect, the final painting always contained slight imperfections – wavering pencil lines, peach stripes or pooled paint – brought about by the human hand. Martin aimed at perfection in the knowledge that she could not achieve it. She explained: ‘I hope I have made it clear that the work is about perfection as we are aware of it in our minds, but the paintings are very far from being perfect – completely removed in fact – even as we ourselves are.’ ⁣

This work is on display in Tate Modern's free collections route, open from 27 July 2020. Click the link in our bio to find out more.


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