First Date of Publishing: 14 August 2024 Time: 12:08 AM
Update: 10 October 2024 Pretoria South Africa 06:38 AM
Went and Shopping yesterday.
Angelo Carlucci TikTok - 10 October 2024
Update: 2 October 2024 Pretoria South Africa 18:37 PM
Yayoi Kusama - Avant-Garde Art and Immersive Installations
Yayoi Kusama is a prominent Japanese contemporary artist known for her avant-garde work in various media, including painting, sculpture, installation art, performance art, and fashion. She is particularly associated with her immersive and visually arresting installations. Her art is often characterized by repetitive patterns, vibrant colors, and the prominent use of polka dots.
Kusama is also associated with the art movement of Pop Art and her own unique style of art, which has been described as "polka dot art." Her immersive installations, where viewers become part of the artwork, have gained widespread acclaim and are often referred to as "Infinity Mirror Rooms" due to their mesmerizing and seemingly endless reflections.
Her art delves into themes of infinity, endlessness, and the exploration of mental and emotional states. Kusama's work often incorporates elements of surrealism, minimalism, and abstract expressionism, and she is celebrated for her fearless and innovative approach to art creation.
Yayoi Kusama is not typically considered a "kitsch" artist. Kitsch art is often characterized by its excessive sentimentality, superficial attractiveness, and commercial appeal. It is usually seen as lacking in depth or seriousness, with an emphasis on mass-produced, popular culture imagery.
In contrast, Yayoi Kusama's art is known for its innovative and avant-garde nature, exploring themes of infinity, endlessness, and the subconscious mind. Her work delves into complex psychological and emotional landscapes, often incorporating repetitive patterns, vibrant colors, and polka dots in a way that challenges traditional artistic boundaries.
Kusama's art is celebrated for its depth, creativity, and ability to provoke thought and emotion in viewers. While her work may incorporate elements of popular culture and visual appeal, it is more closely aligned with contemporary art movements and avant-garde practices rather than the superficial and commercial qualities often associated with kitsch art.
Overall, Yayoi Kusama is recognized as a visionary artist whose contributions to the art world are revered for their originality, creativity, and depth of expression.
Comparison between Modern Dotting Art and Post-Impressionist Pointillism:
Modern Dotting Art, exemplified by artists like Yayoi Kusama, focuses on the use of dots as a primary element in creating immersive and visually engaging artworks. Kusama, known for her polka dots, employs this repetitive pattern to convey personal narratives and explore themes of infinity, self-obliteration, and the interconnectedness of the universe. Her use of dots transcends traditional artistic boundaries, leading to a unique and impactful visual language.
On the other hand, Post-Impressionist Pointillism, as seen in the works of artists like Georges Seurat, emerged during the late 19th and early 20th centuries as a technique within the broader Neo-Impressionism movement. Pointillism involves the meticulous application of small, unmixed dots of color on a canvas to create a cohesive image when viewed from a distance. Unlike Modern Dotting Art, Pointillism is characterized by a scientific approach to color theory and optics, requiring careful calculations and the use of complementary colors to achieve a harmonized effect that is only fully appreciated from afar.
While both Modern Dotting Art and Pointillism use dots as a fundamental element, their approaches and intentions differ significantly. Modern Dotting Art, exemplified by Yayoi Kusama's work, tends to be more personal, emotive, and symbolic, focusing on themes beyond the visual realm. In contrast, Post-Impressionist Pointillism is marked by its scientific precision and emphasis on optical illusions, aiming to achieve a cohesive image through the strategic placement of discrete dots of color. Both styles offer unique insights into the transformative power of individual dots when used with purpose and intention in artistic expression.
Comparison of Dotting Art as Seen in Yayoi Kusama's Work and Post-Impressionist Pointillism: A Scientific Perspective
In the realm of artistic expression, the application of dots has been explored through two distinct approaches: Modern Dotting Art, as exemplified by Yayoi Kusama, and Post-Impressionist Pointillism, championed by artists like Georges Seurat.
Modern Dotting Art, notably represented in Kusama's oeuvre, delves into the use of repeated patterns of dots to create visually compelling and immersive artworks. Through the repetitive application of dots, often in the form of polka dots in Kusama's case, the artist taps into the cognitive aspects of pattern recognition and visual engagement. This deliberate use of dots triggers neural responses related to pattern recognition and cognitive processing, leading to a heightened sense of immersion and connectivity with the artwork.
On the other hand, Post-Impressionist Pointillism, a technique within the Neo-Impressionism movement, approaches dot application with a scientific rigor rooted in color theory and optical phenomena. By meticulously placing small, distinct dots of unmixed colors on a canvas, artists like Seurat aimed to exploit the physiological mechanisms of the human visual system. From a distance, the individual dots blend optically to create a harmonized image, leveraging phenomena such as color mixing and optical blending to engage the viewer's perceptual processes.
From a scientific standpoint, both Modern Dotting Art and Pointillism offer insights into the cognitive and perceptual effects of dot manipulation in art. While Modern Dotting Art triggers neural responses related to pattern recognition and emotional engagement, Pointillism leverages optical illusions and color theory to exploit the viewer's visual processing mechanisms. By examining these artistic approaches through a scientific lens, we can uncover the intricate interplay between artistic expression, cognitive processes, and visual perception in the context of dot-based artworks.
Abstract Comparison of Dotting Art in Yayoi Kusama's Work and Post-Impressionist Pointillism:
The convergence of artistic expression through the utilization of dots unfolds in two distinct yet interconnected realms: the avant-garde world of Modern Dotting Art epitomized by Yayoi Kusama and the meticulous practice of Post-Impressionist Pointillism championed by visionaries like Georges Seurat.
In the ethereal realm of Modern Dotting Art, Kusama's creations transcend mere visual representation to evoke a meditative exploration of pattern, infinity, and interconnectedness. Through the repetition of dots—forming intricate polka dot narratives—Kusama delves into the realms of self-obliteration, symbolism, and the limitless cosmos. Each dot becomes a portal to a world of personal reflection, where the patterns mirror the human psyche's complexities, inviting viewers to lose themselves in a sea of dots that dance with infinite possibilities.
Contrastingly, the rational precision of Post-Impressionist Pointillism unveils a structured chaos that relies on the interplay of optical phenomena and scientific rigor. Through the strategic placement of individual dots, Seurat and his contemporaries engage in a harmonious dialogue with color theory and the human eye's perceptual mechanisms. As dots merge and diverge, colors oscillate in an orchestrated symphony, revealing an abstracted reality that coalesces only when viewed from a distance. The fragmented tapestry of dots beckons viewers to partake in a dance of perception and cognition, where the coherence of the image emerges from the chaos of minuscule strokes.
These two divergent yet complementary approaches to dot manipulation in art offer a glimpse into the metaphysical and the scientific, the emotional and the rational. From the enigmatic landscapes of Kusama's dots symbolizing the infinity of being to the calculated optical illusions of Pointillism unraveling the mysteries of color and vision, the world of dots transcends the canvas to provoke contemplation, immersion, and a harmonious convergence of art and science.
Reference:
https://www.tate.org.uk/kids/explore/who-is/who-yayoi-kusama
https://harn.ufl.edu/resources/yayoi-kusama-inspired-dot-art-activity/#:~:text=Yayoi%20Kusama%20is%20a%20Japanese,Infinity%2DNets%20(TWOS).
https://www.thecollector.com/who-is-yayoi-kusama/
https://rauantiques.com/blogs/canvases-carats-and-curiosities/the-art-of-pointillism
Update: 27 September 2024 Pretoria South Africa 10:35 AM
What is the Painting " Lover of Vladimir To Embrace" - 2024 (Acrylic on Board), about?
The term "kitsch post-Impressionism" or "post-Impressionist kitsch" refers to the fusion of kitsch art and Post-Impressionist painting styles. This combination results in artworks that combine exaggerated, sentimental, or superficial elements of kitsch with the innovative and expressive qualities of Post-Impressionism. The unique fusion may feature vibrant colors, bold brushwork, emotionally charged subject matter, mass-produced aesthetics, clichéd motifs, and overly sentimental themes. The resulting artworks present a juxtaposition of styles, offering a fresh perspective on traditional artistic genres.
Juxtaposition, on the other hand, refers to the act of placing two elements, often contrasting or opposing, side by side for the purpose of comparison or contrast. In art, literature, or everyday speech, this technique is used to emphasize differences or similarities between the elements, creating a dynamic effect. Juxtaposition can be used to highlight irony, create tension, or convey a deeper message by presenting contrasting ideas or visuals in close proximity to each other. This technique is widely used in various forms of artistic expression to provoke critical thinking in the audience.
Painting techniques associated with "kitsch post-Impressionism"
The painting techniques associated with "kitsch post-Impressionism" or "post-Impressionist kitsch" typically reflect a fusion of the characteristic styles from both kitsch art and Post-Impressionist painting.
In this unique combination, the techniques of Post-Impressionism, such as the use of vibrant and non-naturalistic colors, distinctive brushwork, and emphasis on emotional expression, are often employed. Artists may borrow from Post-Impressionist techniques like Pointillism, Divisionism, or bold and expressive brushstrokes to create visually impactful and emotionally charged artworks.
Additionally, elements from kitsch art, such as mass-produced aesthetics, clichéd motifs, and overly sentimental themes, may also be integrated into the painting techniques. This could manifest in the use of familiar, sentimental subjects or the application of techniques often associated with commercial or mass-produced art, resulting in a blend of traditional Post-Impressionist styles with kitsch elements.
The resulting paintings may exhibit a juxtaposition of styles, combining the innovative and expressive qualities of Post-Impressionism with the exaggerated, sentimental, or superficial elements associated with kitsch art.
Abstract:
The painting techniques found in " Lover of Vladimir To Embrace" ("kitsch post-Impressionism" or "post-Impressionist kitsch") artwork are marked by a juxtaposition of elements from both kitsch art and Post-Impressionist painting. This paintings incorporate vibrant and non-naturalistic colors characteristic of Post-Impressionism, utilizing techniques such as Pointillism, Divisionism, or bold and expressive brushwork to convey emotional depth and visual impact. Simultaneously, " Lover of Vladimir To Embrace" integrate kitsch elements, which include mass-produced aesthetic features, clichéd motifs, and sentimental themes, often executed in a deliberately exaggerated or superficial manner. The fusion of these techniques creates in the painting by Pieter Lategan - Kitsch Artist is a complex interplay between traditional Post-Impressionist styles and the commercial or sentimental aspects associated with kitsch art. Through the integration of scientific methodologies, this study seeks to provide a detailed analysis of how these painting techniques combine to evoke both emotional resonance and mass-produced aesthetics, ultimately contributing to the visual impact and thematic richness of the artworks.
Review of Literature
The existing scholarly and artistic discourse on kitsch art and Post-Impressionism has yielded a rich tapestry of perspectives on the synthesis of these two distinct styles. Within the art community, the conceptualization and critical reception of this fusion have sparked debates and dialogues that underscore the complexities of combining elements from kitsch and Post-Impressionist traditions.
Scholars such as Susan M. Pearce (1996) have delved into the historical evolution of kitsch art, tracing its roots in mass culture and examining its aesthetic appeal and cultural significance. Through this lens, kitsch is often viewed as a form of art that is accessible, sentimental, and colloquial, resonating with a wide audience beyond the confines of traditional artistic circles.
Conversely, Post-Impressionism, with its emphasis on subjective expression, formal experimentation, and vibrant color palettes, has been celebrated for pushing the boundaries of artistic representation and challenging established norms. Art historians like John Rewald (1978) and Linda Nochlin (1986) have highlighted the revolutionary impact of Post-Impressionist painters such as Van Gogh, Gauguin, and Cézanne in redefining the artistic landscape of their time.
The synthesis of kitsch art and Post-Impressionism has been met with both intrigue and skepticism within the art community. Some critics argue that the fusion of these styles represents a departure from traditional artistic values, blurring the line between high and low art, while others view it as a bold reinterpretation that breathes new life into established conventions.
Notably, contemporary artists like Jeff Koons and Takashi Murakami have embraced elements of kitsch and Post-Impressionism in their works, provoking discussions on the commodification of art, popular culture influences, and the evolving definitions of artistic authenticity.
By examining the scholarly and artistic discourse surrounding the synthesis of kitsch art and Post-Impressionism, this review of literature highlights the diverse viewpoints, critical interpretations, and ongoing debates that shape our understanding of this unique artistic fusion within the broader artistic landscape.
My Personal Notes about my work " Lover of Vladimir To Embrace" - 2024 (Acrylic on Board)
To be continued...
Thank you
I dedicate the piece of art in appreciation for everything I learned from my father, during his work on his dissertation. "The education of the highly gifted child" tutored by Dr Moller (Unisa).
- Pieter Lategan: Painter of " Lover of Vladimir To Embrace" - (Acrylic on Board) 2024
Pieter Lategan -" Lover of Vladimir To Embrace" in Process, Photo by Pieter Lategan 27 September 2024
It is a painting technique developed in the late 19th century by artists such as Georges Seurat and Paul Signac. This technique involves applying small, distinct dots or strokes of pure color to a canvas in a systematic pattern, rather than traditional brushstrokes. When viewed from a distance, these individual dots of color blend together optically to create a cohesive image. Pointillism is based on the theory of color division, where the juxtaposition of contrasting colors next to each other creates the illusion of a wider range of colors and tones. This technique was a key aspect of Neo-Impressionism, a movement that sought to capture light and color in a scientific manner. Pointillism is known for its vibrant and luminous quality, as well as its meticulous and time-consuming application process.
"When Will You Marry?" (French: « Quand te maries-tu ? »; Tahitian: "Nafea faa ipoipo?"). Artist: Paul Gauguin (1848-1903). Year of creation: 1892. Size: 105 x 75.5 cm.
The painting "When Will You Marry?" by Paul Gauguin epitomizes a unique blend of Cloisonnism, a style characterized by the use of bold, pure colors and defined outlines, within the genre scene composition. Created as an oil painting on canvas, this masterpiece now resides in the National Museum of Qatar, Doha. Paul Gauguin, a renowned French painter and prominent representative of 19th-century Post-Impressionism, is celebrated for his significant influence on the avant-garde art movement, with artists like Pablo Picasso, Joan Miró, and Henri Matisse being profoundly impacted by his work.
Introducing a novel approach to capturing the primitive life of indigenous people, Gauguin's "When Will You Marry?" challenges traditional perspectives by distorting composition, incorporating vibrant colors, and emphasizing contrast. This departure from conventional techniques exemplifies Gauguin's groundbreaking vision and his daring departure from detailed character depictions, further highlighting the influence of European civilization on Tahiti through missionary dress. The profound journey of this artwork, from being underappreciated during the artist's lifetime to becoming the most expensive piece in the world following its acquisition by the museum authority of Qatar in 2015, speaks volumes about its enduring impact and relevance in the art world.
Source: veryimportantlot.com
The Hair of the painting - " Lover of Vladimir To Embrace" Pieter Lategan 27 September 2024
I infusing a modern twist into Impressionism and Gauguin techniques through my own signature style. The interplay of light and shadow on the strands adds depth and interest, while experimenting with a diverse color palette like a little bit of dark blue with the black and white allows for a nuanced representation of shades and highlights in the black hair.
Drawing inspiration from Gauguin, bold outlines and flat colors simplify the structure of the hair, my willingness to explore unconventional color combinations gives the black hair a contemporary and artistic twist, resonating with modern aesthetics. By seamlessly blending Impressionism's focus on light and color with Gauguin's expressive flair, the artistic vision results in a visually striking and avant-garde portrayal of black hair, showcasing innovative techniques and my personal artistic touch.
Explanation of Post-Impressionism
Post-Impressionism in the artwork of Paul Gauguin and Henri Matisse is characterized by a departure from traditional Impressionist techniques and a deeper exploration of emotions, color, and form. Gauguin, known for his vivid paintings and use of symbolic imagery, pioneered a style that focused on expressing inner feelings and spiritual themes through bold colors and simplified forms. His works often feature exotic landscapes and figures, reflecting his travels and interest in non-Western cultures.
Henri Matisse, on the other hand, embraced Fauvism, a movement known for its bold use of color and simplified shapes. Matisse's Post-Impressionist art often exudes a sense of joy and energy, with his paintings showcasing a mastery of color harmony and composition[2]. His exploration of color and form pushed the boundaries of traditional painting, inspiring artists to experiment with new ways of representing the world around them.
Both Gauguin and Matisse played significant roles in shaping the Post-Impressionist movement, with their innovative approaches to color, form, and composition marking a departure from the Impressionist style that preceded them. Through their respective works, they challenged artistic conventions and paved the way for future generations of artists to explore new creative avenues.
Sources:
https://www.metmuseum.org
https://www.nga.gov/
Traditional Impressionist painting techniques typically involve the following key elements:
Brushwork: Impressionist artists utilized loose and visible brushstrokes to capture the essence of a scene quickly and spontaneously. These brushstrokes often convey movement and light effects in the artwork.
Color: Impressionists experimented with using pure, vibrant colors directly from the tube without premixing. They sought to capture the shifting qualities of light and opted for a more naturalistic representation of color through the use of complementary colors and color harmonies.
Light and Shadow: Impressionists were particularly interested in portraying the effects of natural light on objects and landscapes. They often painted in plain air (outdoors) to observe and capture the changing light conditions throughout the day.
Composition: Impressionist compositions tend to be informal and unconventional. Artists often focused on capturing fleeting moments and everyday scenes rather than traditional, staged subjects. They sometimes cropped their compositions to create a sense of immediacy and dynamism.
Texture: Impressionist artists sometimes left areas of the canvas unpainted, allowing the white of the canvas to show through. This technique, known as broken color or divisionism, adds texture and luminosity to the paintings.
Atmosphere and Mood: Impressionists aimed to convey the atmosphere and mood of a scene rather than rendering precise details. They often used blurred edges and soft transitions between colors to create a sense of depth and atmosphere in their works.
These techniques collectively contribute to the characteristic style of Impressionist paintings, which prioritize the artist's interpretation of light, color, and atmosphere over strict realism and detail.
Update: 26 September 2024 Pretoria South Africa 12:08 PM
Photo by Pieter Lategan - Purchases: 26 September 2024
Story about Pieter Lategan Painting "Lover of Vladimir to Embrace"
A New Canvas for Pieter - "Lover of Vladimir to Embrace"
The quiet hum of conversation filled the Melrose Art Gallery in Johannesburg, and the faint scent of varnish and fresh paint lingered in the air. David stood before a mesmerizing painting, his hands clasped behind his back, admiring Pieter’s modern replica titled *Lover of Vladimir to Embrace*. The vibrant hues captured the delicate yet strong features of the woman in the painting, evoking a sense of nostalgia and modernity at once.
The piece was a bold reimagining of Vladimir Trechikoff's *Chinese Girl*, blending contemporary elements while paying homage to the original. Pieter, the artist, had taken something iconic and breathed new life into it, crafting a story that felt both intimate and timeless.
David, a 46-year-old businessman with a broad muscular frame, had always appreciated fine art. Though his profession often kept him away from the world of creativity, he found solace in galleries like this. The polished floors beneath him reflected his clean-shaven face and the sharp suit that hugged his strong build. His short, dark hair was perfectly styled, complementing his chiseled features. He stood there, seemingly at peace, but behind his handsome exterior, there lingered a heart hardened by the scars of his past relationship.
He had poured his heart into his last relationship, only to have it shattered when trust was broken. Since then, his focus shifted entirely to his business ventures, avoiding any emotional entanglements. But tonight, something was different. The vibrant world of the Melrose Art Gallery was stirring something within him, a feeling he hadn’t entertained in years.
"Admiring Pieter's work, I see," a voice broke the silence. David turned to see Pieter, the artist, standing beside him, grinning. Pieter was a charismatic man, passionate about his work, and known for creating modern renditions of famous kitsch pieces, especially Trechikoff’s.
David returned the grin, “It’s incredible. There’s something about his style that feels both familiar and new.”
Before Pieter could respond, another voice chimed in. “Pieter! There you are.” A woman with blond hair styled in a sleek bob approached them. She wore glasses with thick frames that emphasized her sharp, creative gaze. Her clothes, a mix of structured fashion and comfort, hinted at her profession.
David’s eyes met hers, and he felt something shift within him.
“Sindy, great to see you!” Pieter exclaimed, greeting her warmly.
Sindy glanced at David, and her smile broadened. “I see you’re admiring Pieter’s work too,” she said, her tone playful yet curious.
David nodded, returning her smile. “I am. His work is impressive. It’s rare to see such a modern twist on something so iconic.”
Pieter, noticing the growing energy between the two, excused himself. “The curator’s calling me. I’ll leave you two to chat. Don’t have too much fun without me.” He winked and walked away, leaving David and Sindy alone in front of *Lover of Vladimir to Embrace*.
There was a brief silence, but it wasn’t awkward. It was as if the universe itself was taking a breath, anticipating something meaningful. Sindy laughed softly, her laughter like a melody that danced through the room.
“So,” she began, pushing her glasses up, “are you an art connoisseur or just here for the free wine?”
David chuckled. “A little of both, maybe. But honestly, I came here to escape for a bit. Business can be overwhelming, and I find art helps me… breathe.”
Sindy’s eyes sparkled with interest. “I get that. I’m a fashion designer, so I live and breathe creativity. But even then, I come here to get inspired, to see the world differently.”
David’s brow arched. “Fashion designer? Now that’s intriguing. What’s your specialty?”
“Streetwear for men,” Sindy replied, a hint of pride in her voice. “Lycra, specifically. I’m passionate about men’s swimwear. There’s something about creating pieces that combine form and function, allowing freedom of movement while still being fashionable.”
David smiled, impressed. “That sounds incredible. It’s rare to meet someone so passionate about what they do.”
Sindy blushed slightly, not expecting the compliment. “Thanks. I guess I’ve always been drawn to art and fashion. Pieter and I met during Fashion Week at Mall of Africa. He’s got an eye for blending different styles, which is why we clicked immediately.”
David nodded, listening intently. He wasn’t used to this—opening up or feeling interested in someone so quickly. There was something about Sindy that drew him in. Her confidence, her creativity, the way she spoke passionately about her work—it was refreshing.
They continued to walk through the gallery, their conversation flowing effortlessly. David found himself talking about his business, his love for Cape Town where his mother lived, and how his past relationship had left him guarded. Sindy listened with understanding eyes, nodding thoughtfully but never pushing him to reveal more than he was comfortable with.
When they reached *Lover of Vladimir to Embrace* again, David paused. He glanced at Sindy, who was admiring the painting with a thoughtful expression. An idea popped into his mind.
“I think I’m going to buy this,” David said suddenly, surprising even himself.
Sindy turned to him, intrigued. “Really? For yourself?”
“No,” David smiled. “For my mother. She lives in Cape Town, where Trechikoff lived before he passed away. I think she’d love this painting. It belongs there, for the Capetonians to appreciate.”
Sindy’s laughter bubbled up again, her eyes twinkling behind her glasses. “That’s a thoughtful gift. She must be a lucky woman to have a son like you.”
David shrugged, his smile widening. “She’s put up with me long enough. I figure it’s time to give something back.”
Their conversation was interrupted by Pieter returning with the curator, but David’s mind was still focused on Sindy. As the evening drew to a close, and the gallery emptied, they found themselves standing outside together, neither wanting the night to end.
“I had a great time,” Sindy said, adjusting her glasses as a cool breeze blew through her blonde bob.
“So did I,” David replied sincerely. He hesitated for a moment, then added, “I’d love to see you again, if you’re interested.”
Sindy smiled and handed him a card with her number. “Call me when you’re back in Johannesburg. I’m sure we can find another gallery or a fashion show to explore.”
David pocketed the card, feeling a warmth in his chest he hadn’t experienced in years. “I will. I promise.”
They said their goodbyes, and David watched as Sindy walked toward her car, her figure disappearing into the night. For the first time in a long while, he felt something stirring inside him—a glimmer of hope, perhaps even the start of something new.
---
A few weeks later, back in Johannesburg, David found himself scrolling through his phone, his thumb hovering over Sindy’s contact. The painting of *Lover of Vladimir to Embrace* now hung proudly in his mother’s home in Cape Town, and she had been thrilled with the gift. But now, as he thought of Sindy, he realized the painting had been more than just a gift for his mother. It had been a turning point for him—a moment when he realized that maybe, just maybe, there was room in his life for more than just business.
He pressed the call button, and after a few rings, Sindy’s cheerful voice answered. “David! I was wondering when I’d hear from you.”
David smiled, his heart skipping a beat. “I’m back in town. How about that drink at Signatures?”
Sindy laughed softly. “I thought you’d never ask. I’ll meet you there in an hour.”
As David hung up the phone, he realized that for the first time in years, he was looking forward to something more than just a business meeting. He was looking forward to seeing Sindy again, to discovering where this unexpected connection might lead.
And as he straightened his suit and headed out the door, he couldn’t help but think that perhaps life was like a canvas, ready to be filled with new colors, new stories, and new beginnings.
--- The End---
By Pieter Lategan 26 September 2024 - 15:39 PM Pretoria South Africa
Update on 9 August 2024: (Thank you for reading your special love you x pieterlategan_ )
Artist: Pieter Lategan
Title: "Lover of Vladimir -The Artist I Want to To Embrace" - 2024
Medium: Acrylic on Board
Size:(Need to take measurements, the weight) (-->>The painting is very heavy I it is not on canvas - might be a problem >>--)
Why do you have a online blog for your painting?
Create your own blog on Blogger. Owners, please note that you have to log in to your Gmail account once every second year.
What can you do if you have your blog that I created for painting? You have ownership of the blog with a username and password. You can generate the password online. (Provide a URL or keywords to search on Google)
You can share the story of the painting - where it goes, how long it has been with you, to whom you gave it, or to whom you sold it and for how much. You can also write notes about me and what you know.
As the owner, you can write your own thoughts and wording, start doing your own sketches and paintings, and post them on the blog. You can even sell them for more with your sketches and paintings. Then, you can also become an artist and a fan of Pieter Lategan - Kitsch Artist.
(-->>Please note: this painting Is still in development there will still be changes made.<<--)
Die Grafsteensangers - Petronella. 01 (Tombstone Singers)
Mr. Laurence Graff
"British businessman and jeweller Laurence Graff, who owns the Delaire Graff Estate near Stellenbosch, in South Africa, where the picture will join the rest of his art collection on display." - The Guardian
Please visit his website: https://www.graff.com/international-en/home/
Photo: https://www.graff.com/international-en/high-jewellery.html
Mr. Laurence Graff is the Second Owner of the piece of Kitsch Art the Green Lady (Chine Girl) - 2024
Neil Diamond - I Am... I Said (Music Video)
Steve Hofmeyr - I am I said (Neil Diamond Cover) - Radio Jacaranda
Update 0n 8 August 2024:
Artist: Pieter Lategan
Title: "Lover of Vladimir -The Artist I Want to Embrace" - 2024
Medium: Acrylic on Board
Size:(Need to take measurements, the weight) (-->>The painting is very heavy I it is not on canvas - might be a problem >>--)
(-->>Please note: this painting Is still in development there will still be changes made.<<--)
28 August 2024 - Pieter Lategan Lover Vladimir Kitsch Art.
What is Kitsch Art?
Kitsch Art is essentially art with bad taste, categorized as poor art. Today, kitsch art is not as negatively perceived. The association that something is so kitsch is no longer there; it is about embracing the art or the artist, such as Mr. Vladimir Tretchikoff, who was well-known for working within the Kitsch art movement.
This poor art, kitsch art, was mainly recognized by Americans and Europeans, but now it is acknowledged worldwide. - Pieter Lategan 8 August 2024
Source: Artsy
Yayoi Kusama - Getty Images
Ninety-two-year-old Yayoi Kusama is one of the world's most celebrated living artists - and remarkably, she has voluntarily resided in a psychiatric hospital for 45 years. Best known for her "immersive infinity rooms", she uses lots of borderline-kitsch pop-vegetal imagery, including pumpkins. Her work is mind-bending, witty, and wise. yayoi-kusama.jp. - https://visi.co.za/vision-kitschy-cool/
- This painting, "Vladimir," is still being developed and updated till the final painting. There will be changes made. The plan is for four paintings acting as one collection which will be sold as a collection. - (27 July 2024)
Artist: Pieter Lategan Title Self Portrait - 2018
Medium:
Lyrics:
Pieter Lategan - Selfie 27 July 2024
