• Title
    Interior of an Inn with an Old Man, the Landlady and Two Men Playing Backgammon, known as 'Two Kind

    c. 1636-79

    A group of men are having fun in a tavern. A young man is drinking beer, draining his tankard, while a couple of others are playing backgammon. Like cards, this popular game was associated with idleness and folly. On the left, another game is being played: an old man tries to pull a young woman (the landlady) onto his lap. The woman resists him half-heartedly. Her red stockings, however, suggest that she would not have been all that worried about her morals: red stockings often indicated the woman was a prostitute. Taverns were sometimes disguised brothels and this place certainly has a rather dubious air. The lute on the wall, the dog, the pipe on the firepan and the mussel and eggshells on the ground suggest debauchery, lust and idleness.

    Jan Havicksz. Steen (1626-1679)

    Jan Havicksz. Steen was born in Leiden in 1626, the son of a brewer. Educated at a Latin school he enrolled in 1646 at Leiden university, although he was never to actually graduate. Little is known for certain about Steen's apprenticeship as a painter. Early eighteenth-century biographers of artists record that he was taught by various painters: Nicolaus Knupfer, Adriaen van Ostade as well as landscape painter Jan van Goyen, whose daughter he married in 1649. One year earlier he had registered as a master painter with the Leiden guild of artists, indicating that his apprenticeship was now over.

    your comment

  • Gilbert, b. 1943, Dolomites, Italy
    George, b. 1942, Devon, England

    Gilbert was born Gilbert Proesch in 1943 in the Italian Dolomites. He studied at the Wolkenstein School of Art and Hallein School of Art, Austria and the Akademie der Kunst, Munich. George was born George Passmore in 1942 in Devon, England. He was schooled at the Dartington Adult Education Centre, Devon; Dartington Hall College of Art; and the Oxford School of Art. Gilbert and George met while students at the St. Martin’s School of Art, London in 1967, and have lived and worked together in London since 1968.

    Moving to the working-class neighborhood of Spitalfields in London, Gilbert and George revolted against art’s elitism, naming their house “Art for All” and declaring themselves “living sculptures.” Although their early work centered around Performance, the artists soon turned to video, photography, and drawing. As early as 1969, the artists were given an exhibition at the Stedelijk Museum, Amsterdam, and by 1972–73 were frequently showing with prestigious galleries like Anthony d’Offay Gallery, London, Sonnabend Gallery, New York, and Galerie Konrad Fischer, Düsseldorf. Their use of black-and-white photographic assemblages first surfaced in 1971 and by the late 1970s had developed into gridlike photo combinations. The duo was invited to participate in Documenta in Kassel in 1972, 1977, and 1982. In 1980, the Stedelijk Van Abbemuseum, Eindhoven, organized a mid-career retrospective of the artists’ work, which traveled to the Kunsthalle Düsseldorf, Kunsthalle Bern, Centre Georges Pompidou, Paris, and Whitechapel Art Gallery, London.

    In the first years of the 1980s, Gilbert and George added a range of bright colors to their photographs, emphasizing their slick, stylized, and cartoonlike appearance. The content of the work of this period centered around urban life and the hope and fear associated with modern society. In 1986, Gilbert and George were awarded the Turner Prize, and in 1987 had a major exhibition at the Hayward Gallery, London. In 1989, Gilbert and George exhibited 25 large pieces dealing with illness and destruction at Anthony d’Offay Gallery for an AIDS charity organization. The following year, the artists created The Cosmological Pictures, which toured ten different European museums from 1991 to 1993. Gilbert and George also exhibited in Moscow in 1990. In 1992, their largest production ever, New Democratic Pictures, was exhibited at Aarhus Kunstmuseum, Aarhus, Denmark. This was followed by a solo exhibition at the National Art Gallery, Beijing, and the Art Museum, Shanghai, in 1993. In 1994, the artists were given an exhibition at the Museo d’Arte Moderna, Lugano, Switzerland. Gilbert and George live in London.


  • TITEL: Miss January 1997

    1953Born in Cape Town, South Africa
    BA Fine Art, University of Cape Town
    Atelier 63, Haarlem, Netherlands
    Institute of Psychology, University of Amsterdam

    Artist's Writings Marlene Dumas 

    I never meant to stay
    l suppose that's what they all say.

    It  was my first time in a peepshow
    so when the girl smiled at me
    I said, 'Only looking', and she replied,
    That's how I got started here too'.

    Art and Prostitution
    lf a Prostitute is a person
    who makes it a profession
    to gratify the lust of various persons
    for economical reasons or gain,
    where emotional involvement may
    or may not be present-

    Then it seems not so far removed
    from my definition of an artist.
    Artists usually love to pretend.
    Artists usually pretend to Iove
    much more than they can handle.
    They want everyone to want them
    while they don't want anybody.

    Fame and Fortune
    You can't get away from
    the people you don't like
    because they pay for you.

    Sweet Nothings, op. cit., pp. 114, 131. 'Art and Prostitution' was originally published in the catalogue Auf
    dem Strich: Arbeiten zum Thema Prostitution, Kulturviertel im Sophieenhof, Kiel, Germany. 'Fame and
    Fortune' is previously unpublished



  • Bearded Man with Loincloth, ca. 1909 Albertina, Vienna.

    Schiele's 1909-10 postcard designs anticipate several of his later allegorical concerns, such as the concept of the artist
    as a holy figure.

    Child with Halo in a Field of Flowers, ca. 1909, Albertina, Vienna
    The " Holy Child, " Symbolizing the creative spirit, reappears in the later paintings
    " Birth of Genius " and " Dead Mother "

    your comment

  • Two Men With Halos, ca. 1909, Albertina, Vienna.

    In late 1909 or early 1910, Schiele proposed a series of four postcard designs to the Wiener Werkstatte.
    Although many young artists, including Kokoschka, earned extra money doing projects such as this, the Werkstatte rejected
    Schiele's proposal.
    It has been suggested that Schiele intended to depict himself and Klimt in the present design.

    Two intertwined Male figures, ca. 1909, Albertina, Vienna.

    your comment

    Follow this section's article RSS flux
    Follow this section's comments RSS flux