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jimprov
@jimprov.sendusyourmoney.com
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Chimpanzee dealer He/him | R0BERTC0P || av by @carl.bsky.social turn off my reposts, they are your enemy shop.sendusyourmoney.com
Chimpanzee dealer He/him | R0BERTC0P || av by @carl.bsky.social turn off my reposts, they are your enemy shop.sendusyourmoney.com
!["Smoke" mixed media on canvas
-----[chronology from Paullamantia.com] -----
1938
Born January 20 in Chicago, Illinois
1957-1959
Student, American Academy of Arts, Chicago, Illinois
1958-1960
Advertising Designer, R.H. Donnelley Publishing Co., Chicago, Illinois
1961-1966
Enlisted in the United States Army Reserves
Painted 16 murals for the United States Army at Fort Leonard Wood, Missouri and Fort Riley, Kansas
1961-1964
Advertising Designer, Continental Casualty Co., Chicago, Illinois
1966
B.F.A. School of the Art Institute of Chicago
1968
M.F.A. School of the Art Institute of Chicago
1967-1993
Art Teacher. Specialized in the instruction of basic and advanced courses in painting, drawing, and design at the secondary level of education. Chicago Board of Education, Chicago, Illinois
1994
Fantasy drawing and painting workshop and lecture. Columbia College, Chicago, Illinois
1996
Creative thinking lecture. International Academy, Chicago, Illinois
1998
Re-inventing the Figurative Masterpiece (drawing and painting workshop). Columbia College, Chicago, Illinois
1999
Slide lecture presentation of recent paintings and drawings of Paul Lamantia (Graduate level class). The School of the Art Institute of Chicago.
2000
Experimental Figurative Drawing Workshop. Art Academy of Cincinnati, Cincinnati, Ohio
Public Lecture on the works of Paul Lamantia. Cincinnati Art Museum, Cincinnati, Ohio
2002
Re-Inventing the Figurative Masterpiece (drawing and painting workshop). Loyola University Chicago, Chicago, Illinois
2003
A Combined Beginning and Advanced Figure Drawing Class. Harry S. Truman College, Chicago, Illinois
2013
Public Museum Lecture on the works of Paul Lamantia, Ukrainian Institute of Modern Art, Chicago
2014
Public Lecture on the Paul Lamantia painting in the Roger Brown Study Collection, Chicago, Illinois
--[interview]--
https://www.youtube.com/watch?v=_cSTfg2Y6KY](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:ewb37o2ftablnrgx3ma45l3b/bafkreieobt537lxwnbu3oyidccwbo6kocibpi6vudwoenxznz5ggulfbfu)
!["Crossing the Atlantic (Return Home)" watercolor and pencil on paper mounted on paperboard
----- [artist bio] -----
Working in France after 1891, Henry Ossawa Tanner achieved an international reputation largely through his religious paintings. Their deep spirituality reflects Tanner's upbringing as a minister's son and the influence of his visits to the Holy Land after 1897.
Head bent, gaze intent, hands clasped, The Savior is absorbed in contemplation or prayer. The circumstances of the solitary vigil are ambiguous. Has Tanner chosen a particular moment on the mountain, in the Garden of Gethsemane, or just before the Crucifixion? Or has he treated instead the very act of prayer as a means to salvation? Whatever the context, Tanner presents Christ as a man of humble origin rather than as a transcendent, godlike figure. His carefully delineated features and bowed posture create the psychological penetration of a portrait.
Based on one of his sketches of Near Eastern men, Tanner's study conveys Christ's timeless humanity, while its sensitivity and strong modeling reveal the artist's admiration for the portraits of his teacher, Thomas Eakins.
An expressive realism characterizes The Savior, reflecting Tanner's mounting interest in the work of French Symbolist painters at the turn of the century. The painting's mottled browns and beiges derive from his training in the French academic tradition; influenced by the Impressionists' light and color, he later abandoned his subdued palette.
Although Tanner remained active until 1936, he avoided avant-garde developments after 1900. Nor did he align his expressive style with the efforts of African-American artists during the Harlem Renaissance; believing that he could not fulfill his artistic potential while fighting discrimination in America, he moved to Paris in 1891. Nonetheless, Tanner's universal subject matter and the international dimensions of his career provided inspiration for future African-American artists.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:ewb37o2ftablnrgx3ma45l3b/bafkreiamhpf7zepoalalg5mhkfllvetzwru4qewedul2bho2ge64t4revm)
![strip club advertising: DAVID DUCHOVNY YOURE[sic] STILL BARRED](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:ewb37o2ftablnrgx3ma45l3b/bafkreiea3ghxglu2w6qe3ekwkm6k6a3jb7tvttq3zh2wyrpynqqm2gyck4)
![Pitfall (Atari 2600) [start of it all]
Megaman 2 (NES) [close contender, SMB3]
Command & Conquer (PC) [best to ever do it. RIP Westwood]
Mutant League Football (Sega Genesis) [close contender, Dune II]
Super Mario World (SNES) [not much to compete with for me here]
WWF No Mercy (N64) [close contender, Mario64]
Eternal Darkness: Sanity's Requiem (Gamecube) [CLOSE contender, Mario Sunshine. man, what good water]
NFL 2k (Gamecube) [close contender, Power Stone]
Quake III Arena (PC) [close contender, Helldivers 2 (PS5)]](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:ewb37o2ftablnrgx3ma45l3b/bafkreicplegwmpp2gfytt6sefkckt47onn7ysoycjv3smvxwdlkypvxfi4)
!["Bats (no. 128)" color lithograph
----- [artist biography] -----
"What is the mystery underlying the Architecture of our Universe? What are the laws which create the pattern of the frost which forms on our windows? What causes the stars to stay in their orbit? What is it which creates joy and sorrow within us?. . . All these are problems belonging to the world we live in and which should concern the artist, as well as those problems of sunlight or the growth of a tree. But art is also a world with its own laws, whether they underlie a painting of realistic or abstract forms. …"
"To create new universes within these laws and to fill them with the experiences of our life is our task. … When they convincingly reflect the wisdom or struggle of the soul, a work of art is born."
These words, written in 1936, provide a framework for understanding Drewes' work throughout his life.
Following military service in World War I, Drewes studied architecture and design in Berlin and Stuttgart. But he was soon attracted to the experimental freedom and the notion of the unity of the arts associated with the Bauhaus curriculum. In 1921, he enrolled in classes with Johannes Itten, Paul Klee, and Oskar Schlemmer. Unsettled yet as an artist, in 1923 Drewes began several years of world travel
[...]
In 1927, Drewes returned to the Bauhaus, which had moved from Weimar to Dessau. But he found that its emphasis, as well as its location, had changed. The rather loose, experimental phase of the school's early years had yielded to a firmer commitment to design, to the potential for uniting art and technology, and to the artist's "new" social role in molding society.
[...]
A founding member of the American Abstract Artists, Drewes exhibited more frequently in commercial galleries and museum exhibitions than did many of his friends within the group.
He remained actively involved during the organization's early days and provided support and encouragement to his fellow abstract artists.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:ewb37o2ftablnrgx3ma45l3b/bafkreif7o2xz5iqv5vywg4gsxjp574uumclftmvtulrqnkdxtte2ltd7ni)
