Sarah Jaffray 🍂さんのイラストまとめ

I'm giving a workshop for @opencollegearts on artistic experimentation in drawing and exploration of Ithell Colquhoun is a must.

Untitled, 1941, example of superautomatism (image one is entire drawing, others details) @britishmuseum

Demon ferryman of the River Styx give me strength with my emails today.

Giovanni Battista Tiepolo's Immaculate Conception (1767-69). The fabric textures, the colours, the absolutely sinister angel (maybe Gabriel?) eyeing Satan and, of course, disembodied cherubs. What more do you want from Catholic propaganda?

Angelica Kauffman, etching from 1770. So many different marks!

Need something to fill your Saturday mornings?

My online short course on Michelangelo @citylit starts 3rd of October at 10:30. We separate man from myth by looking at the philosophies & processes that shaped his art. https://t.co/3PF3kbUUXc

(Pic: sketch for Sistine Chapel)

This has got me curious. Maybe these magazine illustrations for McCall’s and the Saturday Evening Post give us some idea of the lush colours Neysa’s Stehli silks had? #MuseumBuddy https://t.co/WIJuc9xABv

Textile & print speak to one another. This photo @NML_Muse of embroidered curtain from Frances's design for fellow designer Fritz Waerndorfer shows how the threaded lines of embroidery echo lines printed on paper, both sculpturally rise from the surface. #MuseumBuddy

Kauffman’s small (32x24cm) oil on metal painting ‘Fame Decorating Shakespeare’s Tomb’ @burghleyhouse also proved a popular inspiration for needle painting. This 1782 etching and stippling by Bartolozzi @britishmuseum disseminated the image widely.

A reproduced painting was not seen as a copy, but a meaningful work in its own right. Widely shared prints of Kauffman’s work inspired women to create their own interpretations. #museumbuddy

It was the reproduction of her most famous paintings by printmaker Francesco Bartolozzi that Kauffman’s work spread throughout Europe and the US. His 1788 etching of Kauffman’s Cornelia (@britishmuseum) was a sensation.