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Mohammed
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Channeling M.C. Escher and the Droste effect, more broadly, a Chicago-based artist has been painting portraits of himself painting portraits of himself. Seamus Wray, who’s appeared in a similar project shared on Colossal, began with a single representation (shown above) and mirrored his pose in a photograph of the work. He then repeated that process five times, which resulted in a recursive, mixed-media series that changes slightly with each iteration—two cats make an appearance in the final portraits.
Wray hopes the potentially infinite project begs the questions, “What comes next? Another painting. Are we all just living in a painting? What if this is a painting, within a painting?… I have painted hundreds of self-portraits over the years, and this seemed to be a natural progression from those, as I seem to be going mad painting myself, painting myself,” he tells Colossal. 3 replies
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Renoir, Luncheon of the Boating Party,1880
In this painting, Renoir celebrates good company, good food, good wine, and good nature. We are in a place where both nature and human nature are calm and gentle; there’s no room for darkness in Renoir’s sunny world.
The setting is a restaurant on an island in the Seine at Chatou, a few miles outside of Paris (the river is visible in the upper left background). This is the heart of Impressionist leisure-land: not far up-river is the sailing centre of Argenteuil, featured in the paintings of Monet, Manet, and Caillebotte; just downriver is the swimming place of La Grenouillère, where Monet and Renoir inaugurated the Impressionist era in 1869.
Rowing was the main attraction for wealthy Parisians at Chatou, and Renoir’s diners wear the straw hats and blue dresses that were the fashionable boating attire of middle-class Parisian day-trippers. For like many Impressionist paintings, this is a completely middle-class image. 3 replies
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