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Art by Banksy 2008 Power Washer This mural depicts a maintenance worker in an orange vest pressure washing art from a wall. The act seemingly destroys an ancient cave painting, a painting that is quite similar to the wonderous discovery at the time in France. With this work, Banksy is drawing a parallel between the prehistoric cave paintings, and modern-day graffiti. While it is standard practice for the latter to be cleaned off of walls, it would be unthinkable for the same fate to befall the former. In this way, the artist questions the value placed on certain works of art, and the label of "vandalism" assigned to others. Spray paint
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Art by Banksy 2018 Love is in the Bin In October 2018, Banksy’s iconic image of Balloon Girl, featuring a young girl letting go of a heart-shaped balloon as a beacon of innocent hope, was sold during a Sotheby’s auction for 1.04 million pounds. The moment it was pronounced “sold,” a strange alarm sounded from within the painting’s frame, its trigger source unknown. Immediately, the painting started to descend down through its bottom, which turned out to be a shredding mechanism. Although the painting was supposed to shred fully as Banksy later admitted, the device stopped working, leaving half the painting intact in the frame. Banksy posted a video of the shredding with the words “Going, going, gone” on his Instagram page, leading people to believe he had planted a subversive ally in the auction room. But he removed the video promptly, after it had successfully winked at his social media audience.
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Art by Banksy 2013 Hammer Boy This more recent Banksy work serves as an excellent example of the way that guerrilla Street Artists use the surrounding environment as an integral part of their works. In this work, Banksy has stenciled a simple black silhouette of a child with a large mallet in the process of striking something in front of him. The pre-existing object that the boy is about to hit is a red fire hydrant (or rather, a siamese connection for the fire department) which has a pipe coming up through the top leading directly to a round red object several feet higher (possibly a fire alarm). With the inclusion of the small boy with the mallet, this utilitarian plumbing fixture is instantly transformed to look like a "strength tester" (the classic carnival game where a player must strike a mallet to hit the bell at the top).
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Art by Banksy 2007-08 Mona Lisa Bazooka In this work, Banksy plays upon one of the world's most famous paintings, The Mona Lisa (1503-4). Although in his piece, the female protagonist wears a headset while aiming a rocket launcher in his typical black and white stencil style. The piece first appeared in the Soho district of West London. While Banksy's juxtaposition of art history's most famous female with a powerful modern weapon may certainly be cheeky, there is more that can be read into the image. While da Vinci's Mona Lisa appears graceful and passive, Banksy gives her a powerful, confrontational, and active sensibility. Her facial expression remains just as calm as in the original, however, next to the powerful weapon, her welcoming smile is menacing, in a much more horrific manner. It can also be read as a statement on how blasé citizens have become to the ongoing realities of war, always taking place somewhere far removed from their own tranquil lives.
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Art by Banksy 2007 One Nation Under CCTV This work on Newman Street in London was painted on the wall of a building used by the Royal Mail. At the bottom right, a child in a red hooded sweatshirt, black shorts, and a grey backpack, is seen painting the phrase "ONE NATION UNDER CCTV" while being watched by a police officer and a dog at the bottom left. The mural was situated in the line of sight of a CCTV camera. In fact, Banksy managed to erect three stories of scaffolding under the cover of darkness to create the entire artwork in one night. This work aims to criticize the excessive surveillance (both from CCTV cameras in public spaces, as well as in other forms such as online) that has recently become a controversial issue both in the UK and abroad. Banksy has done other works that aim to "tease" security cameras, for instance by stenciling the words "what are you looking at?" on a blank wall faced by a CCTV camera.
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Art by Banksy 2005 Unwelcome Intervention This mural depicts two young boys playing with buckets and shovels, like children creating sandcastles on a beach. The boys, one standing, the other kneeling, look back at the viewer, rendered in Banksy's typical black and white stencil aesthetic. Just above the boys, the artist has created the illusion of a broken section of the grey wall on which the mural was created. Through this false hole, a photorealistic color image of a tropical beach paradise is visible. When painting these murals in 2005, Banksy had a conversation with a Palestinian man who told him, "You paint the wall, you make it look beautiful," to which Banksy replied, "Thanks." The Palestinian man then said, "We don't want it to be beautiful, we hate this wall, go home." Paint - West Bank barrier wall
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Art by Banksy 2005 Show Me the Monet This work by Banksy refigures the iconic Impressionist painting Bridge Over a Pond of Water Lillies (1899) by Claude Monet. Monet's original reveals a tranquil scene of his own garden, with rich vegetation reflected in the calm water. Banksy has replicated Monet's original painting almost exactly, using the same materials as Monet, however Banksy has added two discarded shopping carts and a traffic cone to the pond. By using shopping carts, an image associated with consumerism, Banksy’s message is that society is focused on material goods, buying more than is necessary in a futile attempt to make itself feel happy and fulfilled. Moreover, by representing these man-made objects as discarded in an otherwise beautiful setting, he critiques contemporary society's disregard for nature in favor of commodity fetishism and the production of excessive waste. In the title Banksy has subverted the meaning of the Impressionist painting, with the word "money" being a play on "Monet"
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⚡️Big Raffle from $BDE⚡️ 🚀 Pool: 111 111 $BDE Split up to 10 people! 1. Follow @bdetoken 2. like 3. Recast 4. Share this frame.
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Art by Banksy 2005 Rage, the Flower Thrower This work, now covered and protected by a Perspex overlay, features a man dressed up in what we associate with traditional riot gear, with a bandana obscuring his face, and his cap on back-to-front. His stance is one of a person about to lob a Molotov cocktail; he's taking aim and is ready to throw his weapon. However, instead of a weapon, he holds a bunch of flowers (which are the only part of the mural to appear in color.) This piece is located on a wall on the side of a garage in Jerusalem on the main road to Beit Sahour, Bethlehem. By substituting a weapon with a bunch of flowers, Banksy is advocating for peace, and he opted to install this particular message in a high-conflict area. The work also carries the message idea that peace comes with active hard work. In addition, the bouquet may as also represent a commemoration of lives lost in the long-running Israeli-Palestinian conflict - and thus, his use of art to relay messages of social importance.
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Mint Out
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Art by Pablo Picasso 1929 Large Nude in a Red Armchair When Picasso's work came under the influence of the Surrealists in the late 1920s, his forms often took on melting, organic contours. This work was completed in May 1929, around the same time the Surrealists were preoccupied with the way in which ugly and disgusting imagery might provide a route into the unconscious. It was clearly intended to shock, and it may have been influenced by Salvador Dalí - and Joan Miro. It is thought that the picture represents the former dancer Olga Koklova, whose relationship with Picasso was failing around this time. Oil on canvas - Musée National Picasso, Paris
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Art by Pablo Picasso 1937 Guernica This painting was Picasso's response to the bombing of the Basque town named Guernica on April 26, 1937 during the Spanish Civil War. Painted in one month - from May to June 1937 - it became the centerpiece of the Spanish pavilion at the Paris World's Fair later that year. While it was a sensation at the fair, it was consequently banned from exhibition in Spain until military dictator Francisco Franco fell from power in 1975. Much time has been spent trying to decode the symbolism of the picture, and some believe that the dying horse in the center of the painting alludes to the people of Spain. The minotaur may allude to bull fighting, a favorite national past-time in Spain, though it also had complex personal significance for the artist. Although Guernica is undoubtedly modern art's most famous response to war, critics have been divided on its success as a painting. Oil on canvas - Museo Nacional Centro de Arte Reina Sofia, Madrid
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Art by Pablo Picasso 1921 Three Women at the Spring Picasso made careful studies in preparation for this, his most ambitious treatment of what is an old classical subject. It makes reference to earlier pictures by Poussin and Ingres - titans of classical painting - but it also draws inspiration from Greek sculpture, and indeed the massive gravity of the figures is very sculptural. Critics have speculated that the subject appealed to him because of the recent birth of his first son, Paulo; the somber attitude of the figures may be explained by the contemporary preoccupation in France with mourning the dead of the First World War. Oil on canvas - The Museum of Modern Art, New York
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Art by Pablo Picasso 1921 The Three Musicians Picasso painted two version of this picture. The slightly smaller version hangs in the Philadelphia Museum of Art, but both are unusually large for Picasso's Cubist period, and he may have chosen to work on this grand scale because they mark the conclusion of his Synthetic Cubism, which had occupied him for nearly a decade. He painted it in the same summer as the very different, classical painting Three Women at the Spring. Some have interpreted the pictures as nostalgic remembrances of the artist's early days: Picasso sits in the center - as ever the Harlequin - and his old friends Guillaume Apollinaire, who died in 1918, and Max Jacob, from whom he had become estranged, sit on either side. However, another argument links the pictures to Picasso's work for the Ballets Russes, and identifies the characters with more recent friends. Either way, the costumes of the figures certainly derive from traditions in Italian popular theatre. The Philadelphia Museum of Art
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Art by Pablo Picasso 1911-12 Ma Jolie In this work, Picasso challenges the distinction between high art and popular culture, pushing his experiments in new directions. Building on the geometric forms of Les Demoiselles d'Avignon, Picasso moves further towards abstraction by reducing color and by increasing the illusion of low-relief sculpture. Most significantly, however, Picasso included painted words on the canvas. The words, "ma jolie" on the surface not only flatten the space further, but they also liken the painting to a poster because they are painted in a font reminiscent of one used in advertising. This is the first time that an artist so blatantly uses elements of popular culture in a work of high art. Further linking the work to pop culture and to the everyday, "Ma Jolie" was also the name of a popular tune at the time as well as Picasso's nickname for his girlfriend. Oil on canvas - The Museum of Modern Art, New Yo
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Art by Pablo Picasso Maquette for Guitar Picasso's experiments with collaged elements such as those in Still Life with Chair Caning encouraged him to reconsider traditional sculpture as well. Rather than a collage, however, Maquette for Guitar is an assemblage or three-dimensional collage. Picasso took pieces of cardboard, paper, string, and wire that he then folded, threaded, and glued together, making it the first sculpture assembled from disparate parts. The work is also innovative because it is not a solid material surrounded by a void, but instead fluidly integrates mass and its surrounding void. Picasso has translated the Cubist interest in multiple perspectives and geometric form into a three-dimensional medium, using non-traditional art materials that continue to challenge the distinction between high art and popular culture as he did in Ma Jolie (1911-12). Paperboard, paper, thread, string, twine, and coated wire - The Museum of Modern Art, New York
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Art by Pablo Picasso Still Life with Chair Caning is celebrated for being modern art's first collage. Picasso had affixed preexisting objects to his canvases before, but this picture marks the first time he did so with such playful and emphatic intent. The chair caning in the picture in fact comes from a piece of printed oilcloth - and not, as the title suggests, an actual piece of chair caning. But the rope around the canvas is very real, and serves to evoke the carved border of a café table. Furthermore, the viewer can imagine that the canvas is a glass table, and the chair caning is the actual seat of the chair that can be seen through the table. Hence the picture not only dramatically contrasts visual space as is typical of Picasso's experiments, it also confuses our sense of what it is that we are looking at. Oil on canvas - The National Gallery, London
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Art by Pablo Picasso Les Demoiselles d'Avignon This painting was shocking even to Picasso's closest artist friends both for its content and its execution. The subject matter of nude women was not in itself unusual, but the fact that Picasso painted the women as prostitutes in aggressively sexual postures was novel. Picasso's studies of Iberian and tribal art is most evident in the faces of three of the women, which are rendered as mask-like, suggesting that their sexuality is not just aggressive, but also primitive. Picasso also went further with his spatial experiments by abandoning the Renaissance illusion of three-dimensionality, instead presenting a radically flattened picture plane that is broken up into geometric shards, something Picasso borrowed in part from Paul Cézanne's brushwork.
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