Art in Print

The Mirrors Behind Rembrandt’s Self-Portraits

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In a paper published Wednesday in the Journal of Optics, Francis O’Neill, artist and art teacher, lays out a theory according to which Rembrandt set up flat and concave mirrors to project his subjects — including himself — onto surfaces before painting or etching them.

 

By tracing these projections, the 17th-century painter would have been able to achieve a higher degree of precision, Mr. O’Neill said. His research suggests that some of Rembrandt’s most prominent work may not have been done purely freehand, as many art historians believe.

 

Via The International New York Times 

 

Review I Colour and Vision

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From Madagascan moths to clever clams, Colour and Vision brings the complex story of how – and why – animals see the world through different eyes vividly to life.

 

Jonathan Jones reviews it, saying “The show makes you aware of your own eyes as you explore this exhibition about seeing in the natural world. There are few visual experiences quite as fascinating and challenging as looking at fossils, those stony images of ancient life, as intricate and subtle as any work of art – and sometimes just as abstract.”

 

Colour and Vision is at the Natural History Museum in London, from 15 July until 6 September.

 

Via The Guardian

 

Fiac Expands With a Move Into the Historic Petit Palais

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The 43rd edition of the Fiac fair (Foire Internationale d’Art Contemporain), which launches this autumn (20-23 October) at the Grand Palais in Paris, is expanding into two new spaces. A new section of the fair, called ‘On Site’, will take place in the Petit Palais, which, like the Grand Palais, was built for the Exposition Universelle (World’s Fair) in 1900.

 

Fiac’s parallel fair Officielle, which was held across Paris at the Docks-Cité de la Mode et du Design, has been postponed after only two editions. Fiac’s director Jennifer Flay said that the organisers, Reed Exhibitions, decided to put the fair on hold because of the “perceived remoteness of the Cité de la Mode et du Design”, and the high cost of the stands. “While some galleries worked well, many did not make back their costs,” she said.

 

Via The Art Newspaper