The contents of this thread have been moved HERE by AusNat.

This Nationalism by AusNat.

Here i show classic european art. No other race has created such beautiful masterpieces.

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Rembrandt self portrait.

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Architectual sculpture of jesus, church in aachen Germany.

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Iron sculpture, 14th century. Germany.

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The watercolour is lovely Aus Nat - it looks almost like a photograph.  The Rembrandt is wonderful though - hard to surpass with the amazing detail.  

When you're in the national gallery of Victoria.. it's got about three or four different sections...

East Asian art.
South Asian art.
Middle Eastern art.
European art.

You can just tell that European art is the best.

Hell yeah. ;)

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Which is better  Subject A or Subject B.
The artists names will be revealed apon completion of poll.

Subject A

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Subject B

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Subject A

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Subject B

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subject B.
Art is not just pretty buildings.  Art is emotions and people.

Brett Whiteley has done some of the more beautiful and tortured art i have seen.

http://uncle.blogs.com/photos/uncategorized/surf_36.jpg

Howard Akleys a famous Australian Surburban abstarct painter..died of drug overdose,..

Has beautiful peices .in gallery.

Subject A or B..chose A as B is depressing..

Mine is happy. :)

I voted B because it is more interesting, however I suspect A loses a lot in digitisation. Good artwork in that genre does some amazing things with colour and 'light'.

Subject A

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Subject B

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Subject A

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Subject B

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Monet.

The River-

http://www.bc.edu/bc_org/avp/cas/fnart/art/19th/painting/monet_river.jpg

Monet.. Beach at San ste. Adresse..


http://www.bc.edu/bc_org/avp/cas/fnart/art/19th/painting/monet004.jpg

Turner Prize: Jesse Darling wins for 'delirious' art using tattered flags and barbed wire


https://ichef.bbci.co.uk/news/976/cpsprodpb/10AF7/production/_131934386_008_jesse_darling_towner_t4a4650_3.jpg

The judges praised his use of common objects like barriers, hazard tape, office files and net curtains "to convey a familiar yet delirious world".

"Invoking societal breakdown, his presentation unsettles perceived notions of labour, class, Britishness and power," they said.

The chair of the judges, Tate Britain director Alex Farquharson, added that his art was "bold", "engaging" and partly a reflection on "the state of the nation".

Jesse Darling was many of the critics' favourite for the prize. His room of jaunty crash barriers and union jacks is inventive and original.

Darling - who was born in Oxford but lives and works in Berlin - has said he is reflecting the hostile environment in the UK towards immigration in this work.

The exhibition entrances are turned into checkpoints complete with barbed wire. But the space itself feels alive and humorous.

That's down to the crowd control barriers Darling has sculpted at prancing angles. This is anthropomorphising writ large - the very things that are used to corral people by the police are given a life of their own, turned into creatures that can't be controlled.

We're also surrounded by frilly curtains and a maypole adorned with police tape and anti-pigeon spikes.

Darling has said British towns these days are showing the effects of austerity, Brexit and Covid. He's riffing on that in a show that tackles nationhood and British identity.

At the end of his speech, Darling pulled a Palestinian flag out of his coat pocket and waved it.
https://www.bbc.com/news/entertainment-arts-67627980

What else?? Total decadence and delirious stupidity on both sides of the Atlantic: A popette is The magazine's man of the year and another talentless swivel eyed loonette who pretends to be a bloke gets the Turner in England.

Archibald Prize

https://www.artgallery.nsw.gov.au/prizes/archibald/



You can pinpoint the year when it went off the rails.




Most people probably assume that any prize exhibition will present not only skilful practitioners of their craft, but the best of the candidates who have applied. In the case of the Archibald, however, as with many other art prizes in Australia, it is the reverse that happens: the artists shortlisted range from commercial hacks to amateurs and the pictures themselves are not the best of those that were submitted but the most disparate and sensational.

The reason for all this is that the Archibald is chosen by the trustees of the Art Gallery of NSW, the majority of whom are amateurs with little understanding either of the art of painting or of the specific requirements of the genre of portraiture. Once, there were serious and highly experienced artists among the trustees, but now they are more concerned with putting together a crowd-pleasing circus, regardless of artistic quality, while tugging their forelocks at every fashionable political cause.

This year, arguably, there are fewer creditable pictures than ever, and even some pictures by decent painters fall frustratingly short of what they are capable of achieving.

The best painting in the show is Tsering Hannaford’s portrait of her father Robert, who should have won the prize himself on several occasions, but especially in 2018, when an exceptionally strong self-portrait was overlooked in favour of a picture that did not deserve to be a finalist.
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But if the Archibald is predictably disappointing, the Wynne Prize, nominally devoted to landscape painting, is even more egregious. For years, this exhibition has been progressively invaded by Aboriginal dot-paintings, and this year it has finally reached the point of almost total saturation, including many appallingly commercial pieces from the APY art business in South Australia which has been the subject of allegations about the involvement of white assistants.

This work is at best a hybrid that has developed in the last half-century, with questionable roots in Aboriginal culture and no Indigenous audience, since it is produced essentially for sale to a white market of investors and speculators. Allowing it to take over the Wynne Prize is not only deeply insulting to landscape painters of all kinds in this country, but amounts to an erasure of what has always been the most central genre of Australian painting, and ultimately an implicit denial that 97 per cent of our country’s population can imagine any authentic connection with our land.
https://www.theaustralian.com.au/arts/visual-arts/the-archibald-prize-2024-see-the-finalists/news-story/e70c0aa38bfe660dd16b5f7a8075874e