Picture of a cottagre with flowers

Result #1

Picture of a cottagre with flowers ............................ "Hallyouss paintings are self-consciously self-referential; their point is to see into the mind of the beholder. Her work addresses such issues as the boundaries between paint, form, and color, as well as our relationship to both—and as we identify, to our own psychology and to the world.Hallyous is not well known outside France, but her work is well known. Her paintings are like books: They are monochromes, complete with a bright, white cover. They were first exhibited at the Museum of Contemporary Art, San Francisco, in 1997. Within this context, Hallyous works from the mid-1990s and the first years of this century look dated. For instance, the vintage-style covers and the slight variations in design (the one in one of Hallyouss early paintings, for example) lend them a rather odd, post-Minimalist look, which is especially evident in the 1968 Colours—Hallyous series of 1966–67, which celebrates the invention and invention of a new format for traditional photo-panel painting. The two works in this show were made from wood panels; many of the paintings are in oil and watercolor. Like her earlier paintings, these works are bound by a color scheme that combines gray, red, and blue. But the color is not all gray, blue, and green, but instead a combination of yellow and green. The color is more than a simple, reproducible pastiche of any of Hallyouss predecessors, but more than a warm-up for what was to come. This color is synthetic, with a minimal, and therefore ambiguous, palette. It gives the illusion of the palette of an inside look at the work. The muted palette creates a sense of de-pleasure: The saturated color suggests the color of deep, rich, and scented floral scents.

Result #2

Picture of a cottagre with flowers  – an allegory of the family tree of mankind. The cottagem, an animal used as a household pet, is present in several works; it is one of the most numerous species of dog in Europe. Bilateral symmetry, object symmetry, and the symmetricality of family life are the elements that make up Bourgeois (Weise) style. The mens ideal of ordered order is particularly apparent in his drawings and maps of Europe. The subject matter, most of it black, is used in a nonjudgmental way to appeal to the human feeling. The drawing and drawing with black draw in is a warning against violence. These drawings, labeled which are in keeping with Bourgeois character, are thus signs that he employs to warn against the death of art. Bourgeois style appeals to the human side of humanity, by means of which the society itself is evoked. His drawings on paper are as simple as those on paper and as elaborate as those on paper, but the objects that they contain are often tiny and fragile and cannot bear the weight of their own size. In this way, Bourgeois style may be likened to that of a child who learns from the smallest of his or her objects. There is a pleasure in the incongruous. Bourgeois style produces beauty in spite of the fact that it cannot abide beauty; it is not subtle in its scabrous and monotonous presence. These works have a power that is paradoxically but insistently insistent, because of the same physical inextricable connection that binds the mind to the body. They are an antidote to the pablum that is the language of contemporary art. This is the kind of art that escapes the mark.Bourgeois style is easily accessible to those who have explored the world through the work of lesser artists.

Result #3

!" The title, posed with her own open mouth, conjures a maternal presence and a happy childhood. The elegant, sometimes formal work, first exhibited in 1996 in Paris, was installed at the same time that Künstler joined the Deichtorhallen, where she shared an early friendship with Marlene Dietrich. Künstlers openness to new, often unspoken, images has always made her the subject of intense speculation. That is, she is an artist who has to be kept secret, because it can only make her more mysterious.

Result #4

Picture of a cottagre with flowers ersatz flowers, which protrude from a bright pink backing and the visages of the surfer sitting on the beach behind them. However, it is worth noting that on this occasion the blossoms are not on display, and were not gathered in this particular location—New York, Chicago, Paris, or Cologne—but were produced in three additional Paris locations: St. Etienne, Toulouse, and Bologna. In the illustrations for this installation, the flowers are all kinds of different sizes and shapes, and in some cases they vary greatly in color. Several work on wooden panels, while in others, the verdant floral designs recur throughout. The flowers are not always represented as faceless, boxed-up vases, but rather as dappled, fluorescently splattered flowers whose petals and petallike bits are left in a frenzy of life.Here in the 80s, a new kind of landscape painting appeared, one whose primacy rested on a fundamental relation between forms and their relation to time. This relationship was one that took the form of a dialectical relationship: Each form, each color, each composition had a simple, equal relation to its surroundings. For example, the grasslands of Nantes, the seascapes of California, or the dappled lavender arabesques of Brussels all make use of the same idea of relative scale. The point of departure for this kind of landscape painting was the landscape itself. For the most part, the form was ignored, but for the most part the landscape itself was.The last work in this show, French and Italian Nationalism, is perhaps the most profound. It is a posthumous tribute to the French Revolution, a monument to the French people, and to the French Revolution.