Ежедневно обновляемый информационный интернет-ресурс, посвящённый актуальным тенденциям в дизайне, архитектуре и арте
Выставка работ современного фотографа Хендрика Керстенса (Hendrik Kerstens) – это серия женских портретов, очень напоминающих картины голландских портретистов 17 века: Яна Вермеера, Рембрандта, Франса Халса. Модель фотографа, которая мастерски перевоплощается в красавиц былых времен, имитируя их спокойное и невозмутимое выражение лица – дочь Хендрика Керстенса, молодая Паула.
Ежедневно обновляемый информационный интернет-ресурс, посвящённый актуальным тенденциям в дизайне, архитектуре и арте
Статья Фотоработы художника Хендрика Керстенса (Hendrik Kerstens) очень напоминают картины голландских портретистов 17 века: Яна Вермера, Рембрандта, Франса Халса с их стремлением к правдивому отражению действительности. Моделью фотографа, которая перевоплощается в красавиц былых времен, имитируя их спокойное и невозмутимое выражение лица, является дочь Хендрика Керстенса молодая Паула. Вот уже в течение последних 12 лет Керстенс исключительно фотографирует юную Паулу в образах, которые ассоциируются с живописью голландских и фламандских художников-портретистов. Но в своих работах автор пытается сохранить дух современности. Мы видим Паулу с прической, популярной в 17 веке, и тут же замечаем полотенце или полиэтиленовый пакет - вместо красивой элегантной шляпки. Скрещение современности и традиции, а также игра отца и дочери с переодеваниями и перевоплощениями - делают эти работы интересными.
Льющийся из небольшого окна свет тонко очертил лик молодой девушки. Ее глубокий аскетический взгляд отстраненно пронизывает зрителя Галерея работ Хендрика Керстенcа насчитывает множество масштабных портретов юной леди. То властная, то слегка взволнованная, то невозмутимая или подавленная,…
по ассоциации, вот фламандские портреты, изготовленные из подручных материалов в туалете самолёта, серьзно. Просто кайф! НИНА ХАЧАТУРЯН
Ежедневно обновляемый информационный интернет-ресурс, посвящённый актуальным тенденциям в дизайне, архитектуре и арте
Ежедневно обновляемый информационный интернет-ресурс, посвящённый актуальным тенденциям в дизайне, архитектуре и арте
Ежедневно обновляемый информационный интернет-ресурс, посвящённый актуальным тенденциям в дизайне, архитектуре и арте
Ежедневно обновляемый информационный интернет-ресурс, посвящённый актуальным тенденциям в дизайне, архитектуре и арте
Модная одежда и дизайн интерьера своими руками
Ежедневно обновляемый информационный интернет-ресурс, посвящённый актуальным тенденциям в дизайне, архитектуре и арте
The Dutch Golden Age revisited by Hendrick Kerstens. Read Kooness Magazine and find all the latest news from the art world...
above: Bag and Doily by Hendrik Kerstens A few weeks ago I shared with you the work of Suzanne Jongmans, who reinterpreted paintings by famous Dutch Masters using packing foam and materials. In a similar vein, photographer Hendrik Kerstens has been photographing his daughter Paula since she was a child, posing, lighting and styling her in the manner of famous Flemish art. Using everyday objects like trash bags, toilet paper, lampshades and towels for the fashions, his images simultaneously capture his daughter's serene beauty and the historical seventeenth century style of portraiture. Bubble Wrap: Aluminum: Lampshade: Paper Roll: Pimp Up Towel: Napkin: Flange: Red Rabbit IV: Oastry Bag: Cupcake: Refuse Veil: Trash Bag: Black Cap: Beaver Hat: Pimp Up: Wet Towel: Below is a lovely essay about his work by Margriet Kruyver: When Hendrik Kerstens decided to dedicate himself entirely to photography in 1995, he turned to a model very near at hand: his daughter Paula. He wanted to document all the important moments in her life, to ‘be there’, to capture something of the fleeting moments that fade from memory all too quickly. The inquisitive eye of the photographer plays an important part in the process: he sets out to catch a glimpse of his subject’s secret being and tries to understand what it is he sees. He is fascinated and amazed by the fact that every human being, no matter how familiar, is ‘other’, a mystery that can never be completely unravelled. The project became known as ‘Paula pictures’, one of which went on to win the Panl-award. Something else is going on in Kerstens’ photographs. Time and time again he uses his daughter as a model, immortalizing her, as if to stop time and oblivion. Not only does he picture her in relation to events in her own life, he also projects on her his fascination with the Dutch painters of the seventeenth century. Kerstens: ‘One day Paula came back from horseback riding. She took off her cap and I was struck by the image of her hair held together by a hair-net. It reminded me of the portraits by the Dutch masters and I portrayed her in that fashion. After that I started to do more portraits in which I refer to the paintings of that era. The thing that fascinates me in particular is the way a seventeenth-century painting is seen as a surface which can be read as a description of everyday life as opposed to the paintings of the Italian renaissance, which usually tell a story. Northern European painting relies much more on craftsmanship and the perfect rendition of the subject. The use of light is instrumental in this.’ A number of the portraits of Paula are very reminiscent of Johannes Vermeer. the austerity of the photograph, its clarity, the serene expression on the young girl’s face, untouched by the experiences of adult life and, not least, the characteristic ‘Dutch’ light, all combine to create this impression. Kerstens has photographed others beside his daughter, ‘gave them a place in his heart’ as he calls it. Over the years, he has portrayed a number of men and women. These ‘portraits’ and ‘tronies’(the 17th century Dutch word for faces or heads) refer in their execution to both the Dutch masters and the portraits of the Italian renaissance. Kerstens is conscious of the fact that people are the same, no matter who they are or what age they live in. Any association with a certain age is determined by the way we are depicted: the clothes and make up we wear, accessories and lighting. He is fascinated by this game with time and is capable of magically separating the portrait of Paula in a hoodie from everyday reality. You could say that he 'paints' with his camera. To him, photography with its technical possibilities is a means of continuing the ‘descriptive’ arts. The association with painting is even further emphasised by the sharpness of his photographs. The combination of his fascination with the ‘other’, the love for his child, his attempts to come to grips with the passing of time and the knowledge of his craft make this a unique series of photographs which can be firmly placed in the Dutch tradition. (via Witzenhausen Gallery) Images courtesy of ©Hendrik Kerstens, represented by Nunc-Contemporary Hendrik Kerstens
Модная одежда и дизайн интерьера своими руками
Льющийся из небольшого окна свет тонко очертил лик молодой девушки. Ее глубокий аскетический взгляд отстраненно пронизывает зрителя Галерея работ Хендрика Керстенcа насчитывает множество масштабных портретов юной леди. То властная, то слегка взволнованная, то невозмутимая или подавленная,…
Hendrik Kerstens, Shopping Bag, 2008 (September 5) I enjoyed this quite a bit, even though it is a tad grisly in its descriptions of plague victims and the day-to-day brutality of 17th-century village life. It's a little like a Sarah Waters novel, in that the first-person narrator is crafted to have the preoccupations and language of a bygone age -- but Brooks is not as convincing with this as Waters was with her Victorians. On the other hand, if Brooks did try to make it as authentic as possible, no one would be able to understand it. See Pepys' Twitter account. This is also a little like Diana Gabaldon's 18th-century novels with all the interesting details about medical knowledge and superstitions of the time. What I really liked about it was that it set up certain expectations about the outcomes for certain individuals -- and then did not take us there at all! Quite surprising! In fact, the way the novel ends is basically a bolt from the blue. But an interesting bolt -- for our heroine is much better off and more empowered in the culture of "our enemy" than she ever was before. What I found hard to take: all the sad dying. But, what are you gonna do? It's a novel about the Plague Year.
