LaurieAnnie's photos with the keyword: cat

I admit, the cat was cute. The Roman amphitheatre, of Roman Imperial age [in Syracuse, Sicily]. It was partly carved out from the rock. In the centre of the area is a rectangular space which was used for the scenic machinery. Text from Wikipedia: en.wikipedia.org/wiki/Syracuse,_Italy

I admit, the cat was cute. The Roman amphitheatre, of Roman Imperial age [in Syracuse, Sicily]. It was partly carved out from the rock. In the centre of the area is a rectangular space which was used for the scenic machinery. Text from Wikipedia: en.wikipedia.org/wiki/Syracuse,_Italy

Fernando Botero (born April 19, 1932) is a neo-figurative Colombian artist, self-titled "the most Colombian of Colombian artists." He won the first prize at the Salón de Artistas Colombianos in 1958, He paints and draws in a style somewhat similar to Pablo Picasso whilst he lived in Dinard, Brittany, 1922, for example "Deux femmes courant sur la plage" (The Course). He strives in all his work to capture an essential part of himself and his subjects through color and form. His work includes still-life and landscapes, but Botero tends to primarily focus on situational portraiture. His paintings and sculptures are, on first examination, noted for their exaggerated proportions and the corpulence of the human figures and animal figures. The "fat people" are often thought by critics to satirize the subjects and situations that Botero chooses to paint. Botero explains his use of obese figures and forms as such: "An artist is attracted to certain kinds of form without knowing why. You adopt a position intuitively; only later do you attempt to rationalize or even justify it." He is an abstract artist in the most fundamental sense of the word, choosing what colors, shapes, and proportions to use based on intuitive aesthetic thinking. This being said, his works are informed by a Colombian upbringing and social commentary is woven throughout his work. Text from: en.wikipedia.org/wiki/Fernando_Botero

Fernando Botero (born April 19, 1932) is a neo-figurative Colombian artist, self-titled "the most Colombian of Colombian artists." He won the first prize at the Salón de Artistas Colombianos in 1958, He paints and draws in a style somewhat similar to Pablo Picasso whilst he lived in Dinard, Brittany, 1922, for example "Deux femmes courant sur la plage" (The Course). He strives in all his work to capture an essential part of himself and his subjects through color and form. His work includes still-life and landscapes, but Botero tends to primarily focus on situational portraiture. His paintings and sculptures are, on first examination, noted for their exaggerated proportions and the corpulence of the human figures and animal figures. The "fat people" are often thought by critics to satirize the subjects and situations that Botero chooses to paint. Botero explains his use of obese figures and forms as such: "An artist is attracted to certain kinds of form without knowing why. You adopt a position intuitively; only later do you attempt to rationalize or even justify it." He is an abstract artist in the most fundamental sense of the word, choosing what colors, shapes, and proportions to use based on intuitive aesthetic thinking. This being said, his works are informed by a Colombian upbringing and social commentary is woven throughout his work. Text from: en.wikipedia.org/wiki/Fernando_Botero

Manuel Osorio Manrique de Zuñiga (1784–1792),1787–88 Object Details Artist: Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux) Date: 1787–88 Medium: Oil on canvas Dimensions: 50 x 40 in. (127 x 101.6 cm) Classification: Paintings Credit Line: The Jules Bache Collection, 1949 Accession Number: 49.7.41 Portraits of children accompanied by animals have a long tradition in Spanish painting. Outfitted in a splendid red costume, the young boy, the son of the Count and Countess of Altamira, is shown with a pet magpie (which holds the painter's calling card in its beak), a cage full of finches, and three wide-eyed cats. Although they add an engaging element for the viewer, Goya may have intended them as a reminder of the frail boundaries that separate the child's world from the forces of evil, or as a commentary on the fleeting nature of innocence and youth. Manuel died at the tender age of eight. Text from: www.metmuseum.org/art/collection/search/436545

Still Hunt Running or walking along the East Drive, just at the edge of the Ramble, can sometimes cause park visitors a breathless moment, and not necessarily from the exertion. Looking up they can see, perched on a rock as if ready to spring, a rather ferocious looking bronze panther. (It is also a favorite pastime of park regulars to take unsuspecting guests for a stroll past this spot and then look up suddenly in fright.) Its name is Still Hunt and it was created by sculptor Edward Kemeys in 1883. Kemeys was inspired to become an artist while a member the crew whose job it was to clear unwanted trees from the future park’s site. He went on to become a celebrated American sculptor and was responsible for creating the famous Hudson Bay Wolves at the Philadelphia Zoo. Still Hunt is also notable for being one of the few examples of park statuary that is executed in a naturalistic setting, rather than on a pedestal or along a walkway. Location: West side of East Drive, mid-Park at 76th Street Text from: www.centralpark.com/pages/attractions/still-hunt.html

Bronze Statuette of a Panther Roman, 1st-2nd century AD Accession # 07.261 The panther is rendered in fine detail, with her spots inlaid with copper, silver, and niello. Text from the Metropolitan Museum of Art label.

Pepon Osorio (Puerto Rican, born 1955) "Fear and Denial," 1997 Mixed Media Accession # 2003.5 Pepon Osorio is one of the foremost installation artists working today. His art, whose primary subject is life in the barrio, is particularly concerned with social issues involving Latino communities. The artist often combines multi-media technology with an abundance of surface decoration to construct elaborate environments. Here, he presents two giant stuffed cats bearing medallions reading, respectively, "fear" and "denial." The proportions of the piece are rather ambiguous: the cats seem to be too large for the narrow table on which they sit. This incongruity reflects the artist's recollections of visiting his mother's apartment, filled with knickknacks and figurines, when he was an art student. The objects were in sharp contrast with the aesthetic values of the art world he was entering, and his conflicting feelings of repulsion and attraction assumed giant dimensions in his mind. In this piece, he comments years later on the often-exaggerated proportions of our fears and denials. Text from the Brooklyn Museum label.

Pepon Osorio (Puerto Rican, born 1955) "Fear and Denial," 1997 Mixed Media Accession # 2003.5 Pepon Osorio is one of the foremost installation artists working today. His art, whose primary subject is life in the barrio, is particularly concerned with social issues involving Latino communities. The artist often combines multi-media technology with an abundance of surface decoration to construct elaborate environments. Here, he presents two giant stuffed cats bearing medallions reading, respectively, "fear" and "denial." The proportions of the piece are rather ambiguous: the cats seem to be too large for the narrow table on which they sit. This incongruity reflects the artist's recollections of visiting his mother's apartment, filled with knickknacks and figurines, when he was an art student. The objects were in sharp contrast with the aesthetic values of the art world he was entering, and his conflicting feelings of repulsion and attraction assumed giant dimensions in his mind. In this piece, he comments years later on the often-exaggerated proportions of our fears and denials. Text from the Brooklyn Museum label.

Statue of a Cat Provenance unknown Dynasty 22 (945-712 BC) or later Bronze with gold leaf # E14284 The cat was an important animal in ancient Egypt. Not only were cats useful household pets, but the cat was often associated with the goddess Bastet. Bastet is often shown as a cat or cat headed woman. She was a goddess of fertility and the home. Enormous cat cemeteries associated with the cult of Bastet existed at a number of sites throughout Egypt. Sacred cats were mummified and buried in these cemeteries, often enclosed in cat-shaped coffins of wood or bronze. This example is hollow and the interior is large enough to have contained a cat mummy. There is a collar incised around her neck with a pendant in the shape of an aegis. Gold leaf has been applied to the eyes. Text from the U. Penn. Museum label.