Thursday, July 19, 2012

The Infinite Art Tournament Second-Round Elimination: Albers v. Alma-Tadema!


With the first Second-Round Elimination match, we enter a new phase in the Infinite Art Tournament: at this level, and with every subsequent elimination round match in the left bracket, TWO artists will drop out of play.

Leaving us this week, each with respectable records of 1-2, are American minimalist Carl Andre (13 cumulative votes for, 27 against) and seventeenth-century Roman sculptor Alessandro Algardi (19-19).



Josef Albers
1888-1976
Dutch; worked in the United States

  • Lost to animal specialist Jacques-Laurent Agasse in Round 1.
  • Defeated early American painter Washington Allston in Left Bracket First-Round Elimination by two votes -- a one-vote swing would have resulted in a draw. YOUR VOTE COUNTS!!
  • Defeated living American minimalist Carl Andre in the Left Bracket Second Round by two votes -- a one-vote swing would have resulted in a draw. YOUR VOTE COUNTS!!







Sir Lawrence Alma-Tadema
1836-1912
Dutch; worked in England






Vote for the artist of your choice in the comments, or any other way that works for you. Commentary and links to additional work are welcome. Polls open for at least one month past posting, but likely much longer.

Tuesday, July 17, 2012

The Infinite Art Tournament, Round 2: P. Bruegel v. Buren!

Pieter Bruegel (the Elder)
c.1525 - 1569
Dutch

Trounced his own son, Jan Bruegel the Elder, in Round 1.





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Daniel Buren
1938 -
French

Defeated Sir Edward Burne-Jones in an amazing come-from-behind single-vote victory in Round 1. YOUR VOTE COUNTS!!!




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Vote for the artist of your choice in the comments, or any other way that works for you. Commentary and links to additional work are welcome. Polls open for at least one month past posting.

Monday, July 16, 2012

It's still....


The July IAT Blog Sabbatical!

Only four days to the Feast of St. Barhadbesciabas!

Tournament Action continues on the regular schedule!

Also, the mission statement has finally caught up to the content, and can now be found right under the lists of current matches.

Five years ago: Boring Postcards: An Introduction.

Saturday, July 14, 2012

The Infinite Art Tournament: Chagall v. Champaigne!

Marc Chagall
1887 - 1985
Russian-born; worked in France




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Philippe de Champaigne
1602 - 1674
Flemish; worked in France.



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Vote for the artist of your choice!  Votes go in the comments.  Commentary and links to additional work are welcome.  Polls open for at least one month past posting.

Friday, July 13, 2012

It's...

The July IAT Blog Sabbatical!

See you next week!

Tournament Action continues on the regular schedule!  I'll be back next Friday, to help you ring in St. Barhadbesciabas' Day!

Thursday, July 12, 2012

The Infinite Art Tournament, First Elimination Round #6/128



Faceoff #1: P. Blake v. Böcklin

Sir Peter Blake
born 1932
English

Lost to William Blake in Round 1.



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Arnold Böcklin
1827 - 1901
German; worked in Italy

Lost to Umberto Boccioni in Round 1.





Faceoff #2: Bomberg v. Bordone

David Bomberg
1890 - 1957
English

Lost to Christian Boltanski in Round 1.




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Paris Bordone
1500 - 1571
Italian

Pounded by Hieronymus Bosch in Round 1.






Vote for the two artists of your choice! Votes generally go in the comments, but have been known to arrive by email, by postcard, or in a sealed envelope.

Please note that you may vote only once in each face-off.  Opining that both of the artists in one of the two face-offs is superior to the other is fine, but casting your votes for two artists in the same face-off is not permissible.

Wednesday, July 11, 2012

The Wednesday Post


Two Postcards from Fra Bartolommeo
The fourth contestant to exit the tournament has no hard feelings.




An Italian painter and a member of the Dominican Order, ...Fra Bartolommeo's work as a painter characterizes the transition of the Renaissance from its early period to the time of its greatest splendour. Fra Bartolommeo developed his undoubted talent for painting by the most diligent study. In his work depth of religious feeling and the dignity suitable to sacred subjects are happily united with the advance in the technic of art of his time. In perspective, characterization of his subject, drapery, colour, grouping, and rhythm of pose and movement Bartolommeo holds to the Cinquecento, while the impression made by his devotional pictures is in no way lowered by realism or by seeking after external effect.


-- The Catholic Encyclopedia