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Browse trusted local Painters & Decorators in Stirling on TrustATrader,
all vetted, with photos of completed work, and reviews from
previous customers.Decor8 Scotland Ltd
Painters & Decorators in
Larbert, FK5 3DU.Optimus Decorating Services Limited
Painters & Decorators in
Glasgow, G32 8RE.Construction For All Trades Ltd
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Glasgow, G73 2SP.Alan & Sons Painter Decorator
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Bellshill, ML4 1DL.Paint It Decorators
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Motherwell, ML1 3QU.DS Decorators
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Lanark, ML11 0AG.Scott P Lyon Decorators
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Kirkcaldy, KY1 4SP.Local Painters & Decorators
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94 reviews /
4. 96
out of 5Jason is professional, skillful at what he does and an excellent communicator. We couldn’t be happier with the quality and finish of his work. We…
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07835 638 254
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07835 638 254
Stirlingshire
FK5 3DU-
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20 reviews /
5.0
out of 5Great work by Pat and team. Professional and detailed.
A focus on high quality work and w willingness to offer advice and patience when last…
G32 8RE-
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90 reviews /
4.94
out of 5David was brilliant, from helping us select the wallpaper, and then did an awesome job stripping the old coverings, repairing,painting and. ..
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07753 808 037
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Paint It Decorators, Motherwell
5 out of 5.0
“Lee was great to work with, very polite, efficient and punctual. His work was amazing and I already have recommended him…”
Greg Sweeney on 6th September 2022
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Edinburgh PD-Limited T/A Ian Fraser Painter & Decorator, Dunfermline
0 “>5 out of 5.0
“Great work!”
Gareth Wheeler on 2nd September 2022
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Decor8 Scotland Ltd, Larbert
5 out of 5.0
“Jason is professional, skillful at what he does and an excellent communicator. We couldn’t be happier with the quality…”
Scott Bissell on 27th August 2022
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Edinburgh PD-Limited T/A Ian Fraser Painter & Decorator, Dunfermline
0 “>4 out of 5.0
“Good work, very pleasant people, friendly and helpful.”
Elizabeth Cowling on 26th August 2022
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Edinburgh PD-Limited T/A Ian Fraser Painter & Decorator, Dunfermline
5 out of 5.0
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Mrs Baits on 25th August 2022
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Gray & Sons Painters & Decorators
Local Painters & Decorators in Stirling, Stirlingshire
01324 63241801324 632418
48 Park Avenue
,
Falkirk
,
FK29LQ
Contact Us
Professional, Reliable Painters & Decorators in Falkirk, Stirlingshire
When your home could do with a refresh or a complete makeover, Gray & Sons, based in Falkirk, Stirlingshire, can help make your home look its best with our professional painting and decorating services.
No job is too big or too small for our team. We have all the equipment we need, and we’re fully insured. We pride ourselves on our excellent customer service and attention to detail, and we’re always happy to provide free advice and information, and can finish most jobs within a day, avoiding to much disruption to your routine.
We have over 30 years’ experience in providing a quality finish for interior and exterior painting and wallpapering services. We take extra care to ensure nothing is damaged and we cover furniture with safety sheets. Our worksites are always neat and tidy.
Get in touch with us today and we can discuss your vision for your home and how we can help. Free quotes provided.
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C B Painters & Decorators
Local Painters & Decorators in Stirling, Stirlingshire
07591 24073007591 240730
8 Stewart Square
,
Stirling
,
FK81PWLatest Reviews
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Neil Robertson Painter & Decorator
Local Painters & Decorators in Stirling, Stirlingshire
01786 44532401786 445324
19 Melfort Drive
,
Stirling
,
FK70BD
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K Park Painters & Decorators
Local Painters & Decorators in Stirling, Stirlingshire
07787 50729807787 507298
8 Cornton Road
,
Bridge Of Allan
,
Stirling
,
FK94DB
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Iain Thomson Painter & Decorator
Local Painters & Decorators in Stirling, Stirlingshire
01786 47902801786 479028
55 Cruckburn Wynd
,
Stirling
,
FK79HU
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T Reid
Local Painters & Decorators in Stirling, Stirlingshire
01786 81410701786 814107
1 Bruce Drive
,
Fallin
,
Stirling
,
FK77EQ
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I D Decorators
Local Painters & Decorators in Stirling, Stirlingshire
01259 76249101259 762491
12 Johnstone Street
,
Menstrie
,
FK117DB
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Redrup Refurbishment
Local Painters & Decorators in Stirling, Stirlingshire
01786 44526601786 445266
19 Glencoe Road
,
Stirling
,
FK81ET
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Martin Decorating Services
Local Painters & Decorators in Stirling, Stirlingshire
01786 81174301786 811743
30 Murrayfield Terrace
,
Bannockburn
,
Stirling
,
FK78NG
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G Hally
Local Painters & Decorators in Stirling, Stirlingshire
01786 82394201786 823942
61 Braemar Avenue
,
Dunblane
,
FK159EB
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Darran Kidd Painting & Decorating
Local Painters & Decorators in Stirling, Stirlingshire
01786 81168701786 811687
34 Mount Oliphant
,
Cowie
,
Stirling
,
FK77AB
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A Macdonald Painter & Decorator
Local Painters & Decorators in Stirling, Stirlingshire
01786 82360001786 823600
18 Edward Street
,
Dunblane
,
FK159HL
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John Pedder
Local Painters & Decorators in Stirling, Stirlingshire
01786 46354901786 463549
The Lodge Abbeycraig Park
,
Stirling
,
FK95LF
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Michael Allocca on Google(December 29, 2018, 6:55 pm)
Stirling delivered a top notch job from a crew of highly skilled craftsmen. Everything was done by hand and absolutely no corners were cut. The entire crew was a delight to work with and they were always courteous, respectful and professional. I couldn’t be happier with the outcome of the job, and I consider myself to be a stickler for details.
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MARY Evans on Google(December 21, 2018, 11:27 am)
They and their staff are always so responsive and courteous. Their work is beautiful and always leave my home and business very neat and clean.
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Catherine Wick on Google(December 19, 2018, 6:50 pm)
We have been using Stirling since 2006 for every project in our houses since then. The biggest thing is that we trust the employees and like the respect we are given when they are in our house. We look to Shawn Price for advice on any job that we are contemplating and have never been disappointed. They are not the cheapest contractors in the business, but surpass any of the contractors in being prompt and knowledgeable about what has to be done.
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Andrew Schantz on Google(December 16, 2018, 1:41 am)
Great work from start to finish. The owner, Andy, personally came out to visit our project to give us ideas and tips for what colors he thought would work for our master bathroom. Soon after, our bathroom was painted with a true craftsman’s touch–not a single drip, perfectly cut lines, and complete attention to detail. Cost was far less than the level of service I received. I’ll be a repeat customer. Job well-done.
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Paul Curran on Google(December 14, 2018, 5:13 pm)
We have used Stirling twice in the past 3 years and they have now painted much of the interior of our house. We have been so satisfied with every aspect of their work and overall operations that we would not even consider hiring anyone else. Stirling is simply first rate in every way.
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Genuine work of art
Picture,
Pastel
on Paper
- Genuine Artwork
Original Artwork is any work that is considered authentic and not a copy or imitation of the artist’s original work. Original artwork can be any kind of painting, sculpture, performance or other media. There are many types of original media. Mixed media includes oils, acrylics and watercolors. For workshop paintings that testify to craftsmanship, this attribution should be more subtle. While they may be less valuable for a variety of reasons, reproductions and copies have had a huge impact on our experience. They reach a wider audience than the originals and act as an anti-commodification tonic. Original work may also refer to the first work, which always precedes all others. It can also refer to a prototype or model from which other work can be done. Each work is very similar to the original.
- one-of-a-kind (OOAK)
One-of-a-kind pieces of art are also known as “OOAK” pieces of art. This means that each work of art is unique and there will never be one identical.
- Limited Edition
Edition is out of production. The number of copies produced is determined and indicated in the job description.
- Open Edition
The publication has not been completed. The production of new works continues. Works may be numbered, this also includes commissioned and print-on-demand works.
- Unknown edition
It is not known how many copies were made after the end of the run.
- Genuine Artwork
-
Dimensions
Height 40cm, Width 30cm
-
Frame
This work is not framed -
Categories
art
Portrait
- 1 Biography
-
2 publications
- 2. 1 General problems of art in Europe (14th-20th centuries)
- 2.2 France (14th-20th centuries)
- 2.3 France (14th-15th centuries)
- 2.4 France (16th century)
- 2.5 France (17th century)
- 2.6 France (18th century)
- 2.7 France (19th-20th centuries)
- 2.8 Netherlands (14th-16th centuries)
- 2.9 Flanders and Holland (15th-17th centuries)
- 2.10 Italy (14th-17th centuries)
- 2.11 Spain and Portugal (15th-17th centuries)
- 2.12 Germany, Bohemia, Poland
- 3 Filmography
- 4 Notes and references
-
5 applications
- 5.1 Bibliography
- 5.2 External links
- “Landscape in European Renaissance and Chinese Art” I: Concordances, L’Amour de l’Art , January 1931, No. 1, pp. 8–21.
- “Landscape in European Renaissance and Chinese Art” II: Influences and Coincidences, L’Amour de l’Art , March 1931, No. 3, pp. 101-102.
- “Landscape painting in Europe and China: kindred spirit, contacts and borrowings. Head of the exhibition catalog. East-West , Czernusky Museum, Paris, 1938, pp. 75-88.
- “Landscape painting of Europe and China. Pref. From the exhibition catalog. Landscape in East and West” , National Museums, Paris, 1960, p.5-17.
- “Preparing a still life exhibition”, La Revue des Arts , 1952, no. 1, pp. 31-36.
- Exhibition catalogue. Still life from antiquity to the present day , Tuileries Orangerie, Paris, 1952, introduction. and catalog records.
- Still Life from Antiquity to the Present , Paris, ed. Pierre Tisnet, 1952, 2nd ed. revised, Paris, 1959, 3rd ed. 1985; ed. American Still Life Painting from Antiquity to the Present , New York, Universe Books, 1959; ed. Romanian (pirated), Natura Moartà , Bucrest, ed. Meridiana, 1970, New York-London, 1981 (new expanded edition).
- Still life. From Antiquity to the 20th Century , Paris, Macula 1985 (ISBN 978-2-86589-010-1)
- “Ten centuries of civilization through the eyes of Henri Faucillon”, Renaissance , New York, 1944-1945, vol. II and III, pp. 404-436.
- Primitive Painters (Italians, Flemings, Germans, French, Spanish and Portuguese) , Paris, ed. Nathan, 1949
- International Gothic Style, Notable Artists , Geneva-Paris, ed. L. Mazenod, 1948, pp. 38-43.
- “International Courtois Style”, L’Art et l’Homme , Paris, ed. Larousse, II (1958), pp. 353-364.
- “Painting in Europe around 1400”. Introduction. in the exhibition catalogue. European art around 1400 , Vienna, 1962, pp. 71-82.
- Exhibition catalogue. Lehman Collection in New York , Musée de l’Orangerie, Paris, 1957. Dir. inconvenient. and notifications.
- Lehman Collection, exhibition at the Musée de l’Orangerie, La Revue des Arts , 1957, no. 3, pp. 133-142.
- Thyssen-Bornemisza Collection. Catalog of paintings , Lugano-Castagnola, 1969. Notes and texts.
- Catalog of paintings from the Goblitz collection held by the Dallas Museum, Texas . The manuscript was written in 1951-1952. Unpublished (Dallas Museum Archives).
- Exhibition catalogue. Art at the Faculty of Medicine of Paris , Faculty of Medicine, Paris, 1935. Preface and notes.
- “Treasures of the Faculty of Medicine of Paris”, Synthesis No. 6, June 1935, pp. 35-38.
- Exhibition catalogue. Treasures of Reims , Musée de l’Orangerie, Paris, 1938. Notes.
- “Reims, March of French Art”, “Renaissance” , April 1938, pp. 27-34.
- “From Brueghel to Basil”, L’Amour de l’Art , June 1931, p.253.
- Expo; of the Centenary of La Fayette, Bulletin of the Museums of France , July 1934, p.121-123.
- Exhibition catalogue. Souvenirs du Roi de Rome , Orangerie des Tuileries, Paris, 1932. Notes.
- “Exhibition of Memoirs of the King of Rome in the Tuileries Orangery”, Bulletin of the Museums of France , December. 1932, pp. 162-165.
- Exhibition catalogue. Jean Schlumberger, Twenty Years of Jewels and Art on Loan , New York, 1961. Foreword.
- “Primitive Emulators”, Revue de l’Art , 1973, No. 21, pp. 80-93.
- Commemorative Catalog of an Exhibition of French Art, 1200-1900 , Royal Academy of Arts, London, 1932. Notes.
- Exhibition catalogue. Masterpieces of French Art , National Palace of Arts, Paris, 1937.
- Catalog of French painting of the XV-XVIII centuries. , Metropolitan Museum of Art, New York, 1955.
-
Hermitage. French painting from Poussin to the present day , Paris, ed. Art circle, 1957.
- American ed.: Great French Painting in the Hermitage , New York ed. Abrams, 1958.
- German edition: Die Französische Malerei in der Ermitage von Poussin bis zu Picasso , Berlin, Henschelverlag, 1958.
- Exhibition catalogue. Vie Eeuwen Stillven in Frankrijk , Boynance Museum, Rotterdam, 1945. Foreword.
- Exhibition catalogue. French painting 1100-1900 , Carnegie Institution, Pittsburgh, 1951. Foreword.
- Six Centuries of French Masterful Drawing in America , R. Shulman and C. E. Slatkin, Oxford University Press, New York, 1950. Foreword.
- French Art in the United States, Museums of France , app. Issue dedicated to the Friends of the Louvre Society, 1949, pp.7-15.
- “Painting courtesy of the Louvre”, Bull. Metropolitan Museum of Art , June 1944, pp. 275-281.
- French painting. Primitives , Paris, ed. Flury, 1938
- French painting. The Painters of the Middle Ages , Paris, ed. Tisné, 1941 (under the pseudonym Charles Jacques, reprinted in 1946 under his real name).
- Catalog of 14th, 15th and 16th century French School Paintings , Louvre, Paris, 1965. Annotations in collaboration. with Nicole Reynaud.
- Propylaen Kunstgeschichte , Volume VII (1972). Notices, in J. Bialostocki, Spätmittelater und beginnende Neuzeit , p.180-195.
- “Portrait of St. Pierre de Luxembourg (in Worcester, MA)”, Museum Notes, Museum of Art, Rhode Island School of Design , Providence, January 1947 (no page).
- “Works found by Jean de Beaumet, artist Philippe le Bold”, Collection by E. Panofsky. Bulletin of the Royal Museums of Fine Arts , Brussels, 1955, pp.57-82.
- “Unpublished painting and portraiture at the court of Burgundy in the early 15th century”, Archives de l’Art français. Studies and Documents on French Art from the 12th to the 19th Century (volume dedicated to Gaston Brière), t.XXII, 1959, p.39-57.
- “Portrait Painting at the Court of Burgundy at the Beginning of the 15th Century”, Critica d’Arte , VI (1959), pp. 289-312. New edition of Art. previous.
- “Fouquet. Review of two books on Fouquet (C. Perls and P. Wescher), Art Bulletin , June 1946, pp. 125-131.
- “Fouquet”, famous artists , Geneva-Paris, ed. L. Mazenod, 1948, pp. 80-81.
- Jean Fouquet. Étienne Chevalier Clock , foreword. Original French edition, Paris, Draeger, 1971; ed. American, New York, Braziller, 1971; ed. German, Munich, Praeger, 1971.
- “Paul Grimbaud, eminent French painter of the 15th century”, Revue de l’Art , no. 8, 1970, pp. 17-32.
- “Painting in Tours or the first French Renaissance. Preface to the exhibition catalogue. Art of the Loire Valley from J. Fouquet to J. Clouet (1450-1540) , Tours, 1952, pp. 17-25.
- “A certain Perreal painting was finally found”, L’Oeil , no. 103-104, July-Aug. 1963, pp. 2-15 and pp. 64-65. Additional note: L’Oeil , No. 105, September 1963, page 50.
- “Notice sur le Maître de Moulins”, Encyclopædia Britannica , 1967, vol. 15, p. 948.
- “Something new about Master Moulin”, L’Oeil , No. 107, Nov. 1963, pp. 2-15 and pp. 65-68. Additional note: L’Oeil , No. 109, p. XXIII.
- “Jean Hey, maitre d’ Moulin”, Revue de l’Art , no. 1-2, 1968, pp. 27-33.
- “Two Provençal artists of the 15th century (I) revived. Nicolas Dipre, Gazette des Beaux-Arts , October 1942, vol XXII, pp. 9-16.
- “Two Provençal painters of the 15th century (II) revived. “Master of Saint Sebastian” (Josse Lieferinx)”, Gazette des Beaux-Arts , December. 1942, vol. XXII, p. 135-148.
- “Saint Sebastian intercedes for a plague-stricken (Jose Lieferinxe)”, The Art Quartely , Summer 1945, pp. 216-222.
- “José Lieferinx, Provençal Painter”, La Revue du Louvre et des Musées de France , 1964, No. 1, pp. 1-22.
- Coronation of the Virgin by Enguerrand Quarton , Paris, ed. Flury, 1939
- “The Coronation of the Virgin (E. Quarton)”, Plaisir de France , 1960, pp. 12-15.
- “Author of Pietà d’Avignon: Enguerrand Quarton (Charreton), Bulletin of the National Society of Antiquaries of France , 1960 (collection 1 July 1959), pp. 213-223.
- “Notice sur Enguerrand Quarton”, Encyclopædia Britannica , 1967, vol. 18, p. 936.
- Enguerrand Quarton: Painter of the Pieta of Avignon , Paris, 1983.
- “La Pietà de Tarascon”, La Revue des Arts , 1955, No. 1, pp. 25-46.
- “The Pieta of Tarascon and the Painters of Dombé”, La Revue du Louvre , 1966, No. 1, pp. 13–26.
- “For Jean Schangenet and Juan de Nalda”, L’Oeil , no. 217-1218, August spec. 1973, pp. 4-19.
- “For painting in the Auvergne in the 15th century”, L’Oeil , No. 136, April 1966, pp. 4–16.
- “Savoy Studies, I: In the Time of the Duke of Amedea”, L’Oeil , No. 178, October 1969, pp. 2-13.
- “Études savoyardes, I: Supplement”, L’Oeil , #195–196, March-April 1971, pp. 14–19 and pp. 36.
- “Savoy Studies, II: Trinity Master of Turin”, L’Oeil , no. 215, Nov. 1972, pp. 14–27.
- Medieval Painting in Paris: 1300-1500 . 2 flights. Paris: Art Library, 1987.
- “New Burgundian Painting and the Limburgs”, in Studies in Late Medieval and Renaissance Painting in Honor of Millard Mays , 1978, pp. 415-429.
- “Painting in Burgundy in the 15th century”, Annals of Burgundy , 50–197, 1978, pp. 5–17.
- “Two new French drawings from the 15th century” in Ars auro Prior. Studia Ionni Bialostocki sexagenario dicata , Warsaw, 1981, pp. 209-215.
- “Picardy Panel Painting and Its Influence in the North of France in the 15th Century”, Communication for the Société de l’Histoire et de l’Art français (collection 3 February; 1979), Bulletin de la société de l’History and French Art , 1981, pp.7-49.
- “Nicolas Froment, painter of the north of France”, in “ Studies in Medieval Art, proposed by Louis Grodetsky , Paris, 1981, pp.325-342.
- “New painting by Simon Marmion”, Rakar. Canadian Art Review , 8, I, 191, pp. 3-18.
- “Finally found a work by Pierre Villat?”, Chronique meridionale , I, 1981, p.3-14.
- “Charles VII in the eyes of Fouquet”, L’Oeil , n° 389, December. 1987, pp. 34-41.
- “Fouquet in Italy”, L’Oeil , No. 413, Dec. 1989, pp.26-35.
- Medieval painting in Paris, 1300-1500 , II, Paris, 1990.
- “Unpublished French Paintings: Provence”, L’Oeil , No. 245, Dec. 1990
- “Unpublished French Paintings: Languedoc and Auvergne”, L’Oeil , No. 428, March 1991, pp. 28-35.
- “Savoy Notebook”, Revue du Louvre et des Musées de France , No. 28, 5-6, 1978, pp. 333-342.
- French Painting of the 16th and 17th Centuries , Pars, ed. Brown, 1937
- Exhibition catalogue. Triumph of Mannerism , Rijksmuseum, Amsterdam, 1955. Preface and notes.
- “Early commedia dell’arte painting in France”, Bulletin of the Metropolitan Museum of Art , New York, Summer 1945, pp. 11-32.
- “Reconstructed Belgambay Triptych (in collaboration with Edward S. King)”, Walters Art Gallery Journal , Baltimore, 1948, pp. 44-49.
- “Notices on Jean and François Clouet”, Encyclopædia Britannica , 1967, vol. 5, p. 949.
- “Unknown Portrait of Jean Clouet”, Studies in Renaissance and Baroque Art Presented to Anthony Blunt , London, ed. Phaidon, 1967, pp. 86-90.
- Portrait of a Man by Jean Clouet, Museum Monograph II, St. Louis City Art Museum , 1970, pp. 53-68.
- “Portrait of Henry III”, Bulletin of the Museums of France , June 1936, No. 6, pp. 94-98.
- “Grunewald about 1500-1505”, Cahiers alsaciens d’archéologie, d’art et d’histoire , 19, 1975-1976 (Proceedings of the colloquium in Colmar and Starsburg on Grunewald, 1974), pp. 127-145.
- Master of Claude, Queen of France, New Miniaturist , New York, 1975.
- Exhibition catalogue. Painters of reality in France in the 17th century , Tuileries Orangery, Paris, 1934. Introduction. and notifications.
- “Exhibition of Reality Artists in France in the 17th Century”, Bulletin of the Museums of France , Jan. 1935, No. 1, pp. 1-6.
- “Reality Artists in France in the 17th Century, I: The Caravagesque Movement and Georges de La Tour, La Revue de l’Art Ancien et Moderne” , LXVII, No. 359, Feb. 1935, pp. 49-68.
- Exhibition catalogue. French painting of the times of Louis XIII and Louis XIV , Gal. Wildenstein, NY 1946. Preface and notes.
- Exhibition catalogue. Il Seicento Europeo , Rome, 1956. Preface and notes.
- Review of “Französische Malerei des XVII. Jahrhunderts” by W. Weisbach, Berlin, 1932, L’Amour de l’Art , November 1932, p. VI.
- “French painting and Spanish painting in the 17th century: similarities and exchanges”, Colloc Velázquez , Madrid, 1960, pp. 111-120.
- Biography of Nicolas Poussin, exhibition catalogue. Nicolas Poussin , Louvre, Paris, 1960, pp. 197-283.
- “Some imitators and copyists of Poussin”, Colloc Poussin , September 19-21, 1958. Edition of the National Center and Scientific Research, Paris, 1960, pp. 265-276.
- “Poussin’s New Painting”, Pantheon , no. 33, 1975-3, pp. 216-226.
- “Georges de La Tour”, Treasures of French Painting (17th century) , ed. Skira, 1935
- New painting by J. de La Tour, The Burlington Magazine , 1937, pp. 8-14.
- “Two new paintings by J. de La Tour, The Burlington Magazine , May 1938, pp. 203-208.
- Observations on Georges de Latour. On a recent book, Revue des Arts , 1951, No. III, pp. 147-158.
- “Les Le Nain, le genre et la nature morte, Les Trésors de la Peinture française (17th century) , ed. Skira, 1935.
- “Two unknown paintings by Mathieu Lenin”, The Burlington Magazine , January 1937, pp. 4-7.
- “Jean Michelin painting acquired by the Louvre”, Bulletin of the Museums of France , Nov. 1938, pp. 151–154.
- “Artists Jean and Jacques Blanchard”, Art de France , 1961, pp. 77-118.
- “Eustache Le Suer, portrait painter, Walther Friedländer zum 90. Geburtstag, ein Festgabe seiner europäischen Schüler, Freund und Verehrer , Berlin, W. de Gruyter and Co., 1965, pp. 181-184.
- Rembrandt’s French predecessor: Claude Vignon, Gazette des Beaux-Arts , t.XII, October 1934, p.123-136.
- “Richard Tassel and Jean Lis”, “Revival” , 1936, nos. 5 and 6, pp. 33–37.
- Exhibition catalogue. Tassels, 17th century Langres Painters , Museum of Fine Arts, Dijon, 1955. Foreword.
- “Le Concert de Tournier de Toulouse at the Louvre”, Prométhée , June 1939, no. 20, pp. 171-174.
- “Some unpublished works of the painters Millero, Lallemant, Vignon, Sakkespe and Simon François”, Bulletin of the Society for the History of French Art , 1953 (published 1954), pp. 1-12.
- Exhibition catalogue. François Boucher , Foch Foundation, Gal. Charpentier, Paris, 1932.
- “Boucher and O’Murphy”, L’Amour de l’Art , June 1932, pp. 191–194.
- “Francois Boucher, Wystawa jego dziel u Paryzu”, Sztuki Piekne , Warsaw, 1933, no. 8_9, pp. 308-329.
- Exhibition catalogue. Hubert Robert , Musée de l’Orangerie, Paris, 1933.
- “Fragonard’s Unknown Masterpiece, Portrait of a Man (Warrior)”, Sterling and Francine Clark Art Institute , Williamstown (MA), 1964.
- Catalog of paintings of the French school: 19th century. La Peinture du Musée du Louvre , 4 vols., 1958-1961, co-authored. with Helen Ademar.
- Catalog of 19th-Century French Paintings, Metropolitan Museum of Art , vol. II, 1966 and III, 1967, co-authored; with Margaretta M. Salinger.
- Exhibition catalogue. Degas, portrait painter and sculptor , Musée de l’Orangerie, Paris, 1931. Notes.
- Exhibition catalogue. Manet , Musée de l’Orangerie, Paris, 1933.
- “Manet and Rubens, details”, L’Amour de l’Art , October 1932, p.290.
- Exhibition catalogue. Renoir , Musée de l’Orangerie, Paris, 1933.
- Exhibition catalogue. Delacroix’s travels in Morocco , 1832, and retrospective exhibition of the Orientalist painter M. Auguste , Musée de l’Orangerie, Paris, 1933
- Exhibition catalogue. Chasserio , Musée de l’Orangerie, Paris, 1933.
- Exhibition catalogue. Daumier , Musée de l’Orangerie, Paris, 1934
- Exhibition catalogue. Portraits of Ingres and his students , Gal. Jacques Seligmann and Fils, Paris, 1934. Notices.
- Exhibition catalogue. Cezanne , Musée de l’Orangerie, Paris, 1936.
- “Cezanne and the Old Masters”, Renaissance , May 1936, No. 19, pp. 7-15.
- “Mennecy Bridge, Cezanne”, La Revue des Arts , 1955, no. 4, pp. 195–198.
- David’s “Fine” “Rewritten”, Metropolitan Museum of Art Bulletin , Jan. 1951, No. 5, Vol. IX, pp. 121-132.
- Exhibition catalogue. Drawings and watercolors by French landscape painters of the 19th century , Musée de l’Orangerie, Paris, 1933.
- “Drawings of the 19th century at the Musée de l’Orangerie”, Beaux-Arts , 1933, no. 24, p.1.
- Exhibition catalogue. Impressionists from the Courtauld Collection in London , Musée de l’Orangerie, Paris, 1955. Foreword.
- “The Dukes of Burgundy and the Franco-Flemish civilization, Les Arts Plastiques , October-November 1951, Brussels, p.163-181.
- Bourgeois realism in the 15th century; the contribution of the Flemings and its influence”, “ Art and Man” , Paris, ed. Larousse, II (1958) pp. 365-377.
- “Observations on Petrus Christ”, Art Bulletin , March 1971, pp. 1-26.
- “Replica of a lost composition by Lucas de Leyde (in the Nantes Museum)”, Bulletin des Musées de France , May 1930, pp. 109-112.
- “Neue Gemälde des Cornelis van Dalem. Ein Frühkwerk im Prado”, Jahrbuch des Preuszischen Kunstsammlungen , Band 54, Berlin, 1933, p.123-126.
- “Cornelis van Dalem and Jan van Vehelen”, Studies in Art History for William E. Suida on his 80th Birthday , New York, 1959, pp. 277-288.
- “Dutch Fantastic Landscape”, L’Art Vivant , April 1, 1930, pp. 270-274.
- “Drawing by Lodevik Töput called Lodovico Pozzoserrato and frescoes at Villa Maser”, Old Master Drawings , Dec. 1931, Volume VI, Number 23, pp. 44-48.
- “Unpublished painting by Lodovico Pozzoserrato”, L’Amour de l’Art , April 1933, pp. 1-4.
- “Painting found by Kerstian de Köninck (at the Fourchet Museum in Orleans)”, Bulletin of the Museums of France , June 1932, pp. 101-103.
- “De Van Eyck a Brueghel”, Print , Paris, Ed Brown, 1935.
- “Jan van Eyck before 1432”, Revue de l’art , no. 33, 1976, pp. 7-59.
- Landscapes by Rubens, Works by students of the art history group of the Faculty of Letters of Paris, preceded by a few notes by Paul Valéry , Paris, ed. Institute of Art and Archeology, 1928, pp.177-207.
- Exhibition catalogue. Rubens and his time , Musée de l’Orangerie, Paris, 1936
- Flemish painting, Rubens and his time , Paris, Librairie des Arts Décoratifs, Calavas, s; d. (1936).
- “The discovery and history of an unknown work by Rubens (Hercules and Omphale from the Louvre)”, L’Amour de l’Art , 1937, p.258-292.
- “Paintings of Saint Rosalie Van Dyck”, Burlington Journal , February 1939, pp. 53-62.
- “Painting of Salomon de Bres (at the Musée d’Orléans)”, Bulletin of the Museums of France , April 1932, pp. 62-64.
- “Painting by Karel Fabricius (in the Louvre)”, Bulletin of the Museums of France , April 1934, pp. 74-75.
- “Master of sight St. Gudul. Research”, Bulletin of the Royal Museums of Fine Arts of Belgium , 23-29, 1974-1980, Published at 1981, pp. 9–28.
- Exhibition catalogue. from Italian Art from Cimabue to Tiepolo , Petit Palais, Paris, 1935. Notes.
- “Unpublished painting by Gentile da Fabriano”, Paragone , #101, May 1958, pp. 26-33.
- “Lorenzo Lotto, Forerunner of Modern Anxiety”, Arts , July 3, 1953, No. 418, pp. 1 and 11.
- “Parmesan Portraits”, L’Amour de l’Art , Dec. 1933, No. 10, Monthly Bulletin, pp. 1-5.
- “Brief Notes on Some Unknown Venetian Paintings in Dallas”, Arte Veneta , 1954, pp. 265-271.
- “The Oriental Warrior of Pierfrancesco Mola”, Museums of France (Bulletin of the Museums of France) , March 1950, No. 11, pp. 33-40.
- “Gentileschi in France”, The Burlington Magazine , April 1958, pp. 112-120.
- “A new work by Gentileschi, written in France”, La Revue du Louvre et des Musées de France , 1964, no. 4-5, pp. 217-220.
- “In search of Zanetto Bugatto: a new track”, History of Art in Honore Federico Zeri , Milan, 1984, pp. 163-178.
- “Animal Combat in the Adoration of the Magi,” Cleveland Museum of Art Bulletin , No. 61, 1974-10, pp. 350-359.
- “Spain and France in the 17th century”, L’Amour de l’Art , January 1935, pp. 7-14.
- “Propyläen Kunstgeschichte”, Volume VII (1972). Notes by a 15th-century Spanish artist, in J. Bialostocki, Spätmittelalter und beginnende Neuzeit , p.195–199.
- Exhibition catalogue; Paintings by Goya from the collections of France , Musée de l’Orangerie, Paris, 1938.
- “Panel depicting Saint Vincent and their mysteries (in collaboration with Jean Rosenwald)”, L’Oeil , March 1968, pp. 12-24 and 70.
- “Os Paineis de S. Vicente e os seus enigmos”, Melanges Joào Conto in memoriam , Lisbon, Calouste Gulbenkian Foundation, 1971, pp. 191-237.
- Propyläen Kunstgenschichte , Volume VII (1972). Notes by a 15th-century Portuguese artist, in J. Bialostocki, Spätmittelalter und beginnende Neuzeit , p.199-201.
- “Spanish Paintings and an Unknown Portuguese Masterpiece of the 15th Century”, in Espana entre el Mediterraneo y el Atlantico, I (Actas del XXIII congreso internacional de Historia del arte, 3–8 September 1973) , Granada, 1976, pp. 7-59.
- “Something new about Juan de Borgon: his oldest known painting”, L’Oeil , n° 401, déc. 1988, pp. 24-31.
- “Juan Borgona and Provencal Painting”, Southern Chronicle, Medieval and Renaissance Art , 3, 1992, pp. 3-10.
- Discovery of Our Lady of Morlaix, French Historical Monuments , January-June 1966, pp. 139-148.
- “Observations on the Moser Altar in Tiefenbron”, Pantheon , XXX/I, 1972, pp. 19-32.
- “Master of the Landsberg Altar”, Kunsthistorische Forschungen Otto Pächt , Vienna, Residenz Verlag, 1972, pp. 150-165.
- “The Czech Madonna in the Louvre”, La Revue des Arts , 1960, no. 2, pp. 75-86.
- “Art in Poland”, Art from its origins to the present day (led by Léon Decheres) , Paris, ed. Larousse, 1933, I, pp. 215-218, 350-352; II, pp. 54-55, 166-168, 260-264.
- “Jost Haller, Maler zu Strasburg end zu Saarbrücken in der Mitte des xV. Jahrhunderts”, Wiener Jahrbuch für Kunstgeschichte , XXXIII, 1980, p.99-126.
- “Jost Haller, artist from Strasbourg and Saarbrücken in the middle of the 15th century”, Bulletin of the Schongauer society in Colmar, 1979-1982 , 1983, pp. 53–89.
- “Conrad Witz’s influence on Savoy”, Revue de l’art , no. 71, 1986, pp. 17-32.
- A Hunter in the Medieval Night is a 1989 film by Richard Kopans and Stan Neumann, 45 minutes long. He was on television for the first time on about the seven and on ARTA, program – Meetings . These are the dialogues of Charles Sterling and Michel Laclotte. The title refers to Charles Sterling’s explorations in this unknown land of medieval art.
- ↑ a b and c Dictionary of Art Critics
- ↑ Interview of Charles Sterling and Michel Laclotte in Hommage à Charles Sterling, Des primitifs à Matisse , RMN, 1992, pp. 56-58
- ↑ Testimony of Françoise Wyatt in Brigitte Gilarde, Curators’ Words – Stories. institutions. Practices , pressure of reality, 2020, p.457
- ↑ René Huige in Hommage à Charles Sterling, Des primitifs à Matisse , RMN, 1992, p.29
- ↑ Michel Laclotte in Hommage à Charles Sterling, Des primitifs à Matisse , RMN, 1992, p.
6 reviews /
4.95
out of 5
I got 2 rooms painted the work was really good and the team were so friendly and respectful. Will definitely recommend to family and friends
Glasgow
South Lanarkshire
G73 2SP
35 reviews /
4.94
out of 5
First time with Alan, and I can’t fault him,arrived on time quality in all departments first class,also very helpful with advice, will…
Bellshill
North Lanarkshire
ML4 1DL
34 reviews /
4.85
out of 5
Lee was great to work with, very polite, efficient and punctual. His work was amazing and I already have recommended him to others.
Motherwell
ML1 3QU
201 reviews /
4.97
out of 5
Excellent job throughout. Ian is very professional & polite. No problem at all in recommending Ian for any decorating job.
Edinburgh
Midlothian
Eh2 1WG
11 reviews /
4.98
out of 5
Scott was very friendly and professional, and he did a great job painting two bedrooms in my flat! He wasn’t messy at all, everything was left…
Kirkcaldy
Scotland
KY1 4SP
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Stirling Painting and Renovations Reviews, Rating
We have nothing but great things to say about everyone at Stirling. Andy is amazing to work with during the project design/estimating process and his employees have always been wonderful (on-time, clean, professional and friendly). Stirling painted our kids basement playroom right before COVID and more recently painted the exterior accents of our house darker. We love their work! We highly recommend Stirling and will be using them again in future. – Tom & Katie Schlegel
Kathleen Schaeffer gave Stirling Painting and Renovations a 5 star review
We are huge Stirling fans. They have done our interior painting for years, but this year they painted the exterior of our historic home and office next door in Bethlehem. It was a sizeable project and the guys were there for over two weeks. Jerry Brown did a spectacular job as our foreman. He managed every detail of the job , including making sure that our very active dog received a milk bone every morning. The crew was cheerful and courteous…I actually missed them when they finished! They cleaned up immaculately every afternoon. Whenever I would thank Jerry, he said “It’s all part of the Stirling experience.”
The work is beautiful and ..our buildings look great. They handled every problem ( and there are always surprises with old houses) immediately and professionally. We couldn’t be happier.
Don’t hesitate to call Stirling when you have a project large or small. They’re wonderful.
Shelley Nigito gave Stirling Painting and Renovations a 5 star review
We have only positive things to say about Stirling- the entire staff was professional, friendly, responsive, trustworthy, (and patient with me as I struggled with making decisions on finishes and paint). Prices were fair for all that they did- an extensive upstairs remodel- the work is excellent quality and finished product is exactly as we’d hoped it would be. We have worked with several other contractors in the past but we will be sticking with Stirling from now on!
Tracy Walters gave Stirling Painting and Renovations a 5 star review
We had Stirling in last week for three days to paint the interior of our home, and we cannot imagine this experience being any better! Neil was very communicative, and Jerry and his crew were timely, skilled, friendly, and hard working. They were also respectful of my need to continue to work from home while they were doing their work. These are exactly the kind of people you want working in your home! Highly recommend!
Janell O’Brien gave Stirling Painting and Renovations a 5 star review
I have used Stirling to renovate two houses. The first house projects included painting, kitchen upgrades, crown molding and bathroom upgrades. My second home was completely renovated from top to bottom which included complete bathroom and kitchen remodeling, crown moldings, wainscoting and painting. I would never use any other contractor than Stirling. Everything was beautifully done, employees are great craftsman as well as polite snd professional. I’m so glad I found Stirling.
Eileen Lojacono gave Stirling Painting and Renovations a 5 star review
Jenifer Dziewit Recommends Stirling Painting and Renovations
Ian was fantastic and the whole crew did a wonderful job! Love the colors and how the rooms turned out.
2 years ago
Amy Lombana Recommends Stirling Painting and Renovations
Great job! Came through when we had questions & issues. Highly recommend.
5 years ago
David R. Watson Recommends Stirling Painting and Renovations
6 years ago
Allie Trimble gave Stirling Painting and Renovations a 5 star review
I can’t say enough about what an excellent job Stirling did. We hired them to paint the interior of our brand new home. They aren’t just excellent painters – but they are friendly, professional and helpful. I wouldn’t think twice about having Stirling back to tackle another project in the future!!
6 years ago
Margaret Leibenguth Recommends Stirling Painting and Renovations
9 years ago
Jesse Waters Recommends Stirling Painting and Renovations
9 years ago
Susan Boerger Recommends Stirling Painting and Renovations
I want to give a Big Thank You to all the guys that worked on my project this year. As alway they were Awesome! They do Outstanding work and always cleanup after themselves . We started out with some touch up painting and some tile repair work in the kitchen but had to replace the floor due to the fact it was not installed properly when they build my town home. But now it is better then it was and I Love it! These guys do everything from painting,tile work , even had them install 2 new light fixtures and all looks great. Can’t wait to use them again and Recommend them to everyone! Oh and they give the best Pricing! Thanks again guys your the Best!!!
9 years ago
Peter D Korpics Jr. Recommends Stirling Painting and Renovations
The professionalism of Jeremy Korpics and Andy Grason are a real asset not only to their staff but to the consumer as well. Satisfaction is no accident and the experiences that I have had with Stirling are a testament to their attention to detail.
9 years ago
Jeremey Talbott Recommends Stirling Painting and Renovations
9 years ago
Michael Recchiuti Recommends Stirling Painting and Renovations
9 years ago
Brigitte Hoffman Recommends Stirling Painting and Renovations
9 years ago
10 BEST Painters in Stirling ACT 2611 [2022]
Need a painter? These 47 results are waiting for your call.
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Hughes ACT 26050422 44 73
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Open 24hrs
Golden Brush Painting
Golden Brush Painting
Hughes ACT 26050423 68 78
Van Meurs Painting
Closed
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A&K Painting Co. Canberra
Open Today
A&K Painting Co. Canberra
A&K Painting Co. Canberra
CANBERRA ACT 26000420 83 28
ACT Painting Services
Open 24hrs
ACT Painting Services
ACT Painting Services
CANBERRA ACT 26000450 42 01
ACT Touchup Painter
Open Today
ACT Touchup Painter
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CANBERRA ACT 26000470 42 24
AN Painting Services
Open Today
AN Painting Services
AN Painting Services
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Besselink Master Painters
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Besselink Master Painters
Besselink Master Painters
CANBERRA ACT 260002 6297 31
Bucks Painting
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Bucks Painting
Bucks Painting
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Canberra Prestige Painting
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CANBERRA ACT 26000421 35 90
Fresh Painting Services
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Fresh Painting Services
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Frontline Building Industries
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Frontline Building Industries
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CANBERRA ACT 26000450 80 19
GK�s Complete Painting Services
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GK�s Complete Painting Services
GK�s Complete Painting Services
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High Definition Decorating
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High Definition Decorating
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Nate’s Rates Construction
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Paramount Painting
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Arthur Schlutz
Local Painters & Decorators in Stirling, Stirlingshire
01786 445968
01786 445968
10 Crosbies Court
,
Stirling
,
FK82LA
Colin Watson Painter & Decorator Ltd
Local Painters & Decorators in Stirling, Stirlingshire
01786 472446
01786 472446
36 Douglas Terrace
,
Stirling
,
FK79LL
John McFarlane & Son Painters & Decorators
Local Painters & Decorators in Stirling, Stirlingshire
01786 478634
01786 478634
48 Craighall Street
,
Stirling
,
FK81TA
J B Paterson
Local Painters & Decorators in Stirling, Stirlingshire
01786 815145
01786 815145
8 Peterswell Brae
,
Bannockburn
,
Stirling
,
FK78JE
Charlie McPake
Local Painters & Decorators in Stirling, Stirlingshire
01786 470608
01786 470608
12 Endrick Place
,
Stirling
,
FK79EL
Latest Reviews
S D Decorating Services
Local Painters & Decorators in Stirling, Stirlingshire
07857 434500
07857 434500
7 Argyle Terrace
,
Dunblane
,
FK159DW
Latest Reviews
I D
Local Painters & Decorators in Stirling, Stirlingshire
01259 762491
01259 762491
12 Johnstone Street
,
Menstrie
,
FK117DB
Lawlor Decorating Company Ltd
Local Painters & Decorators in Stirling, Stirlingshire
01259 212721
01259 212721
29 Hill Street
,
Alloa
,
FK102BG
Michael Green
Local Painters & Decorators in Stirling, Stirlingshire
01259 760427
01259 760427
64 Beauclerc Street
,
Alva
,
FK125LE
A L G Decor
Local Painters & Decorators in Stirling, Stirlingshire
07850 491912
07850 491912
9 Murrayfield Terrace
,
Bannockburn
,
Stirling
,
FK78NG
C A Decorating Services
Local Painters & Decorators in Stirling, Stirlingshire
07841 617553
07841 617553
22 New Road
,
Bannockburn
,
Stirling
,
FK70AE
Colin Smith Decorating Ltd
Local Painters & Decorators in Stirling, Stirlingshire
01259 751503
01259 751503
Unit C
,
Tillicoultry
,
FK136BZ
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Stirling Painting and Renovations, 7283 Park Dr, Bath, PA 18014, USA
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Stirling Painting and Renovations is located in Northampton County of Pennsylvania state. On the street of Park Drive and street number is 7283. To communicate or ask something with the place, the Phone number is (610) 419-4601. You can get more information from their website.
The coordinates that you can use in navigation applications to get to find Stirling Painting and Renovations quickly are 40.7019212 ,-75.420026
Stirling Painting and Renovations
7283 Park Dr, Bath, PA 18014, USA
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Stirling Painting and Renovations, Bath PA – Painters …
About Stirling Painting and Renovations Established since 2000 We are a local firm of painters and carpenters who offer a wide-range of painting and renovations services for homeowners, business owners, and property managers.
https://www.hotfrog.com/business/pa/bath/stirling-painting-and-renovations
Stirling Painting and Renovations in Bethlehem, Pennsylvania, PA
Stirling Painting and Renovations Address: 79 West Market Street, Bethlehem, PA 18018, United States Phone: +1 610-419-4601. Sign In Register.
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Stirling Painting & Renovations – yellowbook.com
Find Stirling Painting & Renovations in Lehigh Valley, PA 18002-1800 on Yellowbook. Get contact details or leave a review about this business.
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Stirling Painting in Bath, PA with Reviews – YP.com
Stirling Painting and Renovations. BBB Rating: A+. 7283 Park Dr Bath, PA 18014 (610) 419-4601. Painting Contractors. Website. From Business: We are a local firm of …
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Painting & Wall Covering Contractors in Bath, Pennsylvania …
Stirling Painting and Renovations. 7283 Park Drive – Bath, Pennsylvania 18014 (610) 419-4601
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Best 30 Painting Contractors in Lehigh Valley, PA with …
(610) 252-0207 Picture Perfect-Family Owned & Operated-We have been Proud to Service the Local Area since 1983-Fully Insured-Free Estimates-Call Today! Website More Info
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Painting Contractors in Bath, PA – cylex.us.com
Stirling Painting and Renovations. 7283 Park Drive 18014 Bath (610) 419-4601. Open. Opening Hours; … 4315 Jacksonville Road 18017 Bethlehem (610) 867-6040.
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Carpenters Near Me in Nazareth, Pennsylvania | ShowMeLocal.com
Stirling Painting and Renovations rate this business (610)419-4601 Verified 7283 Park Drive Bath PA, 18014 … Call (610)419-4601 Verified. H.
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Interesting facts about the artist Sterling Ruby
T
CULTURE
•
PERSONALITY
Everything you need to know about the artist and designer Sterling Ruby
TEXT: Zarina Rakhbanova, Olga Strakhovskaya
On March 20, it became known that the American artist Sterling Ruby, who has been collaborating with Raf Simons for more than ten years, is launching his own clothing brand S.R. STUDIO. LA. ca. The brand will produce both men’s and women’s clothing – which will be a kind of continuation of Ruby’s numerous art works. The debut collection of S.R. STUDIO. LA. will show within the forthcoming 96th Pitti Uomo exhibition in Florence on June 13th. We tell you what you need to know about Sterling Ruby – one of the most prolific, ambitious and amazing artists of our time.
He is a very productive artist
In 2008, art critic Roberta Smith called Sterling Ruby “one of the most interesting artists to emerge in the 21st century.” Shortly before that, he dropped out of art college, never having received a diploma, but having acquired almost 300 thousand dollars of debt. The artist recalled that the teachers prepared him for a poor life: one of them admonished Ruby with the words “if you want to be an artist, get ready to work as a cashier in a supermarket and vegetate all your life.”
Sterling Ruby solved this problem in the most obvious way – he just began to work very, very hard, endlessly expanding his visual range (and presence in the art market). Since 2003, Ruby has had more than seventy solo exhibitions, but his work is difficult to categorize: he works with various media, including painting, ceramics, collage, video art, photography, sculpture and installations. “I am a maniac, one hundred percent. I’m always working on multiple episodes at the same time,” Ruby said in an interview with The Guardian in 2016. “Right now I’m painting, making banners, tapestries and other fabric works, another ceramic series, and I’ve also started making mobiles (kinetic sculptures. – Approx. The Blueprint).”
His studio matches his ambitions. Few publications about the artist do without a remark about his huge studio, located in the small industrial city of Vernon near Los Angeles on an area of eight square kilometers; in fact, this is a whole complex of workshops, including its own contemporary art gallery with 12-meter ceilings. “The scope of Ruby’s enterprise looks defiant even by the XXL standards of the 2018 art world,” AD magazine reported from the artist’s workplace. It is important to understand that prior to entering art college, Ruby worked in construction; as critics note, he treats creativity in a similar way.
Shooting for AD magazine
His work is a digest of all contemporary art
It is easy to see in Ruby’s work references to the most important American and European artists such as Gerhard Richter, Jasper Johns, Anish Kapoor, Jackson Pollock or Robert Rauschenberg. In fact, Ruby masterfully appropriates visual codes, turning her works into artifacts. Ekaterina Inozemtseva, senior curator at the Garage Museum of Contemporary Art, says it would be more correct to describe it “in terms of organic life, not art,” and compares Ruby to a membrane or a receiver. “He does not create autonomous systems, he drags into his operational field what is conventionally beautiful, “aesthetic”, processing it at an amazing speed and producing various artifacts from painting to ceramics,” explains Inozemtseva. “Not because of the exclusivity of his artistic merits, he ended up in the world of fashion, but because of the virtuoso skill of translating complex visual structures into an inventive and attractive surface.”
Anish Kapoor, My Red Homeland, 2003 / Sterling Ruby, The Cup, 2013
Gerhard Richter, Cage, 2006 / Sterling Ruby, SP123, 2010
Sterling Ruby, WIDW. Red Spitting, 2018
Jackson PollockJasper Johns, Three Flags, 1958 / Sterling Ruby, Candle, 2015
He’s in high demand
Sterling Ruby once compared gallery windows to shop windows—and for good reason. An artist with such plasticity and changing styles so quickly was destined to succeed in an ever-growing consumer art market. His work is represented by several galleries: since 2008 Sprueth Magers, since 2009Xavier Hufkens, and since 2014 Gagosian is the largest gallery of contemporary art, representing the most expensive living artists of our time, such as Takashi Murakami, Jeff Koons and Damien Hirst. At the same time, if not everyone, then many can buy it. Yes, the monumental Pink Plague stalagmite was sold for $137,000 a month ago, but around the same time, Ruby’s three posters glorifying chaos sold for less than $2,000. You can touch his work almost for free: Sterling Ruby’s works are in the collections of many leading museums – for example, MOMA or the Whitney Museum in New York.
He wears clothes himself, which he makes in his own studio
Sterling Ruby began working with textiles – not only as an artist, but also as a designer – long before the decision to launch his own brand. Realizing that he needed a kind of uniform to work in the studio, he began to make clothes for himself – from scraps of fabric left over from the works. He wanted to wear what he felt comfortable in and not waste time thinking about what to wear every day. So “working” jeans, overalls, sweatshirts and shirts made of paint-stained fabrics became another bright and invariable detail of his image. “I’m constantly scurrying up and down stairs and dragging things around, so it has to be hardwearing stuff that can handle the studio work,” he explained to 032c. According to Ruby, he still has fashion designer clothes in his wardrobe: basic Margiela sweatshirts, a collection of pieces by Raf Simons and Dries van Noten. He also likes JW Anderson and Rick Owens, but 90 percent of the clothes he wears are made by him.
Ruby is not only interested in the utilitarian function of clothing: creating things for him is a continuation of creativity and a kind of ritual. “I worked on fabric collage elements and sculptural materials and began to collect an archive of leftovers that I wanted to turn into pieces of clothing that I could wear. And it became a kind of ritual, an autobiographical reworking.”
He has long been friends and works with Raf Simons
The Ruby and Simons alliance is perhaps the longest collaboration in the fashion world between a designer and an artist. Sterling Ruby designed Raf Simons’ flagship store in Tokyo in 2008, in 2009In 2012, Simons created a collection of artist-bleached denim, in 2012 he used prints with Ruby’s work, and in 2014 they had a full-fledged collaboration. A year later, a wide audience also learned about the artist – from the documentary “Dior and Me”, which depicted the process of creating the first Raf Simons couture collection for the French fashion house. This collaboration continued after Simons left Dior: in 2017, the artist designed the interior of the Calvin Klein headquarters and the brand’s flagship store.
Sterling Ruby says he doesn’t really like collaborations, unlike Raf Simons himself. “I wouldn’t have collaborated with anyone at all if this story with Raf hadn’t happened, when I knew that we were on the same wavelength and thinking about the same thing,” Ruby admits. – I have a fairly large studio and a lot of tools to work with, but, in fact, this space is designed for me to create in it. When I started collaborating with Raf, I didn’t feel like it was a collaboration. I saw this as a continuation of our friendship and trust in each other.”
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Art and architecture of the Russian diaspora
Sterling M.July 15, 1897 (Priluki, Poltava province, now Chernihiv region, Ukraine) – 1976 (Paris). Painter. The son of a grain merchant. In his youth he worked in an icon-painting workshop, from 1909 he studied at the Odessa Art College. In 1916, after the death of his mother, he came to Moscow and entered the MUZhVZ. After the transformation of the school into the State Art Museum and VKhUTEMAS, he studied there with D.P. Shterenberg and V.E. Tatlin. He joined the avant-garde movement, was friendly with V.V. Mayakovsky, with whom he studied the art of the poster. In 1922, simultaneously with Mayakovsky, he left for Berlin, but did not return from abroad. At 1923 held his first solo exhibition in Lodz (Poland), where his wife was from. In the same year he came to Paris with his wife and soon entered the circle of Russian artists of Montparnasse. He painted portraits, genre scenes and still lifes in a decorative planar manner. Signed a contract with the Zak Gallery. He held solo exhibitions in the galleries Bernheim (1928), Zak (1929 – together with W.S. Bart; 1937), Billiet-Worms (1934), J.Rotgé (1936). Exhibited at the Tuileries Salon (1923, 1932) and the Salon d’Automne (1928). Participated in exhibitions of Russian artists in the cafe “La Rotonde” (1925), in the galleries Chez Fast (1927/1928), D’Alignan (1931) and Zak (exhibition of the magazine “Our Union”, 1936). His work was featured in the album “Art Russe moderne” (1928). During the Second World War he left Paris and hid in the French provinces. In 1941 he lost his wife, who died during an operation. Participated in the exhibition “Modern Russian Artists and Sculptors”, organized by the Committee “France-USSR” of the XIV arrondissement of Paris (1945). Returning to Paris in 1947, he received French citizenship. Soon he met the sculptor Elian, a student of O. Zadkine, who became his companion. In 1953-1956 they lived in Peseux (Peseux) near Neuchâtel (Switzerland), after which they returned to Paris. Traveled in Italy, Spain, Holland and Israel. Exhibited his work in France and abroad. Solo exhibitions were held in the Parisian galleries des Garets (1950), Conti (1952), Bassano (1954), Chaudun (1957), Transposiyion (1961). He was presented at the exhibitions “Russian émigré artists in Paris” at the London Redfern Gallery (1953) and “Russian Artists of the Paris School” at the House of French Thought in Paris (1961). In 1972, on the occasion of the artist’s 75th birthday, a retrospective exhibition was held at the Motte Gallery in Paris. In 1978, his retrospective was held in Neuchâtel.
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Sterling Ruby – tour of the studio of the artist and designer
MC IN TELEGRAM
Sterling Ruby, one of the greatest artists of his generation, was born at 1972 in Germany. His field of activity extends to several types of art at once, including painting, sculpture, graphics, video and collage creation. These disciplines led him to collaborate with Raf Simons. In 2008, Ruby designed the Raf Simons flagship store, decorating the building with a huge 3D collage of graphic panels.
In addition, Sterling had a long history of tailoring. Inspired by his roots, he created paint-splatter printed workwear, also referencing luxury menswear, punk and skateboarding culture (Ruby used to be a professional skateboarder). And once again, this contributed to the artist’s partnership with Simons. This time, the collaborators have developed a capsule collection for the Raf Simons brand of the same name, which includes washed-out jeans and jackets. The full collaboration with the fashion designer began in January 2014, when they joined forces to create the Fall/Winter 2014 collection. The partnership has gone on for years, with Sterling Ruby working with Simons during the designer’s tenure as Creative Director of Dior and then Chief Content Officer of Calvin Klein, and until Simons’s high-profile departure from the company in December 2018.
This prompted the contemporary artist to rethink his work. This summer, another position appeared on his track record – Ruby became the creative director of his own clothing line S.R. studio. LA. CA., which he presented in Florence during the Pitti Uomo show. “Being an artist is like being schizophrenic, you have to constantly change,” says Ruby.
Sterling Ruby’s Textile Room
In the Textile Room, Ruby works on everything that has to do with fabrics, such as large soft sculpted candles, blankets, flags and decorative clothing pieces.
When the artist was a teenager, his mother gave him a sewing machine. This was the starting point, after which he began to create clothes, soft sculptures and subsequently broke into the world of fashion. “I wonder if she understood what it meant to buy a 13-year-old boy a sewing machine in the conditions of that time,” Ruby reflects. “The rural school I went to was isolated from any culture. I could not stand how ordinary everything was, it irritated me wildly. I think she did it on purpose.”
At the time in the society in which he grew up, gender roles were clearly defined. Boys were taught building and woodworking, and girls were taught needlework. The sewing machine, traditionally reserved for girls, stimulated his creativity. Sterling Ruby made his own clothes. As a result, other teenagers found fault with him, believing that he was gay. He was a rebellious teenager and often fought with his classmates. He couldn’t get over how narrow their horizons were.
Ruby always questioned the accepted rules. He never cared about conventions. He believes that the concept of “truth” must always be challenged. Some contemporary art curators and collectors are opposed to artists collaborating with fashion houses. And seeing that Sterling was starting his own company, they felt threatened. The launch of the line came as an unpleasant surprise, especially for those who have bought his work and now fear that over the years the cost of paintings may decrease due to the connection with fashion.
Free rooms
Freedom is a concept that intertwines with the idea of escape, enshrined in Ruby’s work. He often refers to his psychological experiences, which he has faced in life and which he is most likely to deal with in the future. He also identifies freedom with the feeling of being trapped in growing up; in his paintings, for example, windows or bars can be identified. He sees time as an analogy for a prison. His paintings are a formal representation of opposites – inner space and outer space, past and future.
In February 2019, during the pilot episode of Frieze LA, Ruby’s “State” video was shown in the Sprüth Magers gallery, in which he addressed the theme of freedom, namely large-scale arrests in the state of California. “State” was the result of an aerial photograph of 35 adult prisons taken by the artist over a period of almost five years. He was shocked by the number and size of California prisons. Among the rest of the American regions, this state is the most liberal, but at the same time, about 180,000 of its inhabitants are incarcerated.
Ruby donated the entire proceeds from the video to the American Civil Liberties Union (ACLU), a non-profit organization created to protect and preserve the individual rights and freedoms that the Constitution and laws of the United States guarantee to every citizen of the country.
“I’m still connected to Middle America,” he says. Sterling is one of the few politicized representatives of contemporary art. Moreover, he speaks not only for his community, but also for other peoples. Ruby also fights gender inequality by creating new types of sculptures, as he felt his previous work was “too phallic”.
Open spaces
The outdoor space is used for the same purpose as the indoor galleries. Here you can find such unusual figures as huge rusty metal structures that can be used as finished products. There’s also a truck covered in urethane that he could use in a future show. Some of his sculptures are outside for several months until they are ready. Their goal of never becoming perfect is similar to the Japanese wabi-sabi aesthetic.
Showroom
Ruby’s clothing, which he created in the mid-2000s before launching his own brand, was already popular then, albeit largely due to his collaboration with Raf Simons. Many designers even tried to copy his style.
S.R. studio. LA. ca. divided into 4 directions, and all of them are presented in stores. S.R. studio. LA. ca. is the main line of the brand; ED. 50 produces products in a limited number of 50 copies; Soto is a fabric apparel handcrafted by Sterling Ruby Studio; and finally, Unique presents one-of-a-kind products designed and built by Ruby himself.
Creating unique products is similar to what he does in art. The Unique collection is the most expensive of all, but these items are significantly cheaper than the artist’s actual paintings.
The fashion industry often collaborates with the arts. Most of all, artists are approached by creative directors who are not designers. At the same time, some artists themselves are looking to partner with them to expand their reach and leverage the often unlimited financial resources of luxury fashion houses.
Ruby rejects the traditional notion of studio work, in which the artist’s apprentices paint on his behalf, and the artists themselves release clothes under the wing of fashion brands. Instead, Sterling is involved in the creation of every product that comes out in his name. This is what makes him stand out in both art and fashion.
As seamless as Ruby’s transition to fashion has been, most media outlets note that his art dealers don’t share the enthusiasm of many fashion editors.
“I love being a creative director, thinking about the campaign as well as architecture, space and design,” he says. “To be honest, I don’t see a hierarchy in what I do.” The transition from being a respected contemporary artist to being the creative director of a fashion company is unprecedented. Sterling Ruby has always been able to make interesting decisions regarding the opening of new directions.
Conference room
The studio is managed like a traditional company. Ruby has hired many people who handle the paper side of the fashion brand. At the moment, the brand is completely self-financing, which gives it a certain autonomy. Given the enthusiasm of fashion insiders after his first show, the question arises: what will be his next step? When and where will his next show take place? Are there any plans to open a store? Any fashion collaborations?
After his fashion debut at Pitti Uomo, he told Highsnobiety, “If you had asked me 15 minutes ago, I don’t think I could have said if this was going to continue. But yes, I really enjoyed everything and I enjoy working with all these people. [The line] may not be seasonal, but it was great.”
Clearly Sterling doesn’t like to put limits on himself and refuses to play by the rules dictated by the fashion industry, whose seasonal collections control every step of the designers.
“I’ve been getting offers of cooperation,” he says, adding that he doesn’t want to rush things, but instead prefers to develop gradually. “I think the next show should be in Paris. It would make a big difference.”
Asked if he would ever offer Raf Simons a collaboration with S.R. studio. LA. CA., Sterling replies, “Raf is someone I admire endlessly and could easily work with me as an artist. Maybe our next collaboration won’t be about fashion. Let’s see!”
After ten years of making clothes for his own pleasure, Sterling Ruby turned his hobby into a business. “For better or for worse!” he jokes, but in any case, like everything else, he will continue to do things in his own way.
Highsnobiety.com studio. LA. ca. Spring/Summer 2020
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La talentueuse artiste violoniste lindsey stirling dans la lumière des projecteurs.
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La talentueuse artiste violoniste lindsey stirling dans la lumière des projecteurs.
Je lui ai offert un petit portrait il y a quelques années et le fan art l’avait publié.
Cette fois, j’ai opté pour la couleur sur papier pastelmat anthracite.
Meilleurs vœux pour la nouvelle année
En espérant que le satané virus puisse nous ficher la paix.
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how artists came up with pop music and turned it into art
A lot of high-quality non-fiction about modern Western music has appeared lately: from Alex Ross’s book “Next is noise: listening to the 20th century” to the work of Talking Heads frontman David Byrne “How Music Works”. We are talking about the latest novelty – Mike Roberts’ book “How Artists Invented Pop Music, and Pop Music Became Art”.
An in-depth overview of the relationship between art and pop music in the English-speaking world from the 1950s to the present day
Read
Art schools and pop art
This is a story about how people with an artistic background influenced popular music. The book consists of short notes about figures that are significant for the Western musical world of the second half of the 20th century: Andy Warhol, John Lennon and Paul McCartney, Syd Barrett, David Bowie. These are not biographies, but material for describing the history of the genre.
John Lennon and Yoko Ono in Amsterdam, 1969. As part of the action “In bed for peace”, they protested against the war in Vietnam. Photo: wikipedia.org
The idea of gluing this narrative together with the world of artists and art colleges is unexpected only at first glance: already at the beginning of the book it becomes clear how much this reality influenced the emerging pop music. This is evidenced by the fact that John Lennon, David Bowie, Freddie Mercury and many other great pop artists studied at art schools. The student environment of these institutions shaped their ideas about art, which they then transferred to music.
Other musicians, like Paul McCartney, didn’t go to art school but interacted with the fashionable communities of their students at the time. Specialists in the field of visual arts – not only painters, but also photographers, designers – have played an increasing role in the music industry since the second half of the 20th century. The interaction of musicians with their world is not a series of happy coincidences, but a consistent and important process, which was rarely mentioned before.
According to Roberts, artists, if not founding pop music, stood at its origins along with the performers themselves. It is they who at 19The 1950s-1960s formulated the paradoxical idea of fine art accessible to everyone, which was embodied in pop art and pop music as its auditory form.
Already in the late 1950s, members of the London Independent Group—curators, designers, artists—argued that the enjoyment of low consumer culture was in no way inferior to high art, and that both cultures could be considered part of the same aesthetic community. The members of the group embodied this idea in the pavilion reserved for them at the exhibition “This is Tomorrow”. Along with a giant robot and amazing art objects, a prominent element of the installation was a jukebox broadcasting popular hits. So in the world of “Tomorrow” a place was found for pop music.
Exhibition This is tomorrow, 1956. The core of the exhibition was the “Independent Group” led by the founder of pop art, Richard Hamilton. Photo: Generalitat. Donación del artista © IVAM, Institut Valencià d’Art Moder
Member artist Richard Hamilton famously defined pop art shortly after the exhibition:
“Pop art is: popular (created for a mass audience), temporary (for a short period of time), one-time (quickly forgotten), cheap, mass-produced, young (aimed at youth), witty, sexy, fancy, glamorous, serious business “.
Artist and founder of pop art Richard Hamilton. Photo: bbc.com
The inventor of pop art subsequently made his mark in music, having come up with a cover for The Beatles’ White Album. The admiration for mass-produced products, the “simple things”, fit well with the growing popularity of rock and roll, which at first was also considered barbaric music. This union gave birth to a more refined, but not always understandable aesthetic. Suffice it to recall Andy Warhol and The Velvet Underground, which he produced. The unusual appearance, behavior and avant-garde sound of the musicians were not understood by everyone, despite the fact that they formally played rock and roll and subsequently had a huge impact on rock music.
The art of the covers
David Bowie dedicated a song to Warhol in the album Hunky Dory , which he presented to Warhol in 1971. The cover art for ‘s debut album The Velvet Underground & Nico , designed by Warhol, is now one of Rolling Stone’s top 10 covers of all time and remains one of the most recognizable works of pop art. The ability to invent and design album covers has made art truly massive and additionally connected the worlds of musicians and artists.
Covers quickly became an art in their own right. Another textbook example is the cover for one of the most famous albums by The Beatles Sgt. Pepper’s Lonely Hearts Club Band (1967), which is a collage of images of the musicians themselves and more than 70 figures of people who influenced them. The cover idea belonged to McCartney, and the concept was embodied by artists Peter Blake and Jenn Haworth. Among the figures depicted are famous philosophers, actors, writers, musicians and personalities less known to the mass audience, such as the avant-garde composer Karlheinz Stockhausen. This is not only a way to attract the attention of the listener – you can look at the cover and find familiar figures on it for hours – but also a declaration of multiple influences, including avant-garde ones.
Album cover of Sgt. Pepper’s Lonely Hearts Club Band” The Beatles. Photo: wikipedia.org
Among the figures featured on the cover was Stuart Sutcliffe, an early friend and college mentor of Lennon, who was an aspiring artist. A romantic, the coolest fashionista on the block and a favorite of teachers, Sutcliffe became Lennon’s role model, instilled an initial artistic taste and a desire to always be different from those around him. Finally, Yoko Ono, a well-known contemporary artist, became the wife and co-author of many of Lennon’s works.
Sound painting
The cover trend is just one of the manifestations of the multiplied role of the visual in popular music. Roberts talks about the experiments of artists with visual and light shows, without which it is difficult to imagine a concert of any popular performer today. Warhol was one of the first to use film projections and a strobe light at The Velvet Underground concerts. His most memorable experiment was the happening “Explosive Plastic Inevitability” with three records playing simultaneously, a projection of the film “Sofa”, spotlights and dancers. Critics said: “Art has gone to the disco and will never be the same.”
Pink Floyd became the real masters of visual shows. Artist and then-bandleader Syd Barrett collaborated with the Sound and Light Workshop, which experimented with combining music with visuals and artwork. Barrett’s biographer Rob Chapman claims that this collaboration changed the musician’s ideas about song structure, which began to rely more and more on visual imagery. The artists from the workshop also went to meet the musicians and tried to project visual images associated with the music they heard. Early concerts featuring Pink Floyd often featured flashing colored spotlights and slides from underground films. So the concert of a musical group began to be thought of not only as a performance itself, but also as a full-fledged audiovisual show.
Pink Floyd at Madison Square Garden in 1977 Photo: neptunepinkfloyd.co.uk
Finally, the work of the artist and the musician converges on the level of creative thinking. Here we can recall Brian Eno, an art college graduate and former glam rock musician, who, tired of the stereotyped standards of pop music, began to experiment and became an outstanding musician and theorist without a musical education. Eno believed that with the development of sound recording, all music turned into a visual art, into “painting with sound”, as musicians and sound engineers, working in the studio, began to think like artists, to approach the creation of a song in the same way as an artist – to write a picture. This idea pervades all of Eno’s work. One of the books dedicated to him is called – Visual Music .
Eno’s revolutionary approach was combined with production talent: he worked with David Bowie, U2, Coldplay and even Russian rockers Boris Grebenshchikov and Petr Mamonov from Sounds of Mu. Eno’s latest experiment in the field of audiovisual arts was the generative application Reflection, which generates constantly changing music and visuals. Like many other heroes of Roberts’ book, Eno found himself at the intersection of experimental and popular music, enriching the latter with non-standard approaches and solutions.
Roberts’ book does not just talk about pop music, listing iconic figures, but reproduces the living fabric of its history. It becomes clear that, in addition to the commercial industry and music itself, there was a large and important artistic context behind famous artists. The social realities of artists and musicians have become significantly closer, and in some ways even merged.
“The element of self-destruction – when we break instruments on stage – emphasizes that everything is happening here and now”
Read
What else to read about contemporary music
Collection of interviews about the main achievements of the music industry
Read
Pedigree of a rich tradition of English eccentricity and visionary art
Read
Charles Sterling – frwiki.wiki
Charles Sterling (1901–1991) – French art historian.
Summary
biography
Born in Warsaw on , he was born into a Jewish family of Scottish origin. From the age of 19, he defended his newly independent country, participating in the Russo-Polish War, for which he was decorated several times. He then received a law degree at 1924 and became a lawyer. He then turned to art history in Germany, Britain, then Paris from 1925 to 1928 under Gaston Brière at the Louvre School and simultaneously at the Sorbonne, following the courses of Henri Faucillon. He returned to Poland again, where he met a young man, Louis Grodetsky, whom he encouraged to study art history in Paris.
An acclaimed specialist in the field of caravagé, he, together with Paul Jamot, organized a significant exhibition in the field of art history in 1934 The Artists of Reality (Musée de l’Orangerie), which rediscovered the figure of the Lorraine painter Georges de Tower. After graduating from the Louvre School, he entered the painting department of the Louvre as project manager, where he collaborated with René Huyguet (1930). From 1945 to 1961 he was curator of the picturesque department of the Louvre. In 1934, he nevertheless received French citizenship. He then turned to what would become his favorite subject: French primitives. He published the first paper on the subject at 1938 year. Then he became one of the greatest specialists in artistic centers (Provence, Burgundy, Auvergne, Picardy, Savoy, Paris) and prominent personalities (Quarton, Beaumet, Schangenet, Lieferinx or Perreal) that he identified from the 14th and 15th centuries . French. We owe him the brilliant studies of the painter Enguerrand Quarton, whose originality he sees in 1959 among primitive artists and in whom he first recognizes the painter of the “Pieta d’Avignon”. It also allows you to attribute works from other eras and in a wide variety of styles (“Painters of reality”, “Rubens”, etc.).
At the beginning of the Second World War, he was in charge of keeping the works from the Louvre in Loc Dieu, in a castle between Rodez and Montauban, in order to protect them. Then he had to move these works to Montauban. But with the occupation, the Vichy government asks him to “cease his functions” in December 1940. He then rejects the evidence of Aryanism offered by the Polish consulate and publishes, under the pseudonym Charles Jacques, his second volume on primitive people in 1941. He then left France, traveled through Morocco to reach the United States, where at 1942 worked at the Metropolitan Museum of Art in New York. There he published a catalog of French works in three volumes. He was a teacher at the Louvre School for only one year from 1953 to 1954. In 1968, he asked for early retirement and a secondment from the Louvre, too absorbed in his duties in the United States, and returned to New York to continue teaching at New York University (1961-1972). He continued to publish until his death in 1991.
One year after his death, the Louvre organizes an exhibition: Hommage à Charles Sterling, Des primitifs à Matisse .
All the documentation (books, correspondence and handwritten notes) collected by the art historian throughout his life was bequeathed to the Louvre, and today is in the research department, the documentation of the Painting Department of the Louvre.
Publications
A list of his works was compiled by the author himself in “French Art Studies” offered to Charles Sterling , Paris, ed. Presses Universitaires de France, 1975, it was completed by Philip Lorenz and published in the exhibition catalogue: Hommage à Charles Sterling, Des primitifs à Matisse , it includes the following 189 references.