THE ARTIST PROJECT: Walton Ford on Jan van Eyck’s “The Last Judgement”
“You do get the feeling that because it's hell he gets to break all kinds of rules.” Although Walton Ford has been painting his entire life, he is utterly amazed by the vivid imagery and wild fantasy of van Eyck’s 15th-century masterpiece. This video was produced by the Metropolitan Museum of Art.
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THE ARTIST PROJECT: Alexander Melamid on Ernest Meissonier's "1807, Friedland"
The visual impact and political connotations of Jean-Louis-Ernest Meissonier’s 1807, Friedland resonate with Russian-born artist Alexander Melamid, who has long been fascinated with the higher power in art.
THE ARTIST PROJECT: Alexis Rockman on Martin Johnson Heade's Hummingbird and Passionflowers
"This picture is a time capsule and almost a heartbreaking artifact…" The son of an archaeologist, American painter Alexis Rockman is deeply aware of fragility of civilisation. Watch as he considers Martin Johnson Heade's romantic painting of Brazil.
THE ARTIST PROJECT: Annabeth Rosen on Ceramic Deer Figurines
As a sculptor and ceramicist, artist Annabeth Rosen relishes the satisfaction of creating tangible objects. While exploring the earthenware collection of the Metropolitan, Rosen considers the influence of these objects upon her own artistic practice.
THE ARTIST PROJECT: Arlene Shechet on a Bronze Statuette of a Veiled and Masked Dancer
"When an artist is in love with the piece that communicates very well over time. So thousands of years later, we’re still feeling it." For the past two decades, sculptor Arlene Shechet has returned to a small bronze statuette of a dancer.
THE ARTIST PROJECT: Ali Banisadr On Hieronymus Bosch's The Adoration Of The Magi
Among the ruins and contained figures, Ali Banisadr hears sounds travelling through walls, channeling an unknown psyche in Hieronymus Bosch's painting. The composition brings him into the painting through vision and sound, allowing him to be a part o
THE ARTIST PROJECT: Barry X Ball on an Egyptian fragment of a queen’s face
A sculptor himself, Barry X Ball observes the effects of destruction on statues dating all the way back to ancient Egypt. Missing features from a once full human facial sculpture, Barry says there is no loss, and maybe even, there is more power in it