Geographic and national borders are deleted from a map of Earth, leaving only the names of cities and countries. These are then overlayed on top of a high resolution map of Mars, creating a future image of the planet Earth where our current notions of culture and nationality cease to exist.
Someone put in a request for more Whistler, and more Glasgow School artists, so I’ll be interspersing some through the next few weeks’ posts. I’ll start with a Whistler, Nocturne in Blue and Silver: The Lagoon, Venice, from 1879–1880.
As with many of his fellow Salon des Refusés artists, James Abbott McNeill Whistler “rejected meticulous representation, preferring instead to paint mood and
atmosphere and seeking to express beauty in the line, color, and
arrangement of his compositions,” the Boston Museum of Fine Arts writes.
There is a sort of unity of tone in Whistler’s works—their sometimes hazy and indistinct forms seem foggy, rather than simply blurred.