{"id":16415,"date":"2015-06-17T09:33:57","date_gmt":"2015-06-17T13:33:57","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/?p=16415"},"modified":"2015-06-20T13:06:04","modified_gmt":"2015-06-20T17:06:04","slug":"gerard-bellaart-paints-homage-to-yves-tanguy","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2015\/06\/gerard-bellaart-paints-homage-to-yves-tanguy.html","title":{"rendered":"Bellaart Paints Homage to Yves Tanguy"},"content":{"rendered":"

<\/a>

Gerard Bellaart’s ‘Colle de St Tanguy’ (2015)
[oil on canvas 122×122 cm]
<\/p><\/div>Oil on canvas by Gerard Bellaart (left). Drawing by Yves Tanguy, Joan Mir\u00f3, Max Morise, and Man Ray (below).

<\/a>

‘Nude’ (1926-1927)
[drawing on paper 35.9 x 22.9 cm]<\/p><\/div>
\nPostscript: June 19 — <\/font><\/p>\n

The work of Gerard Bellaart is a continuous esoteric sub-form of question-and-answer via images. A facetious confession of being, not in the existential sense of painting and sketching, but rather through asymmetry and parallels.<\/p>\n

Bellaart has all the features of Bellaart; the pursuit of Bellaart, which is the total rejection of shadow, the gradual removal of knowledge and validation of consciousness, the gradual disappearance of Bellaart himself, and the metamorphosis of himself into the final outcome of his art. <\/p>\n

The memory of a future time, of some Gerard who will always be dying every time you cast a glance at his paintings, and after you turn your head, he will continue to experience his fate; solitary, irretrievable and unprofitably accurate.<\/p>\n

— Yannis Livadas<\/a> (Paris, Sept 17, 2012)<\/strong><\/em><\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":"

Oil on canvas by Gerard Bellaart (left). Drawing by Yves Tanguy, Joan Mir\u00f3, Max Morise, and Man Ray (below). Postscript: June 19 — The work of Gerard Bellaart is a continuous esoteric sub-form of question-and-answer via images. A facetious confession of being, not in the existential sense of painting and sketching, but rather through asymmetry […]<\/p>\n","protected":false},"author":3,"featured_media":16413,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[19],"tags":[],"class_list":{"0":"post-16415","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-art","8":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2015\/06\/11-colle-st-Tanguy-27-2-2015-e1434545952295.jpeg","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-4gL","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/16415","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=16415"}],"version-history":[{"count":5,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/16415\/revisions"}],"predecessor-version":[{"id":16466,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/16415\/revisions\/16466"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media\/16413"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=16415"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=16415"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=16415"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}