Robert Henri: Laughing Child, 1907, Oil on canvas, 24 x 20"
Art no longer cares to serve the state and religion, it no longer wishes to illustrate the history of manners, it wants to have nothing further to do with the object, as such, and believes that it can exist, in and for itself, without "things" (that is, the "time-tested well-spring of life").
Robin Miller / Emperor Falls (with Suprematist addition) / 2014 / collage, chalk, and shellac on paper / 9-1/2 x 9-1/2 x 1-1/4 in. framed.
This piece is from an ongoing series of collages that reflect Robin Miller's reinterpretation of Russian Suprematism. Composed using found materials that date from the time of the original movement (c.1913-1930) the works from this series place Suprematist-based motifs squarely in the real world, counter to the core concept of Suprematism. Are these elements happily and peacefully coexisting, or is something more sinister at work?
This work is titled “Emperor Falls (with Suprematist addition)” and features a central square element composed of vintage tissue paper that has been dusted with a layer of white chalk and sprayed with shellac.
Robin Miller / The Red Square, Moscow (with Suprematist addition) / 2014 / collage, enamel, shellac, and pencil on paper / 9-1/2 x 9-1/2 x 1-1/4 in. framed.
This collage is titled “The Red Square, Moscow (with Suprematist addition)” and features geometric elements composed of old book end pages and vintage tissue paper superimposed over a 1920’s book illustration of Moscow’s Red Square.
Robin Miller / The Wonderful Skyline of New York City (with Suprematist addition) / 2014 / collage and shellac on paper / 9-1/2 x 9-1/2 x 1-1/4 in. framed.
In this collage, “The Wonderful Skyline of New York City (with Suprematist addition)”, the first part of the title is taken from the original caption of the photo, removed from a 1920’s encyclopedia. The photo is partially obscured with a sheet of 19th century tissue paper, and then overlaid with geometric elements cut from the end pages of old books.
Robin Miller / Statue of Columbus at Genoa (with Suprematist addition) / 2014 / collage, enamel and shellac on paper / 9-1/2 x 9-1/2 x 1-1/4 in. framed.
This piece is from an ongoing series of collages that reflect Robin Miller's reinterpretation of Russian Suprematism. Composed using found materials that date from the time of the original movement (c.1913--1930) the works from this series place Suprematist-based motifs squarely in the real world, counter to the core concept of Suprematism. Are these elements happily and peacefully coexisting, or is something more sinister at work?
This collage, titled “Statue of Columbus at Genoa (with Suprematist addition),” includes a page of vintage marbled paper clipped from an old book layered over (and completely covering) a photograph of the statue of Christopher Columbus at Genoa, Italy.
If you'd like to see more work by members of Team Reloved, check out the team blog!
John Singer Sargent: Madame Gautreau Drinking a Toast, 1883.
Mary Cassatt: Little Girl in a Blue Armchair, 1878.
Oil on canvas, 35 x 51"
Robin Miller has been bzz-bzz-busy working away in his studio. Here's a look at some new artwork available at inthecrystalpalace, our Etsy shop.
Robin Miller / Moon Pool / 2015 / encaustic and oil pastel on linen / 8 x 7 x 1-1/2 in.
Robin Miller / St. Patrick's Cathedral (with Suprematist addition) / 2014 / enamel and collage on paper / 9-1/2 x 9-1/2 x 1-1/4 in. framed.
Robin Miller / Herd / 2015 / encaustic and oil pastel on linen / 8 x 8 x 1-1/2 in.
Fur-covered cup, diameter 4 3/8"; saucer, diameter 9 3/8"; spoon, length 8".
Julia Margaret Cameron: The Nestling Angel, 1870.
Carbon print, 13 5/8 x 11 in.
Lisette Model: Promenade des Anglais, 1934.
Gelatin-silver print on paper, mounted on pasteboard, 13 1/2 x 10 7/8"