Printed in 22 de December de 2025 Print
Sigmund Freud proclaimed: “when inspiration does not come to me, I go halfway to meet it”, and Picasso said “inspiration exists, but it has to find you working”. At Legatum we also belive that, and we are persuaded that any spark can start the fire of leisurely and productive reflection. This page collects the most up-to-date information possible on Liberalia, a harvester of information regarding exhibitions, artistic and cultural heritage and other elements of Art History the epistemology. It works like a search engine, selecting the most reliable, serious and varied sources possible, because estrus blows where and when it wants. Use them at your convenience. And if any of the news moves your spirit and encourages you to think about a topic related to the preservation of historical, artistic, archaeological and cultural heritage, our objective will be accomplished. Oh, it’s the 20 most recent items and they’re sorted by relevance.
ARTNews. Arnulf Rainer Dead: Abstract Austrian Artist Dies at 96. 22 de December de 2025 00:03. artist, art, painter, painting, paint, history, museum, exhibition.
Arnulf Rainer, the Austrian artist whose relentless drive for experimentation made him a key figure of Europe’s postwar scene, died on December 18 at 96 at his home in Austria. His death was confirmed by his gallery Thaddaeus Ropac. He is best known for his Übermalungen (“overpaintings”), a technique he began in 1952 in which he layered dense strokes of pigment over existing images—at first his own images, and, from 1953 onward, those of other artists such as Italian painter Emilio Vedova. Rainer’s resulting works, seemingly at once destructive and devotional, turned painting into a site of erasure, accumulation, and spiritual immersion. “The organic act of creating is perhaps more essential than the completed painting,” he once said, likening the process to a contemplative ritual. Across the 1950s and ’60s, Rainer turned his painterly attention to the body and self. His “blind drawings,” as well as the “Face Farces” and “Body Poses” series featured overpainted photographic self-portraits whose gestural marks complicated the artist’s presentation of his own psyche. Though not a Viennese Actionist, he exerted a catalytic influence on the movement’s early years. Rainer’s engagement w
