Blending impressions / Blending day with day.

A particular building in Shoreditch, London - a popular location for graffiti and street art. As drawn, the building is a constant canvas yet because the artwork changes so often, I decided to draw some of the work of my international favourite artists instead. These are the people I look up in inspiration and admiration and their work makes me push myself further every day. From left to right you have: Neist, Amose, Jeroen Erosie (on top), Zoerism (on top), Wais1 (middle) and Raymond Lemstra underneath the steps.

Instagram: @joannabucur

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Portrait Head of the Empress Lucilla, c. 165, Cleveland Museum of Art: Greek and Roman Art

Size: Overall: 25.4 cm (10 in.) Medium: marble

Cy Twombly, (exhibition poster), Galerie Yvon Lambert, Paris, 1986

Cy Twombly: ‘Le temps retrouvé’, exhibition poster for the Collection Yvon Lambert, Paris, 2011 [Reprinted on the occasion of Cy Twombly exhibition at the Collection Lambert in Avignon in 2011]

Terracotta relief probably from a funnel vase, Metropolitan Museum of Art: Greek and Roman Art

Rogers Fund, 1912 Metropolitan Museum of Art, New York, NY Medium: Terracotta

The Death of Socrates by Jacques Louis David, European Paintings

Catharine Lorillard Wolfe Collection, Wolfe Fund, 1931 Metropolitan Museum of Art, New York, NY Medium: Oil on canvas

Standing Figure of a Man, Francesco di Giorgio Martini, c. 1500, Cleveland Museum of Art: European Painting and Sculpture

Derived from classical antiquity, this nude male stands in the contrapposto pose, bearing his weight on his left leg, with his right leg bent, as if in motion. He steps lightly, so that only the toes of his right leg touch the ground. He stands on a laurel wreath, a plant which in antiquity would be waved as a symbol of joy after a military victory. During the Renaissance, small bronzes were kept in cabinets, bringing the gods and goddesses of ancient times into the home. Flaws in the bronze casting suggest that this piece is from the early Renaissance. In 1971, Ulrich Middeldorf rejected Olga Raggio’s original attribution to an anonymous Florentine, attributing it instead to the sixteenth-century Sienese artist Francesco di Giorgio Martini (1439-1501), based partly on its resemblance to Francesco’s bronze angels in Siena’s Duomo. However, such details as the awkward posture and frozen motion of the body relate this work more closely to Francesco’s pupil Giacomo Cozzarelli (1453-1515). Standing Figure of a Man is attributed to the circle of Francesco di Giorgio Martini, as uncertainties remain regarding its exact author. Size: Overall: 31 x 16.5 x 8 cm (12 3/16 x 6 ½ x 3 1/8 in.) Medium: bronze

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2020, London.