O SÉCULO PRODIGIOSO

A arte no século XX

Blake, Peter - Arte Figurativa - Arte Pop

Quinta-feira, Agosto 13, 2009
GALERIA EM CONSTRUÇÃO





ABC Minors, 1955
Oil on panel
76 x 49 cm
Ludwig Collection, Museum Ludwig, Germany



On the Balcony, 1955-7
Oil on canvas
support: 1213 x 908 mm frame: 1324 x 1017 x 50 mm
Tate Gallery, London



The Fine Art Bit, 1959
Enamel, wood relief and collage on board
914 x 610 x 25 mm
Tate Gallery, London



Tuesday, 1961
Enamel, wood relief and collage on board
476 x 267 x 38 mm
Tate Gallery, London



Self-Portrait with Badges, 1961
Oil on board
1743 x 1219 mm
Tate Gallery, London



The First Real Target, 1961
Enamel on canvas and collage on board
537 x 493 mm
Tate Gallery, London



Assemblage Nudina, 1961-64
Oil on wood
33 x 17.7 cm
Badischer Kunstverein, Karlsruhe, Germany



The Toy Shop, 1962
Mixed media, glass and painted wood
displayed: 1568 x 1940 x 340 mm
relief
Tate Gallery, London



Beach Boys, 1964
Screenprint on paper
530 x 308 mm
Tate Gallery, London



Portrait of David Hockney in a Hollywood Spanish Interior, 1965
Acrylic on canvas
support: 1828 x 1528 x 21 mm frame: 1970 x 1674 x 31 mm
Tate Gallery, London



Sgt. Pepper's Lonely Hearts Club Band, 1967
Colour offset lithography on paper and paper card
31,4 x 31,4 cm
Victoria and Albert Museum Catalogue, London, UK



from Illustrations to Through the Looking-Glass
`and to show you I'm not proud, you may shake hands with me!', 1970
Screenprint on paper
image: 242 x 180 mm
on paper, print
Tate Gallery, London



from Illustrations to Through the Looking-Glass
`But isn't it old!' Tweedledum cried, 1970
Screenprint on paper
image: 244 x 181 mm
on paper, print
Tate Gallery, London



from Illustrations to Through the Looking-Glass
`Well, this is grand!' said Alice 1970
Screenprint on paper
image: 242 x 179 mm
on paper, print
Tate Gallery, London



from Illustrations to Through the Looking-Glass
Just at this moment, somehow or other, they began to run, 1970
Screenprint on paper
image: 243 x 180 mm
on paper, print
Tate Gallery, London



from Illustrations to Through the Looking-Glass
So Alice picked him up very gently, 1970
Screenprint on paper
image: 245 x 181 mm
on paper, print
Tate Gallery, London



Girl in a Poppy Field, 1974
Screenprint on paper
image: 413 x 273 mm
on paper, print
Tate Gallery, London



Illustration to the cover of `Face Dances', 1981
Lithograph on paper
image: 225 x 253 mm
on paper, print
Tate Gallery, London



Daisy Fairy, 1981
Oil on canvas
28 x 16,5 c´m (without frame)
Victoria Art Gallery, Bath, England



The Meeting' or `Have a Nice Day, Mr Hockney', 1981-3
Oil on canvas
992 x 1244 mm
Tate Gallery, London



The Owl and the Pussycat, 1981-3
Oil on canvas
Bristol Museum and Art Gallery, UK



D for Dwarfs and Midgets, 1991
Screenprint on paper
72 x 50,7 cm



L for Love, 1991
Screenprint on paper
72,4 x 50,8 cm



P for Pachyderm, 1991
Screenprint on paper
72 x 50,6 cm



R for Rainbow, 1991
Screenprint on paper
72,4 x 50,3 cm



from The House of Fairy Tales I may not be a Ruralist anymore, but this morning I saw a fairy in my garden in Chiswick, 2008
Screen-print on paper
unconfirmed: 360 x 300 mm
on paper, print
Tate Gallery, London

Frankenthaler, Helen - Expressionismo Abstracto

Quarta-feira, Junho 24, 2009


Playa, 1950
Oil on canvas
86,4 x 81,3 cm
Private collection



Painted on 21st Street, 1950-1951
Oil, sand, plaster of paris and coffee grounds on sized and primed canvas
69 1/8 X 97 in (175.6 X 246.4 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Untitled, 1951
Oil on canvas
143,2 x 214,6 cm
Private collection



Mountains and Sea, 1952
Oil on canvas
7 ft 2 in x 9 ft 9 in
National Gallery of Art, Washington D.C.



Round Trip, 1957
Oil on canvas
178,5 x 178,5 cm
Private collection



Interior, 1957
Oil on canvas
177,8 x 218,4 cm
Private collection



Basque Beach, July 1958
Oil and charcoal on canvas
58 5/8 X 69 5/8 in (148.8 X 176.8 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Acres, 1959
Oil on unprimed canvas
236,2 x 238,8 cm (93 x 94 inches)
Guggenheim Berlin



April IV, c. 1960
Oil on canvas
35.5cm x 42.4cm
Cleveland Museum of Art, Ohio



Summerscene, Provincetown, 1961
Acrylic on canvas mounted on paperboard
20 x 24 in. (50.9 x 61.0 cm)
Smithsonian American Art Museum, Washington D.C.



Moving Day, 1961
Oil on canvas
68 7/8 X 60 1/8 in (174.8 X 152.7 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Blue Form in a Scene, 1961
Oil on canvas
95 x 91 1/2 inches (241.3 x 232.4 cm)
Private cxollection



May 26, Backwards, 1961
Color lithograph on paper
31 1/8 x 22 1/2 in (79 x 57.1 cm)
Smithsonian American Art Museum, Washington D.C.



Untitled, 1963
Acrylic on paper
14” x 17”
Wake Forest University Fine Arts Gallery, Winston-Salem, North Carolina



Buddha's Court, 1964
Acrylic on canvas
98 x 94 inches (248.9 x 238.8 cm)
Private collection



Provincetown, 1964
acrylic on canvas
14 1/2 x 14 1/2 inches (36.8 x 36.8 cm)
Private collection



Small's Paradise, 1964
Acrylic on canvas
100 x 93 5/8 in. (254.0 x 237.7 cm.)
Smithsonian American Art Museum, Washington D.C.



Persian Garden, 1965-1966
Color lithograph on paper
25 7/8 x 20 1/8 in (65.8 x 51.0 cm)
Smithsonian American Art Museum, Washington D.C.



Mauve District, 1966
Synthetic polymer paint on canvas
261.5 x 241.2 cm.
The Museum of Modern Art. New York



Indian Summer, 1967
Acrylic on canvas
93 1/2 X 93 5/8 in (237.5 X 237.8 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Variation II on Mauve Corner, 1969
Lithograph, 6/21
10 1/8 x 25 1/8”
Mildred Lane Kemper Art Museum, St. Louis, Missouri



Blessing of the Fleet, 1969
Acrylic on canvas
126 x 103 3/8 in. (320.0 x 262.5 cm)
Smithsonian American Art Museum, Washington D.C.



Coral Wedge, 1972
Acrylic paint on canvas
81 1/2 x 46 1/2 inches
Kemper Museum of Contemporary Art, Kansas City, Missouri



Nepenthe, 1972
Color aquatint on paper
15 5/8 x 24 1/4 in. (39.8 x 61.7 cm)
Smithsonian American Art Museum, Washington D.C.



Living Edge, 1973
Acrylic on canvas
117 1/2 x 67 inches (298.5 x 170.2 cm)
Private collection



Untitled, 1973
Acrylic on canvas
20 x 25 1/2 inches (50.8 x 64.8 cm)
Private collection



Robinson's Wrap, 1974
Acrylic on canvas
5' 10" x 7' 10"
Private collection



Desert Pass, 1976
Acrylic on canvas
39 x 54 in (99.1 x 137.2 cm)
Smithsonian American Art Museum, Washington D.C.



Viewpoint II, 1979
Acrylic on canvas
81 1/4 X 94 1/2" (206.38 X 240.03 cm)
Signed, lower right
Butler Institute of American Art, Ohio



Untitled, 1980
Acrylic on paper
22 1/4 x 31 inches (56.5 x 78.7 cm)
Private collection



Cameo, 1980
relief
colour woodcut printed from five woodblocks
grey-pink, wove, handmade, TGL paper
comp 107.0 (h) x 81.6 (w) cm
sheet 107.0 (h) x 81.6 (w) cm
frame 114.0 (h) x 88.6 (w) x 4.2 (d) cm
National Gallery of Australia, Canberra



Untitled, 1982
Acrylic on canvasboard
5 x 7 in. (12.7 x 17.78 cm)
Oklahoma City Museum of Art, Oklahoma



Cedar Hill, 1983
Color woodcut on paper
Sheet: 20 3/8 x 25 1/8 in. (51.7 x 63.9 cm) irregular
Smithsonian American Art Museum, Washington D.C.



Square One, 1985
Acrylic on canvas
78 x 51 inches (198.1 x 129.5 cm)
Private collection



Captain's Watch, 1986
acrylic on canvas
76 3/4 x 58 3/4 in.
Ackland Art Museum at the University of North Carolina



Freefall, 1992
pressed TGL hand-made paper pulp, acrylic gel, and acrylic paint
sheet: 177.8 x 147.3 cm (70 x 58 in) framed: 209.6 x 163.8 cm (82 1/2 x 64 1/2 in)
National Gallery of Art, Washington D.C.



All about blue 1994
planographic, relief
colour lithograph and woodcut printed from six aluminium plates and one woodblock
natural, handmade, triple layer, Kozo fibre paper
comp and sheet 123.0 (h) x 73.2 (w) cm
National Gallery of Australia, Camberra



The Other Side of the Moon, 1995
Acrylic on paper
5'-10½" x 5'-4"
Private collection



Tales of Genji VI, 1998
21-color woodcut on handmade TGL rose paper
47 x 42 in. (119.4 x 106.7 cm)
Smithsonian American Art Museum, Washington D.C.

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Em "The Other Side of the Moon, 1995", um círculo vermelho, possivelmente um símbolo da lua, encontra-se rodeado de uma rede de linhas, seguindo o seu caminho através do papel. O esquema das intensas cores púrpura, azul e verde atribui a esta obra um carácter meditativo. Apesar de ser abstracto na forma, o título deste quadro sugere a representação do mundo natural. Frankenthaler foi casada com o espressionista abstracto Motherwell, mas independentemente da sua proximidade com o movimento, a sua técnica era bastante distinta: aplicava o pigmento sobre a tela ou o papel, evitando a utilização do pincel. O seu método de tingir a tela não esticada com tinta para atingir efeitos imediatos e transparência inspiraram Noland e Louis, aoós uma visita ao seu estúdio. O uso fluido da cor percorre a sua obra e os seus grandes quadros dos anos 60 levam esta ideia até ao limite, ao arrastar pequenas tiras de cor para as extremidades da tela, deixandop o centro vazio. Frankenthaler foi aluna de Tamayo, sendo a sua obra variada mais serena e translúcida que a dos seus contemporâneos. Helen Frankenthaler nasceu em Nova Iorque (EUA) em 1928.
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Helen Frankenthaler was born in New York in 1928 where she was to spend most of her life. She studied at a number of art schools and was taught at one stage by Hofmann. By 1950 she had met many of the main figures of Abstract Expressionism. In 1958 she married the painter Robert Motherwell. Frankenthaler became the first American painter after Jackson Pollock to see the implications of the color staining of raw canvas to create an integration of color and ground in which foreground and background cease to exist. "Mountains and Sea" (1952) Frankenthaler's first "stained painting," marked a turning point in her career. According to the critic, Clement Greenberg, this painting was the 'first monument of Post-Painterly Abstraction,' and it is certainly one of the most important works in the 'Colour-Field' style. In "Mountains and Sea", Frankenthaler poured paint directly onto the unprimed surface of a canvas, allowing the color to soak into its support, rather than painting on top of an already sealed canvas as was customary. This highly intuitive process, known as "stain painting," became the hallmark of her style and enabled her to create color-filled canvases that seemed to float on air. Frankenthaler employs an open composition, frequently building around a free-abstract central image and also stressing the picture edge. The irregular central motifs float within a rectangle, which, in turn, is surrounded by irregular light and dark frames. These frames create the feeling that the center of the painting is opening up in a limited but defined depth. She took from Pollock the notion of fusing drawing and painting, translating this idea into her own suggestive, mysterious calligraphy. In 1960 Frankenthaler made her first prints. Since then, she has worked with a variety of printmaking techniques in addition to painting, using each of these media to explore pictorial space through the interaction of color and line on a particular surface. One of her most successful prints is "Essence Mulberry " (1977) inspired by an exhibit of medieval prints at the Metropolitan Museum of Art. Helen Frankenthaler's art is held in the collection of every major museum of modern art. The stain technique she made famous is still an integral part of her work and it can be seen running through her entire oeuvre. Although the paintings are abstract, a strong suggestion of landscape is often apparent, and they have been praised for their lyrical qualities.
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