Hodgkin, Howard - Pós-modernismo / Arte Abstracta
Interior of a Museum 1956-59
Oil on wood
1016 x 1270 mm
Tate Gallery
Gardening, 1963
Oil on canvas
600x800 mm
Birmingham Museum & Art Gallery
Dinner at West Hill, 1964-66
Oil on canvas
1067 x 1270 mm
Tate Gallery, London
Large Japanese Screen, 1964/66
Oil on canvas
102 X 132 cm
Private collection
Girl on a Sofa, 1968
Lithograph on paper
514 x 648 mm
Tate Gallery
Bedroom, 1968
Lithograph on paper
514 x 654 mm
Tate Gallery, London
Mr & Mrs E.J.P., 1972-73
Oil on wood
36 x 47 3/4 in. (91.2 x 121.5 cm)
Private collection, London
Small Durand Gardens, 1974
Oil on wood
565 x 660 mm
Private collection, London
In a Hotel Garden, 1974
Oil on wood
1070 x 1270 mm
Tate Gallery, London
Grantchester Road, 1975
Oil on wood
49 x 57 in. (124.5 x 144.8 cm)
Private collection
Small Henry Moore at the Bottom of the Garden, 1975-77
Oil on wood
20 3/4 x 21 in. (52.7 x 53.4 cm)
Private collection
The Green Chateau, 1976-80
Oil on wood
38 5/8 x 48 1/2 in. (98.2 x 123.1 cm)
Private collection
Paul Levy, 1976-80
Oil on wood
20 7/8 x 24 in. (53 x 61 cm)
Collection Doris and Charles Saatchi, London
A Storm, 1977
Gouache on paper
910 x 1105 mm
Birmingham Museum & Art Gallery
In Alexander Street, 1977-79
Oil on wood
17 3/4 x 20 in. (45.1 x 50.8 cm)
Private collection
Day Dreams, 1977-80
Oil on wood
23 1/8 x 32 1/8"
Private collection
Reading the Letter, 1977-80
Oil on wood
17 3/4 x 20 in. (45.2 x 50.8 cm)
Private collection
Interior with Figures, 1977-84
Oil on wood
54 x 60 in. (137.2 x 152.5 cm)
Collection the artist
After Corot, 1979-82
Oil on wood
14 1/2 x 15 in. (36.8 x 38.1 cm)
Private collection
Counting the Days, 1979-82
Oil on wood
21 3/4 x 25 1/4 in. (55.2 x 64.2 cm)
Private collection
Lotus, 1980
Screenprint on paper
724 x 908 mm
Tate Gallery, London
In the Bay of Naples, 1980-82
Oil on wood
54 x 60 in. (137.2 x 152.5 cm)
Private collection
None But the Brave Deserves the Fair, 1981-84
Oil on wood
24 3/4 x 30 in. (62.8 x 76.2 cm)
Private collection
Son et Lumière, 1983-84
Oil on wood
66.7 x 74.3 cm
Private collection
A Small Thing But My Own, 1983-5
Oil on wood
44.5 x 53.5 cm
Private collection
Mr. and Mrs. James Kirkman, 1984
Oil on wood
103,5 x 121,3 cm
Private collection
Dinner in Palazzo Albrizzi, 1984-88
Oil on wood
1175 x 1175 mm
Modern Art Museum of Fort Worth
In Bed in Venice, 1984/88
Oil on wood
38 5/8 x 48 7/8 in
UBS Financial Services Art Collection
Moroccan Door, 1990-1
Etching on paper
768 x 1140 mm
Tate Gallery, London
Venice, Night, 1995
Etching, aquatint and hand-colouring on paper
1590 x 1950 mm
Tate Gallery, London
After Matisse, 1995–99
Oil on wood
1102 x 1260 mm
Modern Art Museum of Fort Worth
Norwich, 1999
Etching and carborundum on paper
434 x 482 mm
Tate Gallery, London
Come into the Garden Maud, 2000-3
Oil on wood
1898 x 2508 mm
Tate Gallery, London
Strictly Personal, 2001
Etching, aquatint and carborundum on paper
302 x 350 mm
Tate Gallery, London
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Howard Hodgkin nasceu em 6 Agosto de 1932 em Londres. Estudou pintura na Camberwell Art School e Bath Academy of Art. Hodgkin expôs pela primeira vez em 1962 na galeria de Arthur Tooth and Sons, em Londres. A sua obra, mostrada ao longo de anos em exposições indivuduais ou colectivas, ganhou o respeito do público e da crítica, tornando-se, nos anos 80 do século passado, num dos mais importantes pintores ingleses contemporâneo com obras representadas em muitos museus de todo o mundo. Para Hodgkin, o processo de pintura é longo. Pode demorar vários anos a completar um quadro. Trabalha geralmente em madeira, cobrindo a moldura, bem como o suporte, de cores exuberantes. Ganhou o Prémio Turner de pintura em 1985. Em 1992 foi agraciado pela raínha de Inglaterra com o título de Sir
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Howard Hodgkin (born 1932) - Article provided by Grove Art Online www.groveart.com
English painter, printmaker and collector. He studied at the Camberwell School of Art (1949) and at the Bath Academy of Art, Corsham (1950–54). He did not seriously exhibit until he was 30. His preference was for emotionally charged figurative groupings in which the figures appeared embedded in the matrix of the picture, as if growing out of their surroundings, such as the Interior of a Museum (1956–9; London, Tate). The often manic humour helped place Hodgkin in the climate of Pop art, although he was not directly associated with the movement; early subjects included Joe Tilson in The Tilsons (1965–7; ex-Stuyvesant priv. col., London), whose goggle eyes stare out from his own gaudy carpentered constructions. Hodgkin was always concerned to make the picture an object, and from 1970 he worked not on canvas but on assertive wooden supports, such as drawing boards or door frames. Hodgkin's paintings are generally small in scale, consciously conceived within the tradition of European easel painting. They refer to memories of specific moments, but as Hodgkin insisted, ‘the most complete expression of such a subject would not necessarily involve description' (Reichardt, p. 140). He painted extremely slowly, sometimes taking up to four years or more on one work. During this process the clarity of the original imagery was often obscured, and the spectator was invited to decipher the finished image as a kind of riddle. A white line representing a table divides the composition of Dinner at West Hill (1966; London, Tate), the egg-like heads of the guests rising on the right and, from the red areas opposite, establishing the spectator's presence. The sense is of the social event having generated another level, evident in the painted flecks which dance like thoughts above the heads of the guests. Hodgkin's repeated dots or blobs stand for the vibrations of feeling, almost as metaphysical substance. In the 1970s Hodgkin's work shifted from a collaged geometric flatness to a more complex fluid patterning, from the exemplar of Matisse's Moroccans (1916; New York, MOMA) to Vuillard's intimist interiors. The decorative patterning, gorgeous colour and framing devices of paintings such as Dinner at Smith Square (1975–9; London, Tate; see fig.), as well as the eclectic mix of styles, owe much also to Pahari miniature paintings, of which Hodgkin was an avid collector, visiting India almost every year. He applied a restricted range of simple shapes and marks to a variety of moods: lyrical and poetic, as in The Moon (1978–80; Kitaj priv. col., see 1984 exh. cat., p. 55), painted on a bread board and marvellously evoking a lunar romance; humorous, as in A Small Henry Moore at the Bottom of the Garden (1975–7; priv. col., see 1984 exh. cat., p. 31), where the frame overpowers the subject; or openly erotic, as in Goodbye to the Bay of Naples (1980–82; priv. col., see 1984 exh. cat., p. 67), with a belly and penis in the foreground set into a frame representing repeated eruptions from Mount Vesuvius. Hodgkin's prints followed a similar development. In the late 1960s and early 1970s the artist favoured screen printing and lithography as suitable media for effects of flat printed colour, as in the series of 12 screen prints, Indian Views A–L (1971; London, Tate). The emphasis from the mid-1970s on the physical substance of layers of paint had a corresponding effect on his decision to change to intaglio methods such as etching and aquatint, emphasizing the textures and marks in prints such as Interior (Day) and Interior (Night) (both 1974; London, Tate). In later works, such as Bleeding (lithograph, 1982; see 1983 exh. cat., p. 45), he hand-coloured the image after printing. Hodgkin consistently stressed the self-sufficiency of the marks and formal structure of his work. The oblique and even mystificatory imagery, however, also entailed a defence of intimate values in expressing the most fugitive, human and vulnerable sensations.
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on Quinta-feira, Agosto 09, 2007 at 12:27 AM.
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8:11 AMA pintura de Hodgkin agrada-me, principalmente o 'Interior de um museu' feito nos 50s-60s.
Mas se pudesse saber a dimensão dos quadros, isso faria toda a diferença na avaliação da 'medida das suas formas'.
1:43 PM
As novas medidas ajudam a simular o efeito do quadro. Tudo certo, afinal
7:25 PM
"A storm" e "after matisse"
andam entre A.Lapa e Angelo Sousa
Até já!
7:20 AM
Absolutely outrageous, that is a worked by the 80years old artist, I guess. Keep it up.
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8:19 AM
What an interesting blog, introduced by a thought-provoking photo. The unusual wall painting of the dwellings is also a strangely modern interpretation. Something like this hieroglyphic view of a park by Swiss painter Paul Klee, http://EN.WahooArt.com/A55A04/w.nsf/OPRA/BRUE-8LT475.
The image can be seen at wahooart.com who can supply you with a canvas print of it.
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