De Stael, Nicholas - Arte Abstracta
Marathon - 1948
Oil on canvas
803 x 648 mm
Tate Gallery, London
Composition, 1948
OIl on canvas
50x61 cm
Private collection
Composition, 1949
Oil on canvas
73 x 92 cm
Private collection
Composition, 1949
Oil on canvas
97 x130 cm
Private collection
Composition, 1949
Oil on canvas
Private colletion
Composition 1950 - 1950
Oil on board
1248 x 794 mm
Tate Gallery, London
Great Blue Composition, 1950-1951
Oil on canvas
200 x 150 cm
Private collection
Red, Blue and Black Harmony, 1951
Oil on canvas
60 x 81 cm
Private collection
Etude de paysage - 1952
Oil on board
327 x 460 m
Tate Gallery, London
Figure by the Sea
1952
Oil on canvas
161.5 x 129.5 cm
Kunstsammlung Nordrhein-Westfalen, Dusseldorf
Le ciel rouge - 1952
Oil on canvas
51.5 x 64.125 in
Walker Art Center, Minnesota
Red Boat, 1952
Oil on canvas
130 x 97 cm
Private collection
Bottles, 1952
Oil on canvas
92 x 73 cm
Private collection
Sea and Clouds, 1952
Oil on canvas
100 x 73 cm
Private collection
Flowers, 1952
OIl on canvas
81 x 64 cm
Private collection
Les Footballeurs, 1952
Oil on canvas
25 x 32 cm
Private collection
Les Footballeurs, 1952
Oil on canvas
65 x 81 cm
Pierre Gianadda Foundation, Martigny, France
Les Footballeurs, 1952
Oil on canvas
81 x 65 cm
Private collection
Les Footballeurs, 1952
Oil on canvas
80 x 65 cm
Private collection
The Sun, 1953
Oil on canvas
16 x 24 cm
Private collection
The Moon, 1953
Oil on canvas
162 x 97 cm
Françoise de Staël Collection, Paris, France
Agrigento, 1953
Oil on canvas
73 x 100 cm
Kunsthaus, Zurich
Vereinigung Zürcher Kunstfreunde
Agrigento, 1953
Oil on canvas
89 x 130 cm
Private collection
Agrigento, 1954
Oil on canvas
73 x 92 cm
Private collection
The Road, 1954
Oil on canvas
60 x 81 cm
Private collection
Sicilia, 1954
Oil on canvas
114 x 146 cm
Musée des Beaux Arts de Grenoble, Grenoble, France
Le Bateau - 1954
Oil on canvas
46,3 x 61,0 cm
National Galleries of Scotland, Edinburgh
Nice, 1954
Oil on linen
28 7/8 x 36 3/4 in. (73.3 x 93.3cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
The Shelf, 1955
Oil on canvas
88.5 x 116 cm
Museum Ludwig, Cologne, Germany
The Bread, 1955
Oil on canvas
73 x 100 cm
Private collection
Sky, 1955
Oil on canvas
89 x 116 cm
Private collection
The Piano, 1955
Oil on canvas
160 x 220 cm
Private collection
Boats, 1955
Oil on canvas
130 x 89 cm
Private collection
Aquarelle - 1955
Watercolor on paper
30 x 24 cm
Private Colletion
Bateaux - 1955
Watercolor on paper
80 x 60 cm
Private Colletion
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Tiras de cores texturadas, que vão do amarelo limão, do azul cobalto ao vermelho, cobrem as telas de Stael. Embora as suas obras tenham um aspecto abstracto, sugerem como que paisagens ou figuras reduzidas ao mínimo. Aplicando os áleos com uma espátula para dar à superfície uma qualidade palpável e aumentar o seu sentido de painterly. De Stael concentrou-se em trabalhar com uma diversidade de texturas e cores. Ao contrário dos seus contemporâneos, que estvam interessados em fazer borrões e marcas gestuais com objectivos puramente introvertidos e expressivos, De Stael quis expandir os limites da pintura recorrendo a um vasto âmbito de influências artísticas, desde as obras do pintor holandês do século XVII, Rembrandt, até Léger. Desde 1953 e até à sua morte dois anos depois, ele retomou uma forma reduzida de figuração (Bateaux). De ascendência russa, De Stael, em conjunto com Poliakoff, injectou frescura nos círculos de pintura de Paris no Pós-Guerra. Nicholas de Stael nasceu em S. Petersburgo em 1914 e morreu em Antibes em 1955.
:
"...Ce que j'essaie, c'est un renouvellement continu, vraiment continu, et ce n'est pas facile. Ma peinture, je sais ce qu'elle est sous ses apparences, sa violence, ses perpétuels jeux de force c'est une chose fragile dans le sens du bon, du sublime, c'est fragile comme l'amour. Je crois, pour autant que je puisse me contrôler, je cherche toujours à faire une action décisive de mes possibilités de peintre et lorsque je me rue sur une grande toile de format, lorsqu'elle devient bonne je sens toujours atrocement une grande part de hasard, comme un vertige, une chance dans la farce qui garde malgré tout son visage de chance, son côté virtuosité à rebours, et cela me met toujours dans les états lamentables de découragement. Je n'arrive pas à tenir et même les toiles de trois mètres que j'entame et sur lesquelles je mets quelques touches par jours en y réfléchissant, finissent toujours au vertige. Je ne maîtrise pas dans ce sens vrai du mot, s'il y a un sens et je voudrais arriver à frapper plus à bon escient, même si je frappe aussi vite et aussi fort. L'important c'est de calmer tant qu'on peut jusqu'au bout (...)
(Extrait d'une lettre à Jacques Dubourg décembre 1954)
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Staël, Nicolas de - (b St Petersburg, 5 Jan 1914; d Antibes, 16 March 1955). French painter of Russian birth. He was born into an aristocratic family forced into exile in 1919 as a result of the Russian Revolution. In 1922, orphaned, he and his two sisters were sent to Brussels to live with wealthy Russian expatriates. Between 1933 and 1936 he studied in Brussels, attending courses on architecture at the Académie de St Gilles and on decoration and design at the Académie Royale des Beaux-Arts. Trips to the Netherlands and France during this period aroused a lasting admiration for 17th-century Dutch painting and for the work of Matisse and Braque. In 1936 he held his first exhibition (Brussels, Gal. Dietrich), showing works in a Byzantine style that reflected his cultural heritage and also a series of watercolours resulting from his bicycle tour of Spain in the previous year. In the summer of 1936 he departed for Morocco; few paintings survive from this period, but his letters reveal his self-searching and the developing consciousness of his creative way of life. In August 1937 he met the painter Jeannine Guillou, who became his companion until her death (1946). Together they travelled to Algeria and Italy, where de Staël applied himself to studies of Italian art, returning to Paris in 1938. There he made copies after Old Master paintings in the Musée du Louvre, especially Chardin and Delacroix; in the summer months he painted landscapes in Brittany.
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1:41 AMSabe que o Berardo tem um quadro dele?
2:46 AM
Não, não sabia. Há dias quando lá fui a Sintra, deu-me um ataque de forretice e não comprei o catálogo da colecção. Para a próxima, pode ser que me dê um ataque ao contrário.
5:59 PM
LOL!!
6:58 PM
Não sei qual deles escolher, levava em boa verdade qualquer um deles, muito embora Figure by the Sea; Kompozicija; Le Bateau e Nice sejam de entre estes os meus predilectos.
Eu tb n tenho o catálogo da colecção Berardo. Tive a sorte de ver o quadro numa altura em que estava lá exposto e passei a admirar ainda mais a selecção que aquela colecção oferece. Creio mesmo ser uma excelente colecção com ou sem quadro do Staël!
Se pintasse o Nicolas seria a par do Morandi uma referência na minha pintura.
1:08 PM
...Não conhecia este belo Blog ( frequentado por não menos belas comentadoras ) mas de imediato o adicionei a minha lista de favoritos ! JNAS www.ilhas.blogspot.com
5:33 PM
Obrigado João das Ilhas. Já fui a tua casa. Deixei um recado colado na porta. Um abraço (já são dois).
8:12 PM
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3:15 AM
Eu gostei muito de seu blog. Eu tenho paintisnotdead.blogspot.com. Sobre a pintura também.
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