O SÉCULO PRODIGIOSO

A arte no século XX

Parkes, Michael - Ilustração

Sábado, Novembro 26, 2005


The Mask
oil on wood - 1982
23.75 x 29.25in.



The Juggler
oil on wood - 1985
43.25 x 35.5in.



Puppetmaster
oil on wood ~ 1985
19.75 x 25.5in.



Gargoyles
oil on wood ~ 1985
29.5 x 23.75in.



Stalking
oil on wood ~ 1986
19.75 x 23 3/4in.



The River
oil on canvas ~ 1994
39.5 x 51.25in



The Hummingbird Collector - 2004
17-1/2" x 14-1/2"
Signed & Numbered
Edition of 140 Pieces"



The Rose Collector - 2004
17-1/2" x 14-1/2"
Signed & Numbered
Edition of 140 Pieces"



The Strawberry Collector"
17-1/2" x 14-1/2"
Signed & Numbered
Edition of 140 Pieces



The Letter - 2005
33" x 23-½" Signed and
Numbered Stone Lithograph

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Michael Parkes, born in 1944, is American. He studied graphic art and painting at the University of Kansas and then traveled for three years throughout Asia and Europe. In 1975 Michael Parkes settled definitively in Spain, where he now lives. Throughout his career, numerous international exhibitions underline the importance of Parkes’ work. Michael Parkes is both a uniquely talented painter and master of the art of original stone lithography. What is unusual about Michael Parkes is that in his paintings and lithographs, metaphysical and spiritual elements are joined into reality. His work evokes a mysterious atmosphere, which can often only be deciphered with the help of ancient mythology and eastern philosophy. In the fantasy world of Parkes the laws of earthly reality are abolished, and space and time enter into their own motionless communion. It is tempting to speak of a dream world with Michael Parkes, if it were not for the fact that this ‘dream world’ surpasses all of our dreams in audacity, freedom and intensity. In short, in Michael Parkes the figurative art of our age has found a new, fascinating and extremely authentic exponent.
“ As human beings, we limit our sense of perception to what is generally comfortable and present in everyday life. In limiting our perceptions to suit our individuality, we miss the vastness of other perceptions and the doors they represent. Though we have been conditioned to perceive nothing except our own world, this does not mean we cannot enter other realms”.
- Michael Parkes
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Michael Parkes Website
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Gordin, Misha - Fotografia Conceptual

Quarta-feira, Novembro 23, 2005
The New Crowd - 1996/1998







The New Crowd - 1999/2000







The New Crowd - 2001/2002







Tomas - 2002/2005







Sheptun - 2002/2005







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I was born in 1946, the first year after the World War II. My parents just survived hardships of evacuation and returned back home to Riga, then under Soviet occupation. I grew up among Russian speaking population of Latvia, and Russian culture become my root culture. I graduated from the technical college as aviation engineer but never worked as such, instead I joined Riga Motion Studios as a designer of equipment for special effects. I was in my early twenties and mostly ignorant about art. At this time social realism was an official culture of the country and I did not care about it too much. Information about modern western art was hardly available and my knowledge of it was highly limited. I started to photograph when I was nineteen, driven by desire to create my own personal style and vision. I was involved in portraiture and did some documentary shots, but soon realized the results did not satisfy me. I put my camera aside and concentrated on reading (Dostoevsky, Bulgakov) and cinematography (Tarkovsky, Parajanov). I was constantly looking for the way to express my personal feelings and thoughts using photography. One year later it came to me clear and simple. I decided to photograph Concepts. In 1972 I created my first, and most important image - Confession. I instantly recognized the potential possibilities of conceptual approach and the knowledge acquired from this image become a backbone of the work I have produced since. In 1974, after years of disgust with communist authorities, I left my country and arrived in USA.
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Conventional versus Conceptual.
:
Do I point my camera outwards to the existing world or turn it inward towards my soul. Am I taking photographs of existing reality, or creating my own world, so real but non existent. Results from this two opposite approaches are notably different and, in my opinion, conceptual. Photography is a higher form of artistic expression that places photography on the level of painting, poetry, music and sculpture. It employs the special talent of intuitive vision. By translating the personal concepts into the language of photography, it reflects the possible answers to major questions of being: birth, death and life. Creating an idea and transforming it into reality is an essential process of conceptual photography. Today's conventional approach, with a few exceptions, completely dominates Art Photography. But introduction of digital photography can change this balance. The ease of producing altered realities, will bring a new wave of talented artists, who will use it to express their special world of visions, with all its meanings, symbols and mystery. In a world of high technology will you still believe in truthfulness of a photograph? And does it matter? To me it matters. In all these years of creating conceptual images, I tried to make them as realistic as possible. My technical abilities have improved, allowing me to broaden horizons for my ideas. But this is not the most important part of the process. The poor concept, perfectly executed, still makes a poor photograph. Therefore, the most important ingredient of the powerful image is a concept. The blend of a talent to create a concept and the skill to deliver it - those are two major building blocks of creating a convincing conceptual photograph. It is not a new idea to manipulate photographic images. As a matter of fact all images are manipulated to a certain degree. The real power of photography emerges when altered reality is presented as existent and is expected to be perceived as such. An obviously manipulated image is a trick that shows a lack of understanding of the unique power of photography - the belief engraved in our subconscious that what was captured by the camera has to exist. In the best examples of successfully manipulated images the question "Is it real?" does not arise. My first introduction to digital manipulations showed me how similar analog and digital techniques are. Each has it's bright and dark spots. At this moment I don't see any reason to switch to digital. I still prefer glowing quality of original print and the laborious process to achieve it. Yet, I believe, that it is only matter of time before digital technology replaces analog and the conceptual approach will receive well deserved place in Art of Photography. I also want to believe that, many years from now, artists will continue to develop the language of photography, understanding and preserving its unique power.
:
Misha Gordin Website
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Taares - Arte Iknie

Domingo, Novembro 20, 2005


"Duas Irmãs"
"Tow Sisters"



"As Mulheres e o Cosmos"
"The Women and the Cosmos"



"Fantasia Dupla"
"Double Fantasy"



"E se o mar fosse o nosso corpo?"
"If the sea where our body?"



"Atmosfera Feminina"
"Female Atmosphere"



"Será que nós estamos a viver no Futuro?"
"Are we living in the Future?"



"Fantasia e Ilusão"
"Fantasy and Illusion"



"E depois haverá Iknies em todos os Lugares"
"And then the Iknies will be in all Places"

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Sobre a sua arte, Taares disse-nos: «Iknie, da palavra graga Ícone, representa um esforço muito incomum de criar uma linguagem gráfica real, um código real, uma nova ferramenta composta por novos sinais de "trânsito mental" e de "trânsito intelectual". Sinais que nos dão todo um conjunto de novas instruções a vários níveis. Iknie nasceu em 1997 e nasce cada dia que passa nos pensamentos do JoséTavares, cujo o nome artístico é Taares. Este novo código trata de criar um compacto altamente coerente e regular, dentro de toda a regularidade que a arte pode ainda permitir. De alguma forma, este projecto é o "genoma humano", em versao gráfica. Será que a biologia pensa os genes de uma forma similar a Iknie ? Ou só a biologia daqueles que se deixam fascinar por este mundo de sinais quantas vezes a meia distancia, entre a ciencia, a arte e o tudo?»
:
«Já houve quem lhe dissesse que não percebia nada dos seus desenhos. E quem ficasse fascinado pelo que expõe e vende, habitualmente, na Rua Garrett. José Tavares, lisboeta de 42 anos, formado em Engenharia Agrónoma, diz que os seus Ikneis constituem uma linguagem gráfica Universal, a primeira proposta de um "código planetário" tão "filosóficamente avançado" quanto fácil de entender por qualquer criança. De cabeça redonda e sem olhos, estes "anatogramas" que qualquer pessoa pode desenhar, já que se trata de "uma arte liberta das técnicas académicas; não precisa de perspectiva, sombras ou simetria", encerram uma mensagem ética: "São figuras amistosas, desprovidas de negatividade ou agressividade, anti-racistas e anti-machistas"
Paula Lobo in Diário de Notícias
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Taares está quase todos os dias na Rua Garrett, em Lisboa, junto à Zara, após as 18 horas, onde expõe e vende os seus trabalhos. Os seus "anatogramas" são feitos a tinta da china com pastel seco e de óleo sobre papel. Pode ser contactado através do telefone 218 136 046 ou por e.mail para ikniee@hotmail.com. Tem ainda um site (em fase de remodelação).
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Scully, Sean - Arte Abstracta

Quarta-feira, Novembro 16, 2005


Untitled - 1974
Acrylic on canvas
121.9 x 121.9 cm (48 x 48 in.)
Museum of Fine Arts, Boston



To Want - 1985
Oil on canvas
Walker Art Center



Square Light 1 - 1988
Aquatint on paper
528 x 528 mm
Tate Gallery



Wall - 1988
etching, aquatint, spitbite aquatint, soapground aquatint, crayon resist
31 1/2 x 41 1/2 in.
Smithsonian American Art Museum



8.10.89 - 1989
Oil pastel and watercolor on Saunders wove paper
57.2 x 76.5 cm (22 1/2 x 30 1/8 in.)
National Gallery of Art, Washington D.C.



Bridge - 1991
woodcut
23 x 44 3/4 in. (58.4 x 113.7
Smithsonian American Art Museum



Red Durango - 1991
Oil on linen
100 x 130 in.
Ackland Art Museum at the University of North Carolina



10.12.98 - 1998
painting pastel on paper
paper 76.0 (h) x 57.5 (w) cm
Private collection (Barcelona)



Wall of Light Pink - 1998
Oil on canvas
274.3 x 304.8 cm (108 x 120 in.)
Museum of Fine Arts, Boston

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Riscas alternadas, horizontais e verticais, em tinta de óleo densamente trabalhada, cobrem painéis unidos uns aos outros para formar um único quadro. As interrupções são deliberadamente discordantes e aumentam a sensação de conflito entre os painéis desalinhados. As configurações abstractas de Scully parecem fazer referência às grades, superfícies e tensões da baixa de Manhattan, o lar do artista nestes últimos 25 anos. A obra de Scully tem um forte elemento arquitectónico e um sentimento de urbanidade severa. Através do padrão e da combinação de cor de cada quadro, ele é capaz de expressar uma variedade de emoções usando meios limitados. Embora as suas obras se dirijam ao quaotidiano, são decididamente abstractas e conservam um equilíbrio curioso entre a energia gestual do Expressionismo Abstracto e a auto-disciplina rigorosa do Minimalismo americano. Sean Scully nasceu em Dublin, na Irlanda, em 1945. Naturalizou-se cidadão norte-americano, onde reside e trabalha.
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Zuloaga, Ignacio - Realismo

Sexta-feira, Novembro 11, 2005


Retrato do picador «El Coriano» - 1897
Óleo sobre tela
80x60 cm
Accademia Carrara, Bergamo



Toureiros - 1898
Óleo sobre tela
Colecção privada



Paisagem de Castela - 1909
Óleo sobre tela
57.5 x 61.3 cm (22 5/8 x 24 1/8 in.)
Museum of Fine Arts, Boston




Retrato de Carlos de Beistegui - 1910
Óleo sobre tela
1,46x1,25 m
Museu do Louvre, Paris



El cristo de la sangre - 1911
Óleo sobre tela
248 x 302 cm.
Museo Reina Sofía. Madrid



Paisagem de Antequera
Óleo sobre tela
77 x 85cm
Colecção privada



Condesa Mathieu de Noailles
Óleo sobre óleo
152 x 195,5 cm
Museo de Bellas Artes. Bilbao



Ídolos futuros - 1915
Óleo sobre tela.
248 x 300 cm.
Museo de San Telmo. San Sebastián



Retrato do artista - 1931
Óleo sobre tela
1,37x1,24 m
Museu do Louvre, Paris



Carmen Arconada - 1940
Óleo sobre tela
197 x 148 cm.
Museo Bellas Artes de Álava, Vitória

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Ignacio Zuloaga (1870-1945), pintor es+anhol, nasceu em Eibar. Copista no Museu do Prado viaja a Roma no ano de 1884 e um ano mais tarde a París onde se inscreve no estúdio de La Palette, aprendendo ao lado de Chavannes. Ali tem oportunidade de entabular contacto com Degas, Gauguin e Toulousse-Lautrec, aprendendo a técnica do Impresionismo. Desenvolve muito cedo o interesse por temas taurinos e andaluzes, captando cenas de costumes que retratam a Espanha de 98. Entre as suas influências temos que citar Goya, que o influencia na composição e pincelada de traços grossos. O seu amor por Espanha leva-o a mudar-se no anos de 1898 para Segovia, onde capta a importância dos personajens de Castela com quem se identifica. A sua relacão com a geração de 98, evoca temas de uma Espanha em crise. A crueza dos seus pinceis levou-o a ser repudiado em várias ocasiões pela crítica espanhola. Em obras como "El Cristo de la sangre" retrata com acritude a idiosincracia do povo espanhol. Abandonou o impressionismo, procurando uma linguegem própria em que predominasse a pastosidade e as curvas decorativas procedentes do modernismo. A sua inclinação pelos temas dedicados às mulheres o induz a retratar diversas personagens. Junto com Gutiérrez Solana representa a vertente da pintura de costumes do princípio do século XX, embora se distinga desse pintor, pela sua paleta mais brilhante e a sua visão dos tipos e costumes do campo de Castela é menos pessimista, enquadrando-se num realismo expressionista.
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McKean, Dave - Ilustração

Terça-feira, Novembro 08, 2005


Cover art Anthrophomorphik Calendar 1997
acrylic, photography




The eyes of Stanley pain.
CD Cover for Download - 1996


Miles Davis and Herbie Hancock.
Sketch for illustrated biography of Miles Davis



Black Vanity.
CD cover for Cemetary. 1995



Little wings
card # 29 for SkyBox Master Series



Placibo Head
card # 35 for SkyBox Master Series



Mirrormask
A film by Dave McKean - 2005



Mirrormask
A film by Dave McKean - 2005



The Day I Swapped My Dad For Two Goldfish.
By Neil Gaiman and McKean.
Hardback book published by White Wolf.

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Dave McKean (nascido em 29 de Dezembro de 1963 em Maidenhead, England) é um célebre ilustrador, fotógrafo, criador de banda desenhada, realizador de cinema e músico. Nos seus trabalhos incorpora desenho, pintura, fotografia, colagem, objectos achados, arte digital e escultura.
Mais sobre o artista ...
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Modotti, Tina - Fotografia

Sábado, Novembro 05, 2005


Edward Weston in window, 1924



Roses, Mexico, 1924



Campesino with Hay, ca. 1925



Mexican street scene, ca. 1925



Easter Lily and Bud, 1925



Flor de manita, c. 1925



Staircase, Mexico, 1925



Telephone wires, 1925



Woman with olla - 1926



Campesinos - 1926



Stadium, Mexico City, c. 1927



Bandolier, corn, guitar - 1927



Portrait of John Dos Passos, ca. 1927



Muchacho with Sombrero, ca. 1927



Bandolier, corn, guitar, 1927



Calla Lilies, c. 1927



Hands Resting on Tool, 1927



Mexican sombrero with hammer and sickle, 1927



Loading Bananas, Veracruz, ca. 1927-29



Two men carrying large loads on backs, ca. 1927-29



Mexican peasants reading El Machete - 1928



Julio Antonio Mella, 1928



Julio Antonio Mella's typewriter, 1928



Hands of the puppeteer - 1929



Woman of Tehauntepec carrying jecapixtle - 1929



Mother and child, Tehuantepec - 1929



Children bathing in river, ca. 1929



Diego Rivera and Frida Kahlo in the May Day - march1929



Woman with Child at Market Carrying Basket, ca. 1929



Mexican with Basket, ca. 1929



Two Women on a Porch, ca. 1929


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Na foto "Hands of the puppeteer", um homem inclina-se sobre um grosseiro pano de fundo para puxar os fios de uma marioneta. A luz dramática revela a textura da sua pele, realçando as veias das suas mãos. A sombra escura e sinistra sugere a presença da morte, enquanto que os fios da marioneta fazem lembrar correntes. O tema das marionetas foi usado por Modotti como símbolo da repressão social: ela insinua que as pessoas são controladas pelos governos, tal como o homem controla as marionetas. Nascida em Itália, Modotti foi para o México em 1923, atraída, tal como outros artistas, pela beleza do país, pela herança artística e pela sua história de idealismo político. Era amiga íntima do pintor Rivera e, tal como ele e o seu círculo, estava empemhada numa arte de protesto social esquerdista. Considerava a fotografia como uma técnica moderna que podia falar directamente às pessoas comuns. Numa época em que surgiram os ditadores, o comentário simbólico de Modotti era particularmente apropriado. Tina Modotti nasceu em Udine (Itália) em 1896, e morreu na Cidade do México em 1942.
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Tina Modotti (1896-1942) was a remarkable woman and an outstanding photographer whose legendary beauty and relationships with famous men have until now eclipsed a life integrally linked to the most important artistic, political and historical developments of our century. In 1913 Tina Modotti left her native Italy for San Francisco, becoming a star of the local Italian theatre before marrying the romantic poet-painter Roubaix de I'Abrie Richey. By 1920, she had embarked on a Hollywood film career and immersed herself in bohemian Los Angeles, beginning an intense relationship with the respected American photographer, Edward Weston. On a trip to Mexico in 1922 to bury her husband, she met the Mexican muralists and became enthralled with the burgeoning cultural renaissance there. Increasingly dissatisfied with the film world, she persuaded Weston to teach her photography and move with her to Mexico. Her Mexico City homes became renowned gathering places for artists, writers and radicals, where Diego Rivera courted Frida Kahlo. Turning her camera to record Mexico in its most vibrant years, her photographs achieve a striking synthesis of artistic form and social content. Her contact with Mexico's muralists including a brief affair with Rivera, led to her involvement in radical politics.
In 1929, she was framed for the murder of her Cuban lover, gunned down at her side on a Mexico City street. A scapegoat of government repression, she was publicly slandered in a sensational trial before being acquitted. Expelled from Mexico in 1930, she went to Berlin and then to the Soviet Union, where she abandoned photography for a political activism that brought her into contact with Sergei Eisenstein, Alexandra Kollontaii, La Pasionaria, Ernest Hemingway and Robert Capa. Returning to Mexico incognito in 1939, she died three years later, a lonely - and controversial - death.

(Tina Modotti - Photographer and revolutionary by Margaret Hooks)
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Wallis, Alfred - Arte Naif

Quinta-feira, Novembro 03, 2005
Obras da colecção da Tate Gallery, Londres
:



Houses at St Ives, Cornwall ?circa 1928-42
Oil on board
267 x 318 mm



P.Z. 11 circa 1928
Oil on wood
359 x 460 mm



The Hold House Port Mear Square Island Port Mear Beach' ?circa 1932
Oil on board
305 x 387 mm



Schooner under the Moon ?circa 1935-6
Oil on board laid on wood
292 x 292 mm



Voyage to Labrador ?circa 1935-6
Oil on wood
368 x 387 mm



The Blue Ship ?circa 1934
Oil on board laid on wood
438 x 559 mm
:
Obras em colecções privadas



St Ives Harbour, Cornwall - NMM London





Boats off the Harbour
Oil on card laid on board
6½ x 10¼ ins
Private collection



Three Trees: White House in a Landscape
oil on cardboard
17 by 23 inches
Private Collection, UK

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Os temas de Wallis, pintados com perspectivas e escalas distorcidas, quase infantis, foram quase exclusivamente os seus arredores mais próximos - os bascos e os portos de Cornwall onde ele tinh trabalhado anteriormente. Pescador reformado e viúvo, começou a pintar com quase setenta anos sobre cartão velho ou pedaços de madeira com formas irregulares. Em 1928 foi «descoberto» pelo artista Nicholson e pelo grupo de pintores de St. Ives, que encontraram nos seus quadros o tipo de visão directa e expontânea que, segundo eles, muitos artistas tinham perdido devido à aprendizagem formal. Wallis rapidamente se tornou conhecido como artista primitivo ou naif e as suas obras fazem parte de importantes colecções tal como a da Tate Gallery em Londres. As suas obras estão também espalhadas por inúmeras colecções particulares. Alfred Wallis nasceu em 1855, vindo a falecer em St. Ives (GB) em 1942.
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