O SÉCULO PRODIGIOSO

A arte no século XX

Grosz, George - Dadaismo/Expressionismo

Quinta-feira, Fevereiro 23, 2006


Suicide - 1916
Oil on canvas
100 x 77.6 cm
Tate Gallery, London



Lovesick - 1916
Oil on canvas
99.7 x 76.5 cm
Private collection.



The City - 1916/17
Oil on canvas
100 x 102 cm
Thyssen-Bornemisza Collection, Madrid



To Oskar Panizza - 1917/18
Oil on canvas
140 x 110 cm
Staatsgalerie Stuttgart, Stuttgart, Germany



Germany: a Winter's Tale - 1917/19
Oil on canvas
Whereabouts unknown



The White Slaver. 1918
Watercolor, reed pen and Indian ink on card
31.7 x 23.8 cm
Hessisches Landesmuseum, Darmstadt, Germany



Beauty, Thee Will I Praise - 1919
Watercolor, pen and Indian ink
42 x 30.3 cm
Galerie Nierendorf, Berlin, Germany



Untitled - 1920
Oil on canvas
81 x 61 cm
Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany



Republica Automatons - 1920
Watercolor on paper
60 x 47.3 cm
The Museum of Modern Arts, New York



Daum Marries Her Pedantic Automaton George in May 1920, John Heartfield is Very Glad of It - 1920
Watercolor and collage
42 x 30.2 cm
Galerie Nierendorf, Berlin, Germany



Grey Day - 1921
Oil on canvas
115 x 80 cm
Staatsliche Museen zu Berlin, Nationalgalerie, Berlin, Germany



Methusalem - 1922
Watercolor, Indian ink and bronze paint on paper
52.6 x 41.1 cm
The Museum of Modern Arts, New York

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Na tela " To Oskar Panizza", uma multidão caótica de corpos com rostos torturados acotovela-se nas ruas da cidade à noite. Um sinistro esquema expressionista de cor, com vermelhos e verdes escuros, e o espaço distorcido, inspirado no movimento futurista, conjugam-se para transmitir uma atmosfera de decadência pecaminosa e de fatalismo. Oskar Panizza foi um psiquiatra e escritor acusado de blasfémia cerca de 1890. Ele e Grosz partilhavam uma visão pessimista da vida urbana: os personagens no canto inferior esquerdo representam o Alcoolismo, a Sífilis e a Peste. A Morte - o esqueleto no centro da composição - é o único vencedor; até o padre, representante da Igreja, levanta o braço em rendição. Grosz é mais conhecido pelos seus desenhos brutalmente satíricos. Antes e durante a Segunda Guerra Mundial direccionou a sua ironia feroz contra a corrupção do governo alemão. Também ele foi frequentemente processado por blasfémia e atentado à moral pública, acabando em tribunal, sob risco de pena de morte. Posteriormente partiu para a América, passandop a aplicar o seu génio satírico contra o materialismo bruguês. George Grosz nasceu em Berlim, no ano de 1893 e morreu na mesma cidade em 1959.
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Rodchenko, Alexander - Fotografia

Segunda-feira, Fevereiro 20, 2006


Rodchenko and Stepanova, 1922



Pro eto. Ei i mne by Vladimir Mayakovsky. 1923
Book with nine letterpress photomontages



Portrait of mother - 1924



Lily Brik - 1924



The poet Vladimir Mayakovsky - 1924



The Critic Osip Brik - 1924



Stepanova with a cigarette - 1924



Vladimir Mayakovsky, 1924



Balconies - 1925



Balconies. 1925



House on Myasnicka Street, 1925



Fire-escape, from the series “House on Myasnitskaya” - 1925



Back cover of the book Conversation with the Finance Inspector
about Poetry (Razgovor c fininspektorom o poesii), by Vladimir
Mayakovsky, 1926



Change of All - 1927



A Part of Moscow, 1927



On the telephone - 1928



Pioneer, 1928



Gathering for the demonstration in the courtyard of the VChUTEMAS
(Higher Institute of Technics and Art) - 1928



To the demonstration - 1928



Pioneer - 1930



Stairway, 1930



Untitled photograph from a series on a lumber mill in Vakhtan. 1930



Lefortovo-Student Village, 1930



Chauffeur - 1933



Belomorkanal Work in the rhythm of orchestra, 1933



Working with an orchestra - 1933



Untitled photograph of a guard and prisoners during the building of the
White Sea-Baltic Sea Canal, 1933



Girl with a Leica - 1934



An Oath. 1935



The live badge - 1936



Varvara Stepanova, 1936

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Alexander Rodchenko é um dos máximos expoentes da vanguarda soviética dos anos 30. Nasceu em São Petersburgo, em 1891. A sua familia mudou-se para Kazán, no Oeste de Rússia, onde Alexander estudou Historia da Arte. Posteriormente foi para Moscovo, onde continuou o seu estudo de arte. É, nesta altura, em 1915, influenciado por Malevich, que começou a pintar, com uma tendência abstracta. Alexander Rodchenko é um dos artistas russos mais versáteis dos anos 20 e 30. Como outros muitos artistas dessa época de fervor artístico, experimentou com diferentes técnicas de expressão artística, estudando a pintura, a fotomontagem e a fotografia em profundidade, com o fim de obter imagens sempre inovadoras. Rodchenko representa uma figura muito importante no panorama das vanguardas artísticas e suas imagens tem contribuído para a difusão de Construtivismo Soviético. Faleceu em 1956
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Born November 23, 1891, in St. Petersburg, Rodchenko died on December 3, 1956. He attended the School of Arts in Kazan, Russia, from 1910 to 1914, then studied graphic arts at the School of Applied Arts in Moscow (1915). The artist was influenced by the Futurists, Cubism and Art Nouveau, and his mentor was Vladimir Tatlin. Rodchenko's first job was as an assistant to Tatlin at a 1916 Futurist exhibit in Moscow, at which ten of Rodchenko's pictures were shown. In 1918 Rodchenko helped found the Museum of Artistic Culture and became its first director. By 1920 he was one of the most active members of the Institut Khudozhestvennoy Kultury - also known is Inkhuk - and he taught a Vkhutemas (High-Grade Art - Technical Workshops). Beginning in 1918 he was active for several years with the Committee of Applied Arts, a government agency. In 1921-22 he did illustrative work in theater, films, typography and advertising, and continued throughout the 1920s to provide cover designs for a remarkably wide range of publications - from the poet Mayakovsky's books (1925-29) to scientific and technical literature for Moscow publishers. He also designed the cover of Kino-Fot, a periodical of the Russian Constructivists which began in 1922 and in which Rodchenko was regularly published. He took up photography in 1924 and gave a short series of talks on the medium at Vkutein (Fine Arts Technical School) in the early 1920's. From 1920 to 1930 he taught at the newly organized Free Public Art Studio (formerly his alma mater, Stroganov School of Applied Arts), where he also served as dean of the faculty of metal-work. Rodchenko began photo-reporting in 1926, working for the magazines Ogonok, Radioslushatel, Prozhektor, Krasnoye Studenchestvo, Dayosh, Za rubezhom, Smena, Borba klassov and the daily Vechernaya Moskva, among others. In 1932 the photographer, whose work was - and still is - widely exhibited, began working in photomontage. During his first and only trip abroad Rodchenko was awarded four silver medals at the Paris Exhibition of March 1925. Also involved in the film world, Rodchenko shot a newsreel series directed by Dziga Vertov, originally called Kino-Pravda and later called One-sixth of the World, which was begun in 1922. Between 1927 and 1930 he was "constructor-artist" of the films The Woman Journalist, Moscow in October, Albidum, The Puppet Millionaire and What Shall I be?. He also directed the documentary The Chemicalization of the Forest. Seemingly unlimited in his versatility, Rodchenko was also involved in theater, designing the costumes and props for Glebov's Pendulum and The Bed Bug in 1929, and was one of Russia's foremost painters, collagists and poster artists. A Constructivist, Rodchenko was one of the earliest photo-collagists. Some of his favorite themes were sports, the circus, festive processions and the Soviet way of life. He successfully experimented with close-up photography, and "the lens of his camera discovered objects of unusual architecture, rhythm, and plasticity" in objects removed from their usual surroundings. "The viewer who sees only a study in the picture of the glass jug illuminated from behind fails to appreciate the masterly composition, the noble purity of the lines, the rich plasticity of the form and consequently also the poetry and beauty of the picture, and still more important, its specifically photographic qualities"
(Karginov, Rodchenko).
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Sutherland, Graham - Expressionismo Abstracto

Sexta-feira, Fevereiro 17, 2006


Welsh mountains - 1937-1938
Oil on canvas
56.0 x 91.6cm
Art Gallery of New South Wales, Sydney, Australia



Red Monolith - 1938
Oil on canvas
40 x 25 in.
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Western Hills - 1938
Oil on canvas
55.50 x 90.50 cm
National Galleries of Scotland, Edinburgh



Entrance to a Lane - 1939
Oil on canvas
614 x 507 mm
Tate Gallery, London



Green Tree Form: Interior of Woods - 1940
Oil on canvas
787 x 1079 mm
Tate Gallery, London



Devastation: East End Factory Ventilation Shaft - 1941
Watercolour / Gouache
Bolton Art Gallery, UK



Press for Making Shells - 1941
Oil on hardboard
77.2x45.9 cm
Manchester City Art Gallery, UK



Mouth of hot metal container pouring molten iron - 1942
Watercolour, bodycolour, scraping out, gum arabic
52.4x39.2 cm
Manchester City Art Gallery, UK



Landscape in Wales II - 1945
Ink, gouache, wash and pencil
2 x 4½ ins
Private Collection



The Deposition - 1946
Oil on millboard
Fitzwilliam Museum PHAROS Website, Cambridge, UK



Study for Painting 5 - Tree form - 1946
Watercolour / Gouache
18.2 x 17.5cm
Art Gallery of New South Wales, Sydney, Australia



Head - 1951
oil on canvas
61 x 51 cm
National Gallery of Canada, Ottawa



Fountain - 1963
Oil on canvas
30.2 x 25.5 cm
National Museums and Galleries of Wales



Trees with G-shaped Form I - 1972
Oil on canvas
117.0 x 172.0 cm
National Museums and Galleries of Wales

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Na tela "Entrada de uma Alameda" (Entrance to a Lane), de 1939, a entrada emerge de um denso padrão de cor. As folhas pendentes e os ramos na parte superiorda tela sugerem uma paisagem verdadeira, enquanto que as formas amorfas e as cores discordantes introduzem o elemento da abstracção. Sutherland usou muitas vezes a paisagem como o meio de expressão espiritual, produzindo uma visão particular da zona rural inglesa que ocasionalmente pendia para o gótico. O autor afirmou que "estava fascinado pelo problema geral das tensões produzidas pelo poder do crescimento". As suas paisagens despovoadas e melancólicas, pintadas em vermelhos vivos, verdes escuros e amarelos vibrantes e as suas imagens de devastação feitas como artista de guerra, têm a intensidade de obras religiosas. Tal como Nash, também ele um artista de guerra, Sutherland usou a abstracção para os seus próprios objectivos expressivos. Ironicamente, apesar do desinbteresse da sua obra pelo dia a dia, Sutherland pintou muitos retratos de sociedade assim como comissões públicas que incluíram uma tapeçaria para a Catedral de Coventry.
:
Graham Sutherland nasceu em Londres no dia 24 de Agosto de 1903 e morreu, na mesma cidade, no dia 17 de Fevereiro de 1980.
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