Segunda-feira, Julho 24, 2006
Alex (A Sel-portrait)
Not Dated
Oil on canvas
28 1/4 in. x 20 1/2 in. (71.76 cm x 52.07 cm)
Double Portrait
ca. 1960-1965
Lithograph on paper
sheet and image: 10 x 12 1/8 in. (25.4 x 30.8 cm)
Passing
1962-63
Oil on canvas
71 3/4 x 6' 7 5/8" (182.2 x 202.2 cm)
Lita
1964
Oil on canvas
60 x 60 1/8" (152.4 x 153 cm)
Upside Down Ada
1965
Oil on canvas
51 3/8 x 64" (130.6 x 162.6 cm)
Day Lily I, 1969
Lithograph
21 3/4 x 27 3/4"
White Petunia, from: Six New York Artists
1969
Lithograph on paper
Ann I (Seated Woman), 1970
Lithograph
19 1/8 x 15 1/4"
Vincent with Open Mouth
1970
Oil on canvas
96” x 72”
Portrait of a Poet: Kenneth Koch, 1970
Lithograph
27 3/4 x 22"
Anne
1973
Lithograph
27 x 36 1/8 inches
Good Morning I
1974
Oil on canvas
96 x 72 inches
The Swimmer
1974
Aquatint and drypoint on paper
sheet: 28 1/8 x 36 in. (71.4 x 91.4 cm)
Dog at Duck Trap, 1975/76
Lithograph,
29 x 43"
Ada at Table,(left half)
1977
Oil on cut-out aluminum
19 x 22 inches
West Window
1979
Oil on board
12 x 9 in. (30.5 x 22.9 cm)
Song, 1980/81
Lithograph and Silkscreen
32 7/8 x 43 7/8"
Hiroshi and Marcia
1981
Oil on canvas
1828 x 2437 mm
John Updike Time Magazine Cover
1982
Red Coat
1983
Color screenprint on white wove paper
58 x 29”
The Green Cap
1985
Lithograph
Beach Sandals
1987
Color aquatint etching
14-1/2 x 19-3/4"
Black Shoes, 1988
Aquatint and Soft ground
Image size: 12 x 16 3/4"
Paper size: 28 x 22 1/2"
Ada with Sunglasses, 1990
Silkscreen
36 x 24"
Grey Ribbon, 1990
Silkscreen
32 1/2 x 36"
Black Brook
1990
Color aquatint
39-1/2 x 29"
Maria I, 1993
Aquatint and Etching
17 1/4 x 22"
Maria II, 1993
Aquatint and Etching
17 1/8 x 21 3/4"
Red and Lizzy, 1995
Silkscreen
36 x 20"
David and Janet, 1995
Silkscreen
36 x 20"
Black Scarf
1995
Oil on canvas
72 x 48 in. (182.9 x 121.9 cm)
Danny and Laura, 1995
Silkscreen
36 x 20"
Coleman Pond II
1995
Oil paint on canvas
96 x 72 inches
Eleuthera, 1999
Silkscreen
26 3/4 x 48"
Dark Eyes
2000
Woodcut on paper
unconfirmed: 260 x 210 mm
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Alex Katz apresentou já centenas de exposições individuais em todo o mundo e o seu trabalho está representado nas mais prestigiadas colecções instituicionais e privadas internacionais, bem como nos mais importantes Museus de Arte Contemporânea.
Ao discutir o trabalho de Katz, a crítica sublinha muitas vezes a sua observação da realidade e a sua análise dos detalhes. A atenção ao detalhe responde à necessidade de plenitude, que não é narcisismo ou decadentismo, mas representa sim o cuidado em exprimir os tons da observação pessoal.
Por detrás das faces calmas, pode esconder-se algo hostil que, contudo, não revela quaisquer sintomas. Dir-se-ia que muita da tão proclamada ansiedade do nosso tempo foi posta de lado, na prateleira. Não há os efeitos grotescos elaborados com materiais desagradáveis e não há um sinal daquela aura de catástrofe que é claramente visível numa grande parte da arte figurativa contemporânea, mas também não existe voyeurismo algum ou uma impassibilidade fria que, em qualquer caso, é a outra face, talvez passiva, do desassossego.
Isto inclui todo o significado da figuração em, pelo menos, dois aspectos: a presença e a ausência, estar e não estar ali. Por outras palavras, a realidade, parcialmente o repertório dos símbolos contemporâneos, em oposição ao pósmoderno, mais recente e igualmente debatido. De qualquer modo, Katz não parece ser muito dado a definições absolutas. O estímulo fornecido por aquilo que vê e que é sempre popular, entre aspas, não exclui esta área, mas também não volta as costas a outras origens, à História da Arte, que Katz cita sem reservas.
Do catálogo da exposição de Alex Katz na Galeria Mário Sequeira em 1997.
Alex Katz nasceu em Brooklyn, Nova Iorque, em 24 de Julho de 1927.
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ALEX KATZ (1927 - ) Alex Katz is one of the most innovative leaders in the return to figurative realism and representation among avant-garde artists in America and Europe today. By 1960, very early in his career, Katz had already found his original and poetic solution to the dilemma of choice between earlier, dominant abstraction and realism by giving primacy to style over subject matter. With considerable brilliance and expressive power, Katz managed to synthesize the artistic impulses of his own era with an earlier modernism, forging elements of Abstract Expressionism with the elegant forms of Manet and Matisse, artists who also explored color and planes, who compressed volume into flatness, and yet evoked convincing weight, movement and the human personality in their paintings. Since the seventies, in particular, Katz's paintings have drawn attention by reason of their large formats, simple reductions of form, abrupt and unexpected transitions, and for the suggestive metaphors embodied in his subject matter. The late Thomas B. Hess, a notable contemporary art critic, aptly described the social dynamics and atmosphere of his group portraits in terms of "everyday leisure life- parties, picnics, pets- as if it were a bucolic Age of Gold where everybody is youthful and it is always time for tea." Yet these rapturous, idyllic works increasingly invoke comparison with some of the most ambitious abstract painting of our time. His unique style has managed the difficult feat of reconciling realism not only with mainstream modernism but with post modernism as well. On October 11, 1996, the Colby College Museum of Art in Waterville, Maine, opened a new wing dedicated to the work of Alex Katz. The artist donated over 400 pieces to the Museum's collection, including major oil paintings, cutouts, collages, prints, and drawings.
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Quinta-feira, Julho 06, 2006
Domingo, Julho 02, 2006
Adolescence
Appraisal
Arbor Day
Fall Plowing
Woman with Plants - 1929
American Gothic - 1930
Oil on beaverboard
78 x 65.3 cm
Art Institute of Chicago
Stone City, Iowa - 1930
The Birthplace of Herbert Hoover - 1931
Oil on masonite
29 5/8 x 39 3/4 in. (75.2 x 101.0 cm)
Minneapolis Institute of Arts, Minnesota
Young Corn, 1931
Oil on masonite
23 3/4 x 29 3/4 in. (60.3 x 75.5 cm.)
Cedar Rapids Museum of Art, Iowa
The Midnight Ride of Paul Revere - 1931
Oil on Masonite
H. 30, W. 40 in. (76.2 x 101.6 cm)
The Metropolitan Museum of Art, New York City
Self-Portrait, 1932
Oil on masonite
Davenport Museum of Art
Daughters of the Revolution, 1932
Oil on masonite panel
Cincinnati Art Museum
Return from Bohemia - 1935
Oil on mansonite
Orange County Museum of Art, Newport Beach, California
The Good Influence - 1936
Black carbon pencil, India ink, and white gouache on tan wove paper
30¾ x 24¼ in
Pennsylvania Academy of the Fine Arts, Philadelphia
Tree Planting Group, 1937
Lithograph
The University of Michigan Museum of Art
Village Slums, 1937
Charcoal, pencil and chalk on paperboard
image: 21 1/8 x 16 in. (53.6 x 40.6 cm)
Smithsonian American Art Museum, Washington D.C.
Illustration from Main Street by Sinclair Lewis
Chicago: Limited Editions Club at the Lakeside Press, 1937
Amon Carter Museum, Texas
Honorary Degree, 1938
Lithograph on paper
16 1/4 x 11 3/4 in. (41.3 x 29.8 cm)
Smithsonian American Art Museum, Washington D.C.
New Road, 1939
Oil on canvas on paperboard mounted on hardboard
33 x 37.9 cm (13 x 14 7/8 in.)
The National Gallery of Art, Washington D.C.
Shrine Quartet, 1939
Lithograph on paper
11 7/8 x 16 in. (30.3 x 40.6 cm)
Smithsonian American Art Museum, Washington D.C.
Haying - 1939
Oil on canvas on paperboard mounted on hardboard
32.8 x 37.7 cm (12 7/8 x 14 7/8 in.)
National Gallery of Art, Washington D.C.
Parson Weems' Fable - 1939
Oil on canvas
Amon Carter Museum, Texas
January - 1940
Family Doctor, 1940
Lithograph on paper
11 1/2 x 16 in. (29.2 x 40.6 cm)
Smithsonian American Art Museum, Washington D.C.
February, 1941
Lithograph on paper
8 7/8 x 11 7/8 in. (22.7 x 30.3 cm)
Smithsonian American Art Museum, Washington D.C.
Iowa Cornfield - 1941
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Na tela "Haying" (Fenação) de 1939, a perspectiva curiosa dá ao quadro um ar misterioso ou até mesmo agourento. Temos a sensação de que existe algo escondido para além do cume do monte e as fileiras de feno cortado criam formas estranhas quaese semelhantes a hieróglifos. Não existe ninguém, mas o cenário está preenchido com sinais da presença humana, por exemplo, o jarro abandonado, colocado ao meio e em primeiro plano. O artista criou um ambiente sinistro ao aplicar o horizonte muito alto e ao ordenar as variadas linhas da obra de modo a que os nossos olhos se dispersem em várias direcções diferentes. Wood pertenceu a um grupo de artistas americanosdenominados regionalstas, que deliberadamente virou as costas à arte europeia progressiva da década de 30 e às suas tendências abstractas, preferindo retratar num estilo realista o mundo do Midwest e as vidas das pessoas comuns. O seu estilo linear e bem definido foi influenciado pela antiga pintura flamenga que ele viu quando esteve na Europa, nos anos 20. Grant Wood nasceu em Anamosa, IA, EUA em 1892 e morreu em Iowa Cuty em 1942.
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Grant Wood was born on February 13, 1891 on his parents' farm four miles east of Anamosa, Iowa, where he spent the first ten years of his life. After his father's death in 1901, he moved to Cedar Rapids with his mother, sister Nan and brother Frank. Even though life on the farm came to an end, the sights, smells and sounds of his country childhood would be preserved forever in the faces and landscapes of his famous paintings. Grant Wood was an exceptional artist from a very young age. When he was 14, he won third prize in a national contest for a crayon drawing of oak leaves and said that winning that prize was his inspiration to become an artist. His formal art education included two summers with Ernest Batchelder at the School of Design and Handicraft in Minneapolis and three years of occasional night classes at the Art Institute of Chicago. In October 1920, Grant Wood set out on a trip to Europe, telling his sister "the art critics and dealers want no part of American art. They think this country is too new for any culture and too crude and undeveloped to produce any artists. You have to be a Frenchman, take a French name, and paint like a Frenchman to gain recognition." It wasn't long before Grant would prove them wrong. In 1923 Wood took a leave of absence from teaching high school art to visit Europe for a second time, where he studied at the Academie Julien in Paris. While in Europe, he experimented with Impressionism and Post-Impressionism. His exposure to modern European art played a significant role in the development of his mature style. In 1927 Wood received a prestigious local commission from the city of Cedar Rapids to design a stained glass window for the Veterans Memorial Building. The Memorial Window stood 24x20-feet. At the base of the window were six life-size figures of soldiers of every American war, beginning with the Revolutionary War and ending with W.W. I. Above the soldiers was a woman representing the Republic. The window took two years to complete, including time spent supervising the fabrication of the glass in Munich, where the guild tradition of medieval craftsmanship continued. While in Munich, Wood admired 15th century Northern Gothic painting at the Alte Pinakothek Museum. This style had enjoyed a resurgence of popularity in Germany during the 1920s as part of a broader return to realism, objectivity referred to as "die Neue Sachlichkeit." Wood sought inspiration from the precise clarity of paintings by Jan van Eyck, Hans Memling, Albrecht Durer, and Hans Holbein. He demonstrated a tendency to render rounded forms in a simplified, schematic fashion with the clear definition of Northern Gothic painting and modern German art.
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