Sexta-feira, Setembro 29, 2006
Sem Título - 2004
Óleo sobre tela
100 x 100 cm
Sem Título - 2005
Acrilico sobre tela
100 x 100 cm
Sem Título - 2005
Acrilico sobre tela
100 x 100 cm
Sem Título - 2005
Acrilico sobre tela
100 x 100 cm
Sem Título - 2005
Acrilico sobre tela
100 x 100 cm
Sem Título - 2005
Acrilico sobre tela
100 x 100 cm
Sem Título - 2006
Acrilico c/ pastel óleo sobre tela
60 x 50 cm
Sem Título - 2006
Acrilico sobre tela
100 x 120 cm
Sem Título - 2006
Acrilico sobre tela
50 x 50 cm
Sem Título - 2006
Acrilico sobre tela
50 x 50 cm
Sem Título - 2006
Acrilico sobre tela
50 x 50 cm
Sem Título - 2006
Acrilico sobre tela
50 x 50 cm
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Deolinda Fonseca nasceu no Porto, Portugal em 1954. Cursou Artes Plásticas na Escola Superior de Belas Artes do Porto concluíndo em 1979. Teve várias bolsas de estudo da Fundação Calouste Gulbenkian. Performances de poesia concreta e rituais na Escola Superiore de Belas Artes do Porto. Tem três anos de actividade como professora de pintura para surdos-mudos. Vive na Dinamarca desde 1979. Em 1985 estudou com Poul Gernes na Academia Real de Copenhaga. Membro do Cooperativa Árvore e B.K.F. (Sindicatos dos Artistas Dinamarqueses). Foi agraciada com o grau de Comendador da Ordem do Infante D. Henrique pelo Presidente da República Portuguesa em 2002. Está representada no Museu de Næstved, Embaixada de Portugal na Copenhaga, Hospital de Hvidovre e coleções privadas e públicas em Portugal, Belgica, U.S.A., Luxemburgo, Espanha, Suécia, Inglaterra, Irlanda e Dinamarca. Deolinda Fonseca vive na Dinamarca há 22 anos, o que sem dúvida a influenciou, sendo o reflexo das suas raízes portuguesas fortemente perceptível nos seus quadros, sob a forma de recordação nostálgica. Os quadros que aqui se mostram pertencem ao acervo da Galeria de São Mamede.
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Terça-feira, Setembro 26, 2006
Air Head
10" x 12" oil on panel
Airhead 2
8" x 10" Oil on Panel
Universal Bad Habit
8" x 10" Oil on Panel
Black Head
8" x 10" Oil on Panel
Amp Head
12" x 16" oil on panel
Balance of Bill
16" x 16" oil on panel
Big Head
19" x 20" oil on panel
Butt Head
8" x 20" oil on panel
Black Flag Java Man
9" x 12" oil on panel
Cheese Only
10" x 13" oil on panel
Pot Head
8" x 14" oil on panel
Radio Head
11" x 14" oil on panel
Resin Head
12" x 16" oil on panel
Robo Boy
12" x 16" oil on panel
Early Bird
18" x 24" oil on panel
Planet Berkeley
11" x 14" oil on panel
Venda Su Alma
16" x 24" oil on panel
Cigar Break
30" x 40" oil on panel
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It has been said that truth can best be told through exaggeration of humor. The edginess Bob Dob casts upon his woe some bad-boy characters lends a sardonic aura of humor and pain. 'The moment,' captured in a character's frown, is echoed in perennial adolescent angst. He reaches across generations to communicate with the youth of today. His narratives depict figures in action as each character represents something we all want to be, say, or do, whether we're five or seventy-five. It's about the 'shadow side' we either lost along the way and have forgotten, or somehow exercise within ourselves on a daily basis. Born and raised in Hermosa Beach, California, Bob Dob cultivated a taste for adolescent unrest early on, expressing his talent through music, playing guitar in a punk band named Lunacy. Transmutation from music to art was a natural progression for him. He currently works as a freelance commercial artist for such clients as Aflac, American Airlines, Village Voice, and ABC Family Channel.
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Sexta-feira, Setembro 22, 2006
Summer Interior, 1909
Oil on canvas
24 x 29 inches
Whitney Museum of American Art, New York City
The Mansard Roof - 1923
Watercolor on paper
13 3/4 x 19 inches
The Brooklyn Museum, New York
House by the Railroad, 1925
Oil on canvas
Private collection
St. Francis' Towers, Santa Fe, 1925
Watercolor
13 1/2 x 19 1/2 in.
The Phillips Collection, Washington, D.C.
Self-Portrait, 1925-30
Oil on canvas
Whitney Museum of American Art, New York
Sunday - 1926
Oil on canvas
29 x 34 in
The Phillips Collection, Washington, D.C.
Drug Store - 1927
Oil on canvas
29 x 40 in
The Museum of Fine Arts, Boston
Light at Two Lights, 1927
Watercolor on paper
14 x 20 inches
Collection of Blount, Inc., Montgomery, Alabama
Prospect Street, Gloucester - 1928
Watercolor on paper
14 x 20 inches
Private collection
Chop Suey - 1929
Oil on canvas
32 1/8 x 38 1/8 in.
Collection Barney A. Ebsworth
Early Sunday Morning - 1930
Oil on canvas
35 x 60 in
Whitney Museum of American Art, New York
Hotel Room - 1931
Oil on canvas
60 x 65 inches
Museo Thyssen-Bornemisza, Madrid
Room in Brooklyn, 1932
Oil on canvas
Museum of Fine Arts, Boston
The Circle Theatre - 1936
Oil on canvas
27 x 36 inches
Private collection
Jo Painting (The Wife of the Artist), 1936
Oil on canvas
Whitney Museum of American Art, New York
New York Movie - 1939
Oil on canvas
32 1/4 x 40 1/8 in.
The Museum of Modern Art, New York
Cape Cod Evening - 1939
Oil on canvas
30 x 40 in.
National Gallery of Art, Washington
Cape Cod Evening, detail, 1939
Oil on canvas
National Gallery of Art, Washington
Gas - 1940
Oil on canvas
26 1/4 x 40 1/4 in
The Museum of Modern Art, New York
Office at Night, 1940
Oil on canvas
22 1/8 x 25 inches
Walker Art Center, Minneapolis, Minnesota
Nighthawks - 1942
Oil on canvas
30 x 60 in
The Art Institute of Chicago
Hotel Lobby, 1943
Oil on canvas
32 1/2 x 40 3/4 inches (82.55 x 103.51 cm)
Indianapolis Museum of Art
Rooms for Tourists - 1945
Oil on canvas
30x 40 in
Yale University Art Gallery, New Haven, Connecticut
El Palacio - 1946
Watercolor on paper
20 3/4 x 28 5/8 in
Whitney Museum of American Art, New York
Approaching a City, 1946
Oil on canvas
27 1/8 x 36 in
The Phillips Collection, Washington D.C.
Pennsylvania Coal Town - 1947
Oil on canvas
28 x 40 in
Butler Institute of American Art, Youngstown, Ohio
Summer Evening, 1947
Oil on canvas
30 x 42 inches
Private collection
Seven A.M., 1948
Oil on canvas
30 x 40 inches (76.20 x 101.60 cm)
Private collection
Rooms by the Sea - 1951
Oil on canvas
29 x 40 inches
Yale University Art Gallery, New Haven, Connecticut
Morning Sun - 1952
Oil on canvas
28 1/8 x 40 1/8 in
Columbus Museum of Art, Ohio
Hotel By A Railroad, 1952
Oil on canvas
31 1/4 x 40 1/8 inches (79.38 x 101.98 cm)
Private collection
Western Motel, 1957
Oil on canvas
Yale University Art Gallery, Hartford, Connecticut
Sunlight in a Cafeteria, 1958
Oil on canvas
40 3/16 x 60 1/8 in. (102.1 x 152.7 cm)
Yale University Art Gallery, New Haven, Connecticut
Second Story Sunlight - 1960
Oil on canvas
40 x 50 in
Whitney Museum of American Art, New York
People In The Sun, 1960
Oil on canvas
40 1/8 x 60 1/8 inches (101.98 x 152.78 cm)
Private collection
Sun in an Empty Room, 1963
Oil on canvas
28 3/4 x 39 1/2 inches
Private collection
Chair Car - 1965
Oil on canvas
40 x 50 inches
Private collection
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Edward Hopper é o poeta da solidão. No seu quadro mais conhecido (Nighthawks - 1942), três clientes encontram-se embrenhados nos seus próprios pensamentos, sentados no Phillies, um restaurante fora de horas na esquina de uma rua deserta. Só o empregado parece animado, enquanto se inclina para preparar uma bebida. A cor viva do interior contrasta com a enigmática luz nocturna da rua. Todo o cenário parece imbuído de um tom ameaçador e de suspense, como se estivesse para acontecer algo. Hopper disse desta obra: «Não a vi como especialmente solitária... Inconscientemente, talvez, estava a pintar a solidão de uma grande cidade.» Hopper nutria um fascínio pelo cinema e esta obra inspira-se claramente nesse meio., tanto no que diz respeito ao tema como às técnicas de composição. Através dos efeitos da luz ambiente e da estranha perspectiva, esta situação banal adquire uma natureza agourenta. Pintadas num estilo figurativo realista e sempre abordando temas da vita quotidiana, as obras de Hopper captam a solidão e o isolamento da vida na América. Edward Hopper nasceu em Nova Iorque em 1882 e morreu em 1967, nessa cidade.
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Edward Hopper was an American painter whose highly individualistic works are landmarks of American realism. His paintings embody in art a particular American 20th-century sensibility that is characterized by isolation, melancholy, and loneliness. Hopper was born on July 22, 1882, in Nyack, New York, and studied illustration in New York City at a commercial art school from 1899 to 1900. Around 1901 he switched to painting and studied at the New York School of Art until 1906, largely under Robert Henri. He made three trips to Europe between 1906 and 1910 but remained unaffected by current French and Spanish experiments in cubism. He was influenced mainly by the great European realists—Diego Velazquez, Francisco de Goya, Honore Daumier, Edouard Manet—whose work had first been introduced to him by his New York City teachers. His early paintings, such as Le pavillon de flore (1909, Whitney Museum of American Art, New York City), were committed to realism and exhibited some of the basic characteristics that he was to retain throughout his career: compositional style based on simple, large geometric forms; flat masses of color; and the use of architectural elements in his scenes for their strong verticals, horizontals, and diagonals.Although one of Hopper's paintings was exhibited in the famous Armory Show of 1913 in New York City, his work excited little interest, and he was obliged to work principally as a commercial illustrator for the next decade. In 1925 he painted House by the Railroad (Museum of Modern Art, New York City), a landmark in American art that marked the advent of his mature style. The emphasis on blunt shapes and angles and the stark play of light and shadow were in keeping with his earlier work, but the mood—which was the real subject of the painting—was new: It conveyed an atmosphere of all-embracing loneliness and almost eerie solitude. Hopper continued to work in this style for the rest of his life, refining and purifying it but never abandoning its basic principles. Most of his paintings portray scenes in New York or New England, both country and city scenes, all with a spare, homely quality—deserted streets, half-empty theaters, gas stations, railroad tracks, rooming houses. One of his best-known works, Nighthawks (1942, Art Institute of Chicago), shows an all-night café, its few uncommunicative customers illuminated in the pitiless glare of electric lights. Although Hopper's work was outside the mainstream of mid-20th-century abstraction, his simplified schematic style was one of the influences on the later representational revival and on pop art. He died May 15, 1967, in New York City.
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