Gorky, Arshile - Abstracto-Expressionismo
Self-portrait, 1926
Pastel and graphite on paper
36,2 x 28,6 cm
Private collection
Portrait of the Artist and His Mother, 1926/1936
Graphite on squared paper
61 x 48.3 cm (24 x 19 in.)
The National Gallery of Art, Washington D.C.
The Artist and His Mother, c. 1926-c. 1942
Oil on canvas
152.3 x 127 cm (60 x 50 in.)
The National Gallery of Art, Washington D.C.
The Artist and his Mother, c. 1926-36
Oil on canvas
152 x 127 cm
Whitney Museum of American Art, New York
Landscape, 1927-28
Oil on canvas
76,2 x 96,5 cm
Private collection
Still Live, 1928
Oil on ´canvas
51,1 x 61 cm
Private Collection
Study for Nighttime, Enigma and Nostalgia, c. 1930-34
Ink on paper
19x24"
Painter and Model (The Creation Chamber), 1931
Lithograph on paper
11 1/4 x 9 7/8 in. (28.6 x 25.1 cm) irregular
Smithsonian American Art Museum, Washington D.C.
Untitled (Ecorché), c. 1932
Pencil on paper
24 3/4 x 19 1/8" (62.9 x 48.7 cm)
Museum of Modern Art, New York City
Nighttime, Enigma, and Nostalgia, c. 1932/1934
Pen and black and brown inks over graphite on wove paper
55.9 x 72 cm (22 x 28 3/8 in.)
The National Gallery of Art, Washington D.C.
Organization, 1933-1936
Oil on canvas
127 x 152 cm (50 x 59 13/16 in.)
The National Gallery of Art, Washington D.C.
Leonora Portnoff, 1935
Pencil on paper
12 1/2 x 9 1/2" (32 x 24.3 cm)
Museum of Modern Art, New York City
Woman with Necklace (Studio version), 1936
Oil on canvas
20 x 16 1/8”
University of Kentucky Art Museum
Still Live on Table, 1936-37
Oil on canvas
137,2 x 162,6 cm
Private collection
Composition, 1936-39
Oil on canvas
29-3/4 x 35-3/4 in. (75.6 x 90.8 cm)
Minneapolis Institute of Arts, Minnesota
Self-portrait, 1937
Oil on canvas
141 x 86,4 cm
Private collection
Portrait, 1938
Oil on canvas
101,6 x 132,1 cm
Private collection
Garden in Sochi, 1941
Oil on canvas
44 1/4 x 62 1/4" (112.4 x 158.1 cm)
Museum of Modern Art, New York City
Garden in Sochi, 1941
Gouache
Flowers, 1942
Oil on canvas
40,6 x 30,5 cm
Private collection
Garden in Sochi, 1943
Oil on canvas
78.7 x 99 cm
Museum of Modern Art, New York City
Study for The Liver is the Cock's Comb, 1943
Crayon and pencil on paper
19 x 24 3/4 in. (48.3 x 62.9 cm)
The Museum of Contemporary Art, Los Angeles
Waterfall, 1943
Oil on canvas
1537 x 1130 mm frame: 1713 x 1308 x 87 mm
Tate Gallery, London
Untitled, summer, 1944
Oil on canvas
167 x 178.2 cm
Guggenheim Museum, New York City
The Leaf of the Artichoke Is an Owl, 1944
Oil on canvas
28 x 35 7/8" (71.1 x 91.2 cm)
Museum of Modern Art, New York City
Water of the Flowery Mill, 1944
Oil on canvas
42 1/4 x 48 3/4 in. (107.3 x 123.8 cm)
The Metropolitan Museum of Art, New York City
Virginia Landscape, 1944
Graphite and wax crayon on wove paper
55.8 x 76.2 cm (22 x 30 in.)
The National Gallery of Art, Washington D.C.
One Year the Milkweed, 1944
Oil on canvas
94.2 x 119.3 cm (37 x 47 in.)
The National Gallery of Art, Washington D.C.
Good Hope Road, 1945
Oil on canvas
86.68 x 111.76 cm (34 1/8 x 44 in.)
Museum of Fine Arts, Boston
Good hope II (Pastoral), 1945
Oil on canvas
64,7 x 82,8 cm
Thyssen-Bornemisza Museum, Madrid, Spain
Diary of a Seducer, 1945
Oil on canvas
50 x 62" (126.7 x 157.5 cm)
Museum of Modern Art, New York City
Pastoral, 1945
Oil on canvas
64,7 x 82,8 cm
Foundation Tyssen-Bornemisza, Lugano, Switzerland
The Plow and the Song, 1946
Graphite, charcoal, crayon, pastel and oil on wove paper
122 x 150.3 cm (47 7/8 x 59 3/8 in.)
The National Gallery of Art, Washington D.C.
Charred Beloved II 1946
Oil on canvas
137 x 101.6 cm
National Gallery of Canada, Ottawa
Study for Agony, 1947
Oil on canvas
91,4 x 121,9 cm
Private collection
Agony. 1947
Oil on canvas
40 x 50 1/2" (101.6 x 128.3 cm)
Museum of Modern Art, New York City
Betrothal I, 1947
Oil on paper
51 x 40 in. (129.5 x 101.6 cm)
The Museum of Contemporary Art, Los Angeles
Betrothal II, 1947
Oil on canvas
128,9 x 96,5 cm
The Whitney Museum of American Art. Nueva York City
The Betrothal II, 1947
Oil on canvas
129 x 96.7 cm
Whitney Museum of American Art, New York
Year after Year, 1947
Oil on canvas
86,4 x 99,1 cm
Private collection
The Last Painting, 1948
Oil on canvas
78,1 x 101 cm
Foundation Thyssen-Bornemisza, Lugano, Switzerland
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Em "One Year the Milkweed, 1944", pintura intensa e emocional, a tinta parece assumir vida própria, escorrendo e espalhando-se pela tela em camadas de cor púrpura, cinzenta e castanha. Estas cores formam um véu abstracto, através do qual se podem discernir contornos de formas orgânicas: flores, plantas leitosas e casulos. As imagens estendem-se através de toda a superfície da tela, atraíndo-nos para o quadro. A utilização de formas orgânicas abstractas nesta composição relaciona-se com o Surrealismo e a linguagem abstracta de Miró e Kandinsky, ao passo que a forma gestual de pintar lançaria as bases para o Expressionismo Abstracto americano. Forçado a abandonar a Arménia, Gorky chegou aos Estados Unidos em 1920. Os mitos e arte popular da Arménia iriam influenciar a sua obra até ao fim. Os seus últimos tempos de vida foram marcados por uma série de tragédias: um incêndio no seu estúdio que lhe destruiu a maior parte do seu trabalho, um acidente de carro em que partiu o pescoço. Como consequência, suicidou-se em 1948. Arshile Gorky nasceu em Kornkom Vari (ARM) em 1905 e morreu em Sherman, CT (EUA) em 1948.
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Arshile Gorky was born Vosdanik Adoian in the village of Khorkom, province of Van, Armenia, on April 15, 1904. The Adoians became refugees from the Turkish invasion; Gorky himself left Van in 1915 and arrived in the United States about March 1, 1920. He stayed with relatives in Watertown, Massachusetts, and with his father, who had settled in Providence, Rhode Island. By 1922 he lived in Watertown and taught at the New School of Design in Boston. In 1925 he moved to New York and changed his name to Arshile Gorky. He entered the Grand Central School of Art in New York as a student but soon became an instructor of drawing; from 1926 to 1931 he was a member of the faculty. Throughout the 1920s Gorky�s painting was influenced by Georges Braque, Paul Cézanne, and, above all, Pablo Picasso. In 1930 Gorky's work was included in a group show at the Museum of Modern Art in New York. During the thirties he associated closely with Stuart Davis, Willem de Kooning, and John Graham; he shared a studio with de Kooning late in the decade. Gorky's first solo show took place at the Mellon Galleries in Philadelphia in 1931. From 1935 to 1937 he worked under the WPA Federal Art Project on murals for Newark Airport. His involvement with the WPA continued into 1941. Gorky's first solo show in New York was held at the Boyer Galleries in 1938. The San Francisco Museum of Art exhibited his work in 1941. In the 1940s he was profoundly affected by the work of European Surrealists, particularly Joan Miró, André Masson, and Matta. By 1944 he met André Breton and became a friend of other Surrealist emigrés in this country. Gorky's first exhibition at the Julien Levy Gallery in New York took place in 1945. From 1942 to 1948 he worked for part of each year in the countryside of Connecticut or Virginia. A succession of personal tragedies, including a fire in his studio that destroyed much of his work, a serious operation, and an automobile accident, preceded Gorky's death by suicide on July 21, 1948, in Sherman, Connecticut.
Guggenheim Collection Biography
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on Terça-feira, Março 20, 2007 at 5:08 PM.
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11:29 PMótimo blog! ótima compilação de quadros do Gorky!
Parabéns
Heitor - Juiz de Fora, Brasil
12:59 AM
muito bom! estou fazendo um trabalho sobre Gorky, vc poderia me mandar seu email????
o meu é lucianasq@ig.com.br
obrigada!
6:19 PM
Obrigado.
Quanto ao meu e.mail, Eledhwen, está bem à vista, no blog. Contudo, repito-o : jmmg@netcabo.pt
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