Kupka, František - Futurismo / Abstraccionismo
Admiration, c. 1899
Gouache, charcoal, watercolor, crayon, and pastel on paper
15 1/2 x 15" (39.4 x 37.8 cm)
Museum of Modern Art, New York City
The Beginnings of Life, 1900-1903
Color aquatint
New York Public Library
The Way of Silence, 1900 - 1903
Oil on canvas
Public collection
View from a Carriage Window, c. 1901
Gouache and watercolor on paper with cardboard overlay, with cut out overlay
19 7/8 x 23 5/8" (50.6 x 60 cm)
Museum of Modern Art, New York City
Bather, 1906
Pastel and charcoal on gray paper
11 1/2 x 15 3/4" (29.1 x 39.8 cm)
Museum of Modern Art, New York City
Girl with a Ball, c. 1908
Pastel on paper
24 1/2 x 18 3/4" (62.2 x 47.5 cm)
Museum of Modern Art, New York City
Carmine nº 1, 1908
Oil on canvas
63.5 x 63.5 cm
Museé National d'Art Moderne, París
Planes by Colors, Large Nude, 1909–10
Oil on canvas
59 1/8 x 71 1/8 inches
Guggenheim Museum, New York City
L'archaïque, 1910
Oil on canvas
90 x 110 cm
Pompidou Center, Paris
Study for Amorpha, Warm Chromatic and for Fugue in Two Colors, ca. 1910–11
Pastel on paper
46.8 x 48.3 cm
Guggenheim Museum, New York City
Mme Kupka Among Verticals, 1910-11
Oil on canvas
53 3/8 x 33 5/8” (135.5 x 85.3 cm)
The Museum of Modern Art, New York City
Red and Blue Disks, 1911? (dated on painting 1911-12)
Oil on canvas
39 3/8 x 28 3/4" (100 x 73 cm)
Museum of Modern Art, New York City
Creation, 1911-1920
Oil on canvas
115 x 125 cm
Národní Galerie, Prague
Study with Green, c. 1912
Chalk and gouache on paper
7 5/8 x 9 3/4" (19.1 x 24.5 cm)
Museum of Modern Art, New York City
Compliment, 1912
Oil on canvas
89 x 108 cm
Pompidou Center, Paris
Amorpha: Fugue in Two Colors, 1912
Gouache and ink on paper
14 1/8 x 14 7/8" (35.9 x 37.8 cm)
Museum of Modern Art, New York City
Amorpha: Fugue in Two Colors, 1912
Gouache and ink on paper
12 7/8 x 14 1/2" (32.7 x 36.8 cm)
Museum of Modern Art, New York City
Amorpha: Fugue in Two Colors, 1912
Gouache and ink on paper
11 1/8 x 11 5/8" (28.3 x 29.5 cm)
Museum of Modern Art, New York City
Positioning of Mobile Graphic Elements I, 1912-1913
Oil on canvas
200 x 194 cm
Museo Thyssen-Bornemisza, Madrid
Organization of Graphic Motifs II, 1912-13
Oil on canvas
200 x 194 cm
National Gallery of Art, Washington D.C.
Vertical Plains Blue and Red, 1913
Oil on canvas
72 cm (28.35 in.) x 80 cm (31.5 in.)
Private collection
Vertical and Diagonal Planes, ca. 1913–14
Oil on canvas
24 1/8 x 19 3/4 in. (61.3 x 50.2 cm)
The Metropolitan Museum of Art, New York City
The Cathedral, 1913-1914
Oil on canvas
180 x 150 cm
Private collection
Blue, 1913-1914
Oil on canvas
73 x 60 cm
Národní Galerie, Prague
The Colored One, ca. 1919–20
Oil on canvas
25 5/8 x 21 1/4 inches
Guggenheim Museum, New York City
Around a Point, ca. 1920-25
Watercolor, gouache, and graphite on paper
20.1 x 23.8 cm
Guggenheim Museum, New York City
Lignes animées, between 1920 and 1933
Gouache and ink on paper
2,00 x 1,93 m
Pompidou Center, Paris
Composition in blue, 1925
OIl on canvas
46 x 61 cm
Národní Galerie. Prague
Untitled, 1928
Gouache, watercolor and pencil on paper
7 3/4 x 12 1/4" (19.5 x 31 cm)
Museum of Modern Art, New York City
Machine comique, 1928
Oil on canvas
74 x 84 cm
Pompidou Center, Paris
Syncopated Accompaniment (staccato), c. 1928-1930
Oil on canvas
73 x 100,4 cm
Museo Thyssen-Bornemisza, Madrid
Musique, 1936
Oil on canvas
93 x 85 cm
Pompidou Center, Paris
Replica of Fugue in Two Colors: Amorpha, 1912 (1946)
Gouache, ink and pencil on paper
9 x 9 5/8" (22.9 x 24.3 cm)
Museum of Modern Art, New York City
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Pintor checo, Frantisek Kupka nasceu em 1871 em Opocno, na Checoslováquia. Estudou na Escola de Artes Aplicadas de Jaromer e interessa-se pelo desenho ornamental. Mais tarde ingressou na Academia de Belas Artes de Praga, onde recebeu uma formação académica que desenvolveu, após 1892, na Academia de Viena, realizando então algumas composições alegóricas. Mudou-se mais tarde para Paris, onde trabalhou como ilustrador. Desde 1906 começou a aprofundar os estudos sobre a cor e as teorias de Newton e de Goethe e produziu obras de intenso colorido. Formulou teorias sobre a possibilidade de uma arte não imitativa, autónoma relativamente à realidade e portadora de intensa emotividade. Tinha uma grande inclinação pelo espiritualismo e pelo oculto, assumindo e propondo uma força espiritual para as diferentes cores e formas abstractas. A Kupka deve-se a paternidade de um das primeiras obras abstracta, sendo a primeira delas tradicionalmente atribuída a Kandinsky . Este trabalho, uma aguarela datada de 1910, apresenta uma gramática de formas geométricas puras, recusando elementos descritivos ou qualquer apoio na realidade física, e tendo como elementos básicos as verticais, símbolo de crescimento, e as horizontais, significando a invariabilidade. O seu percurso foi marcado pelo individualismo, embora houvesse tentativas para o integrar no movimento cubista. Era, no entanto, mais evidente uma filiação no movimento futurista, pelo seu interesse na representação do movimento. Depois da guerra iniciou uma série de pinturas que constituem o "ciclo orgânico" e realizou a primeira exposição individual em Paris, em 1921. Dez anos mais tarde foi convidado a integrar a associação artística "Abstraction-Création", continuando com as suas experiências no campo da abstracção e aprofundando o estudo dos aspectos puramente plásticos. Morreu em Puteaux em 1957. Só desde os anos 60, após a sua morte, é reconhecido no papel que teve no desenvolvimento da arte abstracta.
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Frantisek Kupka 1871-1957 - School of Paris painter and wood-engraver; a pioneer of abstract art. Born in Opocno in Eastern Bohemia. Apprenticed as a youth to a master saddler, who initiated him in spiritualism; became a medium. Began to paint and received his first instruction from Studnicka at Jaromer. Afterwards studied at Prague Academy 1889-92 under the Nazarene painter Sequens and at the Vienna Academy 1892-3 under Eisenmenger, also a Nazarene. Influenced by Czech folk art, abstract ornamental patterning and Theosophy. Settled in 1896 in Paris, where he worked first primarily as satirical draughtsman for magazines such as L'Assiette au Beurre and as book illustrator. A friend and neighbour of Jacques Villon from 1901, first in Montmartre, then from 1906 in Puteaux on the outskirts of Paris. His paintings influenced by Symbolism, then Fauvism; experimented from 1909 with ways of rendering figures in motion inspired by high-speed photography. From 1911 his work became abstract with cosmic themes and rhythms, intersecting arabesques, rectilinear vertical planes, etc. First Paris one-man exhibition at the Galerie Povolozky 1921. Wrote a book on his theories, La Cr-23ation dans les Arts Plastiques (first published 1923). Appointed professor by Prague Academy in 1922, to introduce Czech students in Paris to French culture. Co-founder of Abstraction-Cr-23ation 1931, and adopted a more geometrical and classical abstract style. Died in Puteaux.
Tate Gallery Catalogue
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on Quinta-feira, Março 15, 2007 at 11:02 PM.
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8:45 PMO trabalho deste pintor explicita muito bem a passagem dos finais do séc. XIX, ainda sob a marca do Simbolismo, para o início do séc. XX, passando pelo expressonismo antes de chegar à estética futurista da velocidade e da mecânica.
Ainda bem que, além de nos dar a conhecer tantos artistas pláticos, os apresenta cronilogicamente. Tornei-me uma visitante assídua deste blog.
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