Stella, Frank - Arte Minimalista / Arte Abstracta
Astoria, 1958
Enamel on canvas
8' 3/4" x 8' 3/4" (245.7 x 245.7 cm)
The Museum of Modern Art, New York City
Seward Park, 1958
Oil on canvas
215.5 x 278 cm
Kunstmuseum Basel, Switzerland
Pagosa Springs, 1960
Copper metallic (enamel?) and pencil on canvas
99 3/8 x 99 1/4 in. (252.3 x 252.1 cm.)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Fez (2), 1964
Fluorescent alkyd on canvas
6' 7 1/8" x 6' 7 1/8" (195.6 x 195.6 cm)
The Museum Of Modern Art, New York City
Empress of India, 1965
Metallic powder in polymer emulsion paint on canvas
6' 5" x 18' 8" (195.6 x 548.6 cm)
The Museum of Modern Art, New York City
Conway III, 1966
Fluorescent alkyd resin and epoxy paint on canvas
80-3/4 x 122-3/4 in. (205.1 x 311.8 cm)
Norton Simon Museum, Pasadena, California
Union I, 1966
Alkyd fluorescent and epoxy paints on canvas
104 1/2 x 173 3/4 x 4 1/8 in. (265.4 x 441.3 x 10.5 cm)
Detroit Institute of Arts, Michigan
Wolfeboro II, 1966
Fluorescent alkyd and epoxy on canvas
160 x 100 inches
Dayton Art Institute, Ohio
Harran II, 1967
Polymer and fluorescent polymer paint on canvas
120 x 240 inches
Guggenheim Museum, New York City
Marriage of Reason and Squalor, 1967
Lithograph
14 7/8 x 21 3/4 in
The Phillips Collection, Washington D.C.
Darabjerd III, 1967
Acrylic on canvas
120 1/8 x 180 1/4 in. (305.1 x 457.8 cm.)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Ctesiphon I, 1968
Polymer and polymer fluorescent paint on canvas
120 x 240 in. (304.8 x 609.6 cm)
The Museum of Contemporary Art, Los Angeles
Empress of India I, 1968
Color lithograph
11 1/8 x 32 3/8 in. (28.26 x 82.23 cm) (image) 16 1/8 x 35 3/8 in.
Minneapolis Institute of Arts, Minnesota
Gray Scramble (Single) VIII, 1968
Polymer and fluorescent polymer paint on canvas
175.2cm x 175.2cm x 7.5cm
Cleveland Museum of Art, Ohio
Tahkt-I-Sulayman Variation II, 1969
Acrylic on canvas
120 x 240 in. (304.8 x 609.6 cm)
Minneapolis Institute of Arts, Minnesota
The Metropolitan Museum of Art 1870-1970, 1970
Color offset lithograph poster
Fine Arts Museums of San Francisco
Raqqa II, 1970
Synthetic polymer and graphite on canvas
120 x 300 in. (304.8 x 762 cm)
North Carolina Museum of Art
Khurasan Gate variation II, 1970
Painting synthetic polymer paint on canvas
304.8 x 914.4 x 7.6cm stretcher
Art Gallery of New South Wales, Sydney, Australia
Flin Flon VI, 1970
Polymer and fluorescent polymer on canvas
Birmingham Museum of Art, Alabama
Michapol I (Polish Village Series), 1971
Mixed media on canvas
94 x 102 in. (238.8 x 259.1 cm)
The Museum of Contemporary Art, Los Angeles
Newfoundland Series, River of Ponds I, 1971
11-color lithograph
96.5 x 96.5 cm (38 x 38 in.)
The National Gallery of Art, Washington D.C.
Felsztyn I , 1971
Acrylic, felt and canvas on canvas
Max. h. 223 cm., max. w. 276 cm.
Princeton University Art Museum, New Jersey
Double Gray Scramble, 1973
Screenprint, composition
23 3/8 x 43 1/8" (59.4 x 109.5 cm); sheet: 29 x 50 3/4" (73 x 128.9 cm)
The Museum of Modern Art, New York City
Pilica II, 1973
Mixed media assemblage on wood
110 3/4 x 94 3/4 in
The Phillips Collection, Washington D.C.
Sunapee, 1974
14-color lithograph and screenprint
56.5 x 43.8 cm (22 1/4 x 17 1/4 in.)
The National Gallery of Art, Washington D.C.
Botafogo II, 1975
Paint on etched aluminum
84 x 121 in.
Corcoran Gallery of Art, Washington D.C.
Eskimo Curlew, 1976
Mixed media on aluminum
size (cm): 250(w) x 322(h) x 46(d)
size (inch): 97.5(w) x 125.625(h) x 18(d)
Portland Art Museum, Oregon
Sinjerli variation III, 1977
Print colour lithograph
81.1 x 107.3cm sheet
Art Gallery of New South Wales, Sydney, Australia
Sinjerli variation IV, 1977
Print colour lithograph
81.2 x 107.3cm sheet
Art Gallery of New South Wales, Sydney, Australia
Inaccessible Island Rail from the Exotic Bird Series, 1977
47 color lithograph/screenprint, edition 21/50
33 7/8 x 45 7/8 in. (86 x 116.5 cm)
The Museum of Contemporary Art, Los Angeles
Steller's Albatross, 1977
Color lithograph and serigraph on paper
32 15/16 x 44 15/16 in. (83.6 x 104.1 cm.)
Smithsonian American Art Museum, Washington D.C.
Sinjerli Variation Squared with Colored Ground II, from the series Sinjerli Variations Squared with Colored Grounds Series, 1980
Offset color lithograph and serigraph on paper
32 x 32 in. (81.3 x 81.3 cm)
Smithsonian American Art Museum, Washington D.C.
From Polar Co-ordinates for Ronnie Peterson (P07404-P07405; incomplete), I 1980
Screenprint and lithograph on paper
978 x 965 mm
Tate Gallery, London
From Polar Co-ordinates for Ronnie Peterson (P07404-P07405; incomplete), II 1980
Screenprint and lithograph on paper
978 x 965 mm
Tate Gallery, London
Jarama II, 1982
Mixed media on etched magnesium
319.9 x 253.9 x 62.8 cm (126 x 100 x 24 3/4 in.)
The National Gallery of Art, Washington D.C.
Stilfontein, 1982
Honeycomb aluminum
103 x 109 x 64 in. (261.6 x 276.9 x 162.6 cm)
The Museum of Contemporary Art, Los Angeles
Had Gadya: Back Cover, 1982-4
Lithograph, linocut, screenprint and hand colouring on paper
1450 x 1230 mm
Tate Gallery, London
Shards III, 1983
Mixed media on aluminum
136½ x 119 3/4 x 24½ in. 346.7 x 304.2 x 62.2 cm
Detroit Institute of Arts, Michigan
Pergusa Three from Circuits, 1983
Etching and woodcut
composition: 65 7/8 x 51 3/4" (167.4 x 131.5 cm); sheet: 68 x 52 1/4" (172.8 x 132.7 cm)
The Museum of Modern Art, New York City
Salta nel mio Sacco, 1984
Mixed media
3735 x 3250 x 390 mm
Tate Gallery, London
Quaqua! Attaccati La!, 1985
Oil, urethane enamel, flourescent alkyd, acrylic and printing ink on canvas, etched magnesium, aluminum and fiberglass
163 3/4 x 179 1/2 x 21 1/8 in. (415.9 x 455.9 x 53.6 cm.)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
The Spirit-Spout, 1988
Oil and enamel on aluminum, fiberglass, corrugated aluminum, wood, and metal fixtures
125 x 110 x 43 in. (317.5 x 279.4 x 109.22 cm)
Oklahoma City Art Museum, Oklahoma
Cetology (C29, 1X), 1990
Mixed media on aluminum and magnesium
60 x 82 x 32 inches
Kemper Museum of Contemporary Art, Kansas City, Missouri
The Prophet (D16, 2X), 1990
Mixed media on aluminum
161 1/2 x 109 3/4 x 68 inches
Kemper Museum of Contemporary Art, Kansas City, Missouri
Gattenom, 1996
Stainless steel
15 3/4 x 21 3/8 x 13 1/2 in. (40 x 54.3 x 34.3 cm) (without base)
Minneapolis Institute of Arts, Minnesota
Juam, 1997
Relief, etching, aquatint, lithograph, screenprint, woodcut and engraving on paper
2375 x 1545 mm
Tate Gallery, London
Roncador, 1998
Lithograph, screenprint, etching and relief on paper
542 x 554 mm
Tate Gallery, London
Iffish, 1998
Lithograph, screenprint, etching, aquatint, relief and engraving on paper
556 x 536 mm
Tate Gallery, London
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Na composição "Jarama II, 1982", curvas serpenteantes decoradas com padrões vistosos projectadas na parede. Sendo típico das obras de Stella dos anos 80, este relevo violentamente colorido obriga-nos a pensar no ponto em que um quadro se torna uma escultura ou uma forma curva e abstracta se torna uma cobra. Este brilhante quadro tridimensional está em contraste com as primeiras obras do autor nos anos 50 e 60, nas quais ele experimentou como poderia ser a pintura puramente abstracta e minimalista. Os resultados foram quadros monocromáticos cuja simetria total realçava a planura da tela. Importantes para o desenvolvimento do Minimalismo, estas obras foram seguidas por uma famosa série de telas grandes e com formas invulgares onde riscas monocromáticas imitavam a forma da tela. O que unifica as várias obras de Stella são as questões que ele levanta sobre a natureza da própria pintura e a sua tentativa de fazer com que esta deixe de ser uma alusão a uma realidade externa, fazendo do veradeiro objecto fisico o centro da sua atenção. Frank Stella nasceu em Malden, MA (EUA) em 1936.
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Frank Stella was born on May 12, 1936, in Malden, Massachusetts. After attending high school at Phillips Academy in Andover, Massachusetts, he went on to Princeton University, where he painted and majored in history. Early visits to New York art galleries would prove to be an influence upon his artistic development. Stella moved to New York in 1958 after his graduation. Stella’s art was recognized for its innovations before he was twenty-five. In 1959, several of his paintings were included in Three Young Americans at the Allen Memorial Art Museum at Oberlin College, as well as in Sixteen Americans at the Museum of Modern Art in New York (1959–60). Stella joined dealer Leo Castelli’s stable of artists in 1959. In his early series, including the Black Paintings (1958–60), Aluminum Paintings (1960), and Copper Paintings (1960–61), Stella cast aside illusionistic space for the physicality of the flat surface and deviated from the traditional rectangular-shaped canvas. Stella married Barbara Rose, later a well-known art critic, in 1961. Stella’s Irregular Polygon canvases (1965–67) and Protractor series (1967–71) further extended the concept of the shaped canvas. Stella began his extended engagement with printmaking in the mid-1960s, working first with master printer Kenneth Tyler at Gemini G.E.L. In 1967, Stella designed the set and costumes for Scramble, a dance piece by Merce Cunningham. The Museum of Modern Art in New York presented a retrospective of Stella’s work in 1970. During the following decade, Stella introduced relief into his art, which he came to call “maximalist” painting for its sculptural qualities. Ironically, the paintings that had brought him fame before 1960 had eliminated all such depth. After introducing wood and other materials in the Polish Village series (1970–73), created in high relief, he began to use aluminum as the primary support for his paintings. As the 1970s and 1980s progressed, these became more elaborate and exuberant. Indeed, his earlier Minimalism [more] became baroque, marked by curving forms, Day-Glo colors, and scrawled brushstrokes. Similarly, his prints of these decades combined various printmaking and drawing techniques. In 1973, he had a print studio installed in his New York house. From the mid-1980s to the mid-1990s, Stella created a large body of work that responded in a general way to Herman Melville’s Moby Dick. During this time, the increasingly deep relief of Stella’s paintings gave way to full three-dimensionality, with sculptural forms derived from cones, pillars, French curves, waves, and decorative architectural elements. To create these works, the artist used collages or maquettes that were then enlarged and re-created with the aid of assistants, industrial metal cutters, and digital technologies. In the 1990s, Stella began making free-standing sculpture for public spaces and developing architectural projects. In 1992–93, for example, he created the entire decorative scheme for Toronto’s Princess of Wales Theatre, which includes a 10,000-square-foot mural. His 1993 proposal for a kunsthalle and garden in Dresden did not come to fruition. His aluminum bandshell, inspired by a folding hat from Brazil, was built in downtown Miami in 1999. In 2001, a monumental Stella sculpture was installed outside the National Gallery of Art in Washington, D.C. Stella’s work was included in several important exhibitions that defined 1960s art, among them the Solomon R. Guggenheim Museum’s The Shaped Canvas (1964–65) and Systemic Painting (1966). His art has been the subject of several retrospectives in the United States, Europe, and Japan. Among the many honors he has received was an invitation from Harvard University to give the Charles Eliot Norton lectures in 1983–84. Calling for a rejuvenation of abstraction by achieving the depth of baroque painting, these six talks were published by Harvard University Press in 1986. The artist continues to live and work in New York.
Guggenheim Collection - Stella Biography
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6:06 PMO prémio Blog Com Tomates, para o qual o L'Avion Rose foi agora nomeado "pela regular promoção do 'Belo' alternativo", é onde me leva esta introdução. Agradeço ao nomeante (o Maurice) e, embaraçado, correspondo com 5 novas nomeações. E desta vez os nomeados são:
1º Gayya Kuyusu (porque daqui surgiu a inspiração para L'Avion Rose); 2º O Século Prodigioso (é uma rica colecção viva da arte do nosso tempo); 3º Meatcute (quer parecer menos comercial do que é, mas os trabalhos valem as visitas); 4º Analizarte (um blogue semi-profissional para melhor se entender a arte); 5º Rita Carmo Fotografia (porque gosto das fotografias que têm uma vida própria, algo de revelação). Parabéns!
3:40 PM
Que bem se está neste blog! Tanta beleza junta! Parabéns!
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Maravilhoso o espaço e a música. Lindo... lindo! Voltarei mais vezes para ler as postagens anteriores. E, por favor, alguém me diga: que música é essa e de quem é essa voz deliciosa?
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A música sobre a qual eu gostaria de obter mais informações é a que começa dizendo: Jesus, help me... Obrigada!
3:21 PM
As an artist myself, I enjoy reading Philip Koch's sensitive writing about Edward Hopper and Andrew Wyeth, who along
with Whistler and Rothko, are my favorite American painters.
I don't live in the United States but have traveled and passed a short time there. But even with the little time spent
in your beautiful country, especially in small-town America, I can relate to some of the poetical feel that Hopper and
Wyeth had captured in their art, which is for me part of the attraction of their paintings.
Browsing at wahooart.com the other day, as I do now and then, I find a good selection of Edward Hopper's work,
http://EN.WahooArt.com/@/EdwardHopper ,in the
big archive of Western Art, that customers can order online for canvas prints and even hand-painted, oil-painting
reproductions can be made and sent to them.
Hopper's surrealistic and depersonalized world is there again. Timeless, yes, as it is still there now in the roadside cafes
and diners that I ate at all over America.
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