Feininger, Lyonel - Cubismo / Expressionismo
The White Man, 1907
Oil on canvas
68,3 x 52,3 cm
Museo Thyssen-Bornemisza, Madrid
Windmill on a Hilltop, 1910
Color lithograph on paper
10 x 8 3/8 in. (25.4 x 21.4 cm)
Smithsonian American Art Museum, Washington D.C.
Uprising, 1910
Oil on canvas
41 1/8 x 37 5/8" (104.4 x 95.4 cm)
The Museum of Modern Art, New York City
Town, 1910
Oil on canvas
36 cm (14.17 in.) x 33 cm (12.99 in.)
Private collection
The Disparagers, 1911
Watercolor and ink on paper
9 1/2 x 12 3/8" (24.1 x 31.4 cm)
The Museum of Modern Art, New York City
The Bicycle Race, 1912
Oil on canvas
80.3 x 100.3 cm (31 5/8 x 39 1/2 in.)
The National Gallery of Art, Washington D.C.
Gelmeroda II, 1913
Oil on canvas
Gelmeroda III, 1913
Oil on canvas
100.50 x 80.00 cm
National Galleries of Scotland, Edinburgh
Jesuits II, 1913
Oil on canvas
28 3/4 x 23 5/8 in. (73 x 60 cm)
Saint Louis Art Museum, Missouri
The Bridge I, 1913
Oil on canvas
80 x 100 cm
George Washington University Gallery of Art, St. Louis, MO
Gelmeroda IV, 1915
Oil on canvas
Gelmeroda VII, 1915
Oil on canvas
Woman's Head with Green Eyes, 1915
Oil on canvas
28 x 24 1/2 in. (71.1 x 62.2 cm)
Saint Louis Art Museum, Missouri
Gross-Kromsdorf I, 1915
Oil on canvas
39 x 31 1/2 in. (99.1 x 80.0 cm)
Minneapolis Institute of Arts, Minnesota
Street in Arceuil, 1915
Watercolor, ink, and charcoal on paper
11 1/4 x 9 3/8" (28.5 x 24 cm)
The Museum of Modern Art, New York City
Alley, 1915
Oil on canvas
The Green Bridge II, 1916
Oil on canvas
49 3/8 x 39 1/2 in. (125.4 x 100.3 cm)
North Carolina Museum of Art, Raleigh
Zirchow VI, 1916
Oil on canvas
32 3/16 in. x 39 9/16 in. (81.7 cm x 100.5 cm)
Art Gallery of the University of Rochester, New York
Arriving Steamship, 1917
Charcoal, India ink and pencil on tan laid paper
comp: 7-7/8 x 9-7/8 in. (20.0 x 25.1 cm)
sheet: 9-3/8 x 12-1/8 in. (23.8 x 30.8 cm)
Norton Simon Museum, Pasadena, California
Ships, 1917
Oil on canvas
71 x 85,5 cm
Museo Thyssen-Bornemisza, Madrid
Street in Paris, 1918
Woodcut
21-1/8 x 18-1/4 x in.
Smart Museum of Art at the University of Chicago
Norman Village I (Normannisches Dorf I), 1918
Oil on canvas
80 x 100 cm
Private collection
Euphoric Victory, 1918
Watercolor and pen and ink on paper
sheet 14 1/4 x 12 1/2" (36.4 x 32 )
The Museum of Modern Art, New York City
Zirchow VII, 1918
Oil on canvas
80.7 x 100.6 cm (31 3/4 x 39 3/8 in.)
The National Gallery of Art, Washington D.C.
Hohe Häuser IV, 1919
Oil/canvas
101x81 cm (39,8x31,9 in)
Private collection
Bridge V, 1919
Oil on canvas
31 5/8 x 39 1/2 inches (80.3 x 100.3 cm)
Philadelphia Museum of Art
Viaduct, 1920
Oil on canvas
100.9 x 85.7 cm
Private collection
Hopfgarten, 1920
Oil on canvas
63.5 x 81.92 cm
The Minneapolis Institute of Arts
Lady in Mauve, 1922
Oil on canvas
100,5 x 80,5 cm
Museo Thyssen-Bornemisza, Madrid
Torturm I, 1923-1926
Oil on canvas
61 x 47,5 cm
Kunstmuseum Basel, Switzerland
Gelmeroda IX, 1926
Barfüsserkirche II (Church of the Minorites II), 1926
Oil on canvas
42.75 x 36.625 x 2.5 inches
Walker Art Center, Minnesota
The Glorious Victory of the Sloop 'Maria', 1926
Oil on canvas
21 7/8 x 33 1/2 in. (55.6 x 85.1 cm)
Saint Louis Art Museum, Missouri
Village, 1927
Oil on canvas
16 7/8 x 28 1/2 in.
The Phillips Collection, Washington D.C.
Windmühle bei Usedom, 1927
Oil on canvas
h: 16.8 x w: 25.9 in / h: 42.7 x w: 65.8 cm
Gelmeroda XI, 1928
Oil on canvas
Gelmeroda XII, 1929
Oil on canvas
Market Church in Halle, 1930
Oil on canvas
102 x 80.4 cm
Pinakothek der Moderne - Staatsgalerie Moderner Kunst, Munich
Ober-Weimar, 1931
Oil on canvas
90 x 100 cm
Private collection
Sailing ship with three stars, 1933
Print woodcut on green paper
7.0 x 6.5cm image; 14.0 x 10.8cm sheet
Art Gallery of New South Wales, Sydney, Australia
Gelmeroda XIII, 1936
Oil on canvas
Cloud, 1936
Oil on canvas
Manhattan IV B, 1937
Water color on paper
31.4 x 24.1
Marlborough International Fine Art, New York
Dünen am Abend, 1937
Oil on canvas
48,3x77 cm (19,0x30,3 in)
Private collection
Dawn, 1938
Watercolor and ink on paper
12 3/8 x 18 7/8" (31.5 x 48 cm)
The Museum of Modern Art, New York City
Storm Brewing, 1939
Oil on canvas
48.2 x 77.5 cm (19 x 30 1/2 in.)
The National Gallery of Art, Washington D.C.
Manhattan I, 1940
Oil on canvas
39 5/8 x 31 7/8" (100.5 x 80.9 cm)
The Museum of Modern Art, New York City
Spook I, 1940
Oil on canvas
21 x 21 in
The Phillips Collection, Washington D.C.
The River, 1940
Ink and watercolor on paper
Worcester Art Museum, Worcester, MA
Waterfront, 1942
Watercolor and black ink
11 1/2 x 18 in.
The Phillips Collection, Washington D.C.
Becalmed, 1943
Pen and ink and watercolor on paper
31.1 x 48 cm
Private collection
Golden Sunrise, 1944
Watercolor, charcoal and ink on paper
h: 12.6 x w: 18.9 in / h: 32 x w: 48 cm
Lighthouse I, 1947
Watercolor
9 1/2 x 10 3/4 in
Hyde Collection Art Museum, Glens Falls, New York
Steamboat Landing, 1949
Oil on canvas
h: 48.3 x w: 61.2 cm / h: 19 x w: 24.1 in
Wanderers by the Sea II, 1949
Oil on canvas
h: 39.4 x w: 53.3 cm / h: 15.5 x w: 21 in
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Na série de quadros sobre a igreja de Gelmeroda, uma aldeia alemã, as cores incandescentes do edifício e as montanhas arrebatadoras adquirem uma natureza romântica e sonhadora. Feininger iniciou esta série de vistas da igreja e da povoação de Gemerolda em 1912. O escritor Hans Hesse escreveu: "A igreja de Gelmeroda esteve para Feiningercomo o Mont Sainte-Victoire para Cézanne - o tema de uma vida inteira, na procura de significados escondidos, à espera da expressão formal." A estrutura geométrica das formas arquitectónicas é essencialmente cubista, combinando diversas vistas da igreja, ao passo que o ambiente remete para os paisagistas românticos do século XIX. Também se denota o impacto dos expressionistas alemães. Feininger estudou na Alemanha, exibindo com o grupo expressionista Der Blaue Reiter (O Cavaleiro Azul) e dando aulas na escola Bauhaus. Pintou várias séries de paisagens marítimas, barcos à vela, pontes e viadutos. Lyonel Feininger nasceu em Nova Iorque (EUA) em 1871 e morreu na mesma cidade em 1956.
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Lyonel Feininger was born on 17 July 1871 as the son of a concert violinist of German origin and a singer and pianist. He followed his parents to Europe in 1887, where he first attended the drawing and painting class at the Gewerbeschule in Hamburg and later studied at the Königliche Kunst-Akademie in Berlin from 1888 to 1892. Then followed one year in Paris where he attended the private art school of the Italian sculptor Filippo Colarossi. Feininger returned to Berlin in 1893, where he earned a living mainly as an illustrator until 1906. He spent the following two years in Paris where he met the 'Café du Dôme'-circle of German Matisse pupils as well as Robert Delaunay. He became a member of the 'Berliner Sezession' in 1909, exhibiting at their show for the first time one year later. The artist travelled to Paris in 1911 for his exhibition at the 'Salon des Independants'. Here he had his first encounter with Cubism. His acquaintance with Alfred Kubin and the 'Brücke' painters Karl Schmidt-Rottluff and Erich Heckel opened up new perspectives for his own work in 1912. He began making his first architectural compositions with the typical Cubist fragmentation. In 1913 Franz Mark invited Feininger to participate in the 'Erster Deutscher Herbstsalon' at Herwarth Walden's 'Sturm'-Galerie in Berlin, which also organised Feininger's first one-man exhibition in 1917. Walter Gropius called him to the 'Bauhaus' in Weimar in 1919, where he taught graphic art and painting until 1926. Together with Wassily Kandinsky, Paul Klee and Alexej von Jawlensky Feininger founded the artist group 'Die Blauen Vier' in 1924. A first comprehensive retrospective exhibition took place in 1931 at the Kronprinzen-Palais in Berlin, where the artist moved in 1933. Feininger emigrated to New York in 1937. In the same year the National Socialists confiscated more than 400 of his works. Feininger's artistic breakthrough in the US only came in 1944 with a retrospective exhibition at the Museum of Modern Art in New York. In 1945 Feininger ran a summer course at the Black Mountain College in North Carolina, where he met Gropius and Einstein. His teaching, his writing and his later watercolours were an important source for the development of Abstract Expressionism in America.
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on Quinta-feira, Julho 26, 2007 at 6:38 PM.
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12:00 AMAdoro as pinturas de Feininger, e que bom saber encontrá-las aqui.
ótimo acervo.
bjs.
Ju Gioli
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