O SÉCULO PRODIGIOSO

A arte no século XX

Monet, Claude - Post-Impressionismo

Quarta-feira, Janeiro 31, 2007


Garden at Sainte-Adresse - 1867
Oil on canvas
98.1 x 129.9 cm (38 5/8 x 51 1/8 in)
Metropolitan Museum of Art, New York





Woman in the Garden. Sainte-Adresse - 1867
Oil on canvas
82x101 cm
Hermitage Museum, Saint Petersburg, Russia





Interior, after Dinner - 1868/1869
oil on canvas
50.2 x 65.4 cm (19 3/4 x 25 3/4 in.)
The National Gallery of Art, Washington D.C.

Bathing at La Grenouillère - 1869
Oil on white primed canvas
73 x 92 cm (28 3/4 x 36 1/4 in)
The Metropolitan Museum, New York



The Beach at Trouville - 1870
Oil on canvas
38 x 46 cm (15 x 18 1/8 in)
National Gallery, London



The Thames at Westminster (Westminster Bridge) - 1871
Oil on canvas
47 x 72.5 cm (18 1/2 x 28 1/2")
Collection Lord Astor of Hever; National Gallery, London



Impression, soleil levant (Impression, Sunrise) - 1873
Oil on canvas
48 x 63 cm (19 x 24 3/8")
Musee Marmottan, Paris



Boulevard des Capucines - 1873
Oil on canvas
79.4 x 59 cm (31 1/4 x 23 1/4")
Nelson-Atkins Museum of Art, Kansas City, Missouri



Woman Seated on a Bench circa 1874
Oil on canvas
737 x 559 mm
Tate Gallery, London



The Highway Bridge at Argenteuil - 1874
Oil on canvas
60 x 79.7 cm (23 5/8 x 31 3/8 in)
National Gallery of Art, Washington, DC

Camille Monet and Her Son Jean (Woman with a Parasol)- 1875
Oil on canvas
100 x 81 cm (39 3/8 x 31 7/8 in)
National Gallery of Art, Washington, DC





Pond at Montgeron - 1876
Oil on canvas
173x194 cm
Hermitage Museum, Saint Petersburg, Russia

Saint-Lazare Station - 1877
Oil on canvas
54.3 x 73.6 cm (21 3/8 x 29 in)
National Gallery, London



Still Life with Pheasants and Plovers -1879
Oil on canvas
26 3/4 x 35 1/2 in. (67.95 x 90.17 cm)
Minneapolis Institute of Arts, Minnesota



Rock Arch West of Etretat (The Manneport) - 1883
Oil on canvas
65.4 x 81.3 cm (25 3/4 x 32 in)
Metropolitan Museum of Art, New York





Rocks at Port-Coton, the Lion Rock - 1886
Oil on canvas
65,4 x 81,2 cm
Fitzwilliam Museum at the University of Cambridge, UK



La Barque - 1887
Huile sur toile.
H. 1,46 ; L.1,33.
Musée Marmottan Monet, Paris



Poplars on the Epte - 1891
Oil on canvas
924 x 737 mm
Tate Gallery, London



Morning on the Seine, near Giverny - 1897
Oil on canvas
81.3 x 92.7 cm (32 x 36 1/2 in.)
Museum of Fine Arts, Boston



The Japanese Footbridge - 1899
Oil on canvas
81.28 x 101.6 cm (32 x 40 in.)
The National Gallery of Art, Washington D.C.



Waterloo Bridge. Effect of Fog - 1903
Oil on canvas
65.3x101 cm
Hermitage Museum, Saint Petersburg, Russia



Le Parlement, Effet de Brouillard - 1904
Oil on canvas
82.6 x 92.7 cm
Museum of Fine Arts, St. Petersburg



Houses of Parliament, London - 1905
Oil on canvas
81 x 92 cm (31 7/8 x 36 1/4 in)
Musee Marmottan, Paris



Water Lilies - 1906
Oil on canvas
87.6 x 92.7 cm (34 1/2 x 36 1/2 in
The Art Institute of Chicago



Agapanthus - 1918-26
Oil on canvas
6' 6" x 70 1/4" (198.2 x 178.4 cm)
The National Gallery of Art, Washington D.C.



Reflections of Clouds on the Water-Lily Pond - c. 1920
Oil on canvas, three panels
Each 6' 6 3/4" x 13' 11 1/4" (200 x 424.8 cm), overall 6' 6 3/4" x 41' 10 3/8" (200 x 1276 cm).
The National Gallery of Art, Washington D.C.

The Japanese Bridge - Probably 1918-24
Oil on canvas, 89 x 116 cm (35 x 45 3/4
The Minneapolis Institute of Arts

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Tons de branco e cor-de-rosa num mar de azul e verde dão a sensação de um aglomerado de nenúfares, que captam a luz e são reflectidos na superfície da água. A tinta foi aplicada en pinceladas gestuais e espessas. Esta preocupação em representar a luz, a espontaneidade da execução e a qualidade palpável da superfície devem muito ao Impressionismo, o gerupo do qual Monet era um dos principais membros. No entanto, a sua preocupação com a cor em si e a sua falta de interesse por quais quer composições formais, afastam-no bastante dos objectivos originais do Impressionismo. Assim, esta obra tem sido categorizada como Impressionismo Abstracto. Em 1890, com 50 anos, Monet comprou uma casa e um grande pedaço de terra em Givemy, onde começou a construir o seu jardim aquático. O tema dos nenúfares preencheu a sua visão artística durante os últimos 30 anos de sua vida. Pintou várias outras séries, incluindo choupos, medas de feno, e a Catedral de Ruão, as quias mostravam a mesma cena em diferentes alturas do dia ou das estações. Monet nasceu em Paris em 1840 e morreu na mesma cidade em 1926.
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Goldin, Nan - Fotografia

Domingo, Janeiro 28, 2007


Femme Fatale (self-portrait), c. 1972
Gelatin silver print
22.8 cm x 16.5 cm
Harvard University Art Museums Database, Massachusetts



David at Grove Street, Boston, 1972
Black and white image of boy dressed in female clothing
Jersey Heritage Trust, UK



Naomi and Marlene on the balcony, Boston, 1972
Gelatin-silver print
Edition 2/18, 19 3/4 x 16 inches
Guggenheim Museum, New York



Roommate with teacup, Boston, 1973
Gelatin-silver print
Edition 8/18, 19 7/8 x 15 7/8 inches
Guggenheim Museum, New York



Ivy wearing a fall, Boston, 1973
Gelatin-silver print
Edition 9/18, 19 7/8 x 15 7/8 inches
Guggenheim Museum, New York



Ivy with Marilyn, Boston, 1973
Gelatin-silver print
Edition 11/18, 19 7/8 x 15 7/8 inches
Guggenheim Museum, New York



C.Z. and Max on the beach, Truro, Mass., 1976
Cibachrome print
13 3/4 x 9 1/8 in. (34.9 x 23.2 cm)
The Museum of Contemporary Art, Los Angeles



Susan and Max sunbathing on the beach, Provincetown, Mass., 1976
Cibachrome print
17 5/8 x 21 5/8 in. (44.8 x 54.9 cm)
The Museum of Contemporary Art, Los Angeles



Trixie on the cot, NYC, 1979
Cibachrome print, mounted to Sintra
Edition 18/25, 27 3/8 x 40 inches
Guggenheim Museum, New York



Vivienne in the green dress, NYC, 1980
Cibachrome print, mounted to Sintra
Edition 7/25, 41 x 27 3/8 inches
Guggenheim Museum, New York



David and Butch Crying, Tin Pan Alley, New York City, 1981
Dye destruction print
Victoria and Albert Museum, London, UK



Nan on Brian's lap, Nan's birthday, New York City, 1981
Cibachrome print
9 x 13 3/4 in. (22.9 x 34.9 cm)
The Museum of Contemporary Art, Los Angeles



Greer and Robert on the bed, NYC, 1982
Cibachrome print, mounted on Sintra
Exhibition print, Edition of 25, 27 5/16 x 40 inches
Guggenheim Museum, New York



Nan one month after being battered, 1984
Photograph on paper
695 x 1015 mm
Tate Gallery, London



Suzanne on the train, Wuppertal, West Germany, 1984
Cibachrome print
9 1/8 x 13 3/4 in. (23.2 x 34.9 cm)
The Museum of Contemporary Art, Los Angeles



The Parents at a French restaurant, Cambridge, Mass., 1985
Cibachrome print
9 1/8 x 13 3/4 in. (23.2 x 34.9 cm)
The Museum of Contemporary Art, Los Angeles



Cookie and Vittorio in the woods, Sorrento, 1986
41 x 51 cm
Fotomuseum Winterthur, Switzerland



Self-portrait with milagro, The Lodge, Belmont, MA, 1988
Cibachrome print, mounted on Sintra
Edition 8/25, 27 1/4 x 40 inches
Guggenheim Museum, New York



Kee in Bed, 1988
Colorphoto
30x40 cm



Gina at Bruce’s dinner party, NYC, 1991
Cibachrome print, mounted to museum board
Edition 20/25, 27 3/8 x 40 inches
Guggenheim Museum, New York



David on the Bowery, New York City, 1991
51 x 61 cm
Fotomuseum Winterthur, Switzerland



Jimmy Paulette on David's Bike, NYC, 1991
photograph dye destruction print
15 1/4 in. x 23 1/4 in. (38.74 cm x 59.06 cm)
San Francisco Museum of Modern Art



Jimmy Paulette and Tabboo! undressing, NYC, 1991
Photograph on paper
1015 x 695 mm
Tate Gallery, London



Kim in rhinestones, Paris, 1991
Cibachrome print, mounted on Sintra
Edition 11/25, 40 1/16 x 27 3/8 inches
Guggenheim Museum, New York



Jimmy Paulette after the parade, NYC, 1991
Photograph on paper
389 x 594 mm
Tate Gallery, London



Misty and Jimmy Paulette in a taxi, NYC, 1991
Photograph on paper
695 x 1015 mm
Tate Gallery, London





Yogo in the mirror, Bangkok, 1992
Cibachrome print, mounted on Sintra
Edition 5/25, 27 3/8 x 40 inches
Guggenheim Museum, New York

Self-Portrait on the train, Germany, 1992
Photograph on paper
695 x 1015 mm
Tate Gallery, London



Valerie in the Taxi, Paris, 2001
h: 16 x w: 24 in / h: 40.6 x w: 61 cm



Misty and Joey at Hornstrasse, 1992
Dye destruction print
Victoria and Albert Museum, London, UK



Siobhan in my bathtub, Berlin, 1992
51 x 61 cm
Fotomuseum Winterthur, Switzerland



Statue with Flowing Breasts, Amalfi, (Madonna dei drogati), 1996
Cibachrome
101,6 x 76,2 cm
Castello di Rivoli
Museo d'Arte Contemporanea, Torino, Italy



Junkie Madonna, Forcella (Madonna dei drogati, Forcella), 1996
Cibachrome
101,6 x 76,2 cm
Castello di Rivoli
Museo d'Arte Contemporanea, Torino, Italy



Piotr aking his AIDS Medication, 1996
Cibachorme
30 x 30 inches



Pavel Topless, Naples (Pavel a torso nudo, Napoli), 1996
Cibachrome
101,6 x 76,2 cm
Castello di Rivoli
Museo d'Arte Contemporanea, Torino, Italy



Fatima candles, Portugal, 1998
122.00 x 183.00 cm
Galerie Yvon Lambert



Joana Topless at the Chateau le Bastion, 2000
h: 23.5 x w: 16 in / h: 59.7 x w: 40.6 cm



Jen’s Hand on Clemen’s Back, Paris, 2001
h: 16 x w: 24 in / h: 40.6 x w: 61 cm



Valerie holding Melon the bed, Paris, 2001
72.00 x 104.00 cm
Galerie Yvon Lambert

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Em "Misty and Jimmy Paulette in a taxi, NYC, 1991", Goldin fotografa dois dos amigos transexuais seus amigos, tirada no dia do desfile do Gay Parade (Orgulho Gay) em Nova Iorque. Goldin não assume uma postura voyeurística ou sentimental. Através da intimidade e do afecto em relação aos seus temas, a autora revela a sua velnerabilidade, bem como a sua própria admiração pela sexualidade e encanto assumidos. Goldin fotografa a vida directamente. A sua atenção centra-se na família alargada constituída por amigos e amantes - as pessoas que a rodeiam, partilhando os mesmos prazeres e sofrimentos. É o fio da navalha: um mundo clandestino de vidas duras, abuso de drogas, amor, sexo, sobrevivência, violência e omnipresença da morte. As fotografias de Goldin não são deliberadas, mas sim semelhantes a instantâneos de um álbum de família e é este realismo e estilo despretencioso que torna o seu diário fotográfico num registo fiel e comevedor da sua vida. Nan Goldin nasceu em Washington, EUA, em 1953.
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Urbano - Arte Portuguesa Contemporânea

Sexta-feira, Janeiro 26, 2007


Models - The Hot Kiss - 2004
Técnica mista s/ Madeira
100 x 100 cm

Homenagem a Rodin e ao beijo interminável que eternizou.
Existe um caixilho com 10 cm que suporta uma cortina de
fio de vela que cria diversos efeitos ópticos.



Models – Pankaspe - 2004
Técnica mista e fio de nylon sobre madeira
100 x 100 cm

Pankaspe era uma das mulheres mais belas da sua época,
sendo a favorita de Alexandre. Existe um caixilho com
10 cm que suporta uma cortina de fio de nylon que cria
diversos efeitos ópticos.



Models – Rafaella - 2005
Mista s/ Tela
130 x90 cm

Conta a lenda que Rafael exigia sempre a presença da
sua modelo e amante enquanto criava...



Models – Teresa - 2005
Mista s/ Tela
80 x 100 cm

A modelo em pose para o artista com quem se envolveu...



Baby Animals - As Zebras - 2005
Técnica mista sobre tela
90 x 130 cm



Baby Animals - Abraço - 2006
Técnica mista sobre tela
90 x 130 cm



Baby Animals – Chitas - 2006
Técnica mista sobre tela
80 x 100 cm



Baby Animals - Mummy! Put me on The Floor - 2006
Técnica mista e fio de vela s/ madeira
100 x 130 cm

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"nas suas telas, urbano veicula inúmeras mensagens através de elementos simbólicos, um jogo em que as pessoas, observando os quadros, tentam pegar nos elementos, jogar com eles e. dessa forma interpretar e interiorizar aquilo que o artista pretende transmitir"

Mestre Ângelo Vaz

Os trabalhos apresentados nesta galeria fazem parte das séries:

Models - Uma série a que o artista se dedica desde 2004, com 25 trabalhos realizados, dos quais 18 estão colocados em colecções públicas e particulares.
Ao longo da história da arte o nú feminino sempre constituiu um grande fascínio para os grandes mestres da pintura. Muitas são as histórias entre os artistas e as suas modelos. Esta série reflecte essa relação entre os pintores e as suas modelos.
Trabalhos realizados em técnica mista, usando tintas acrílicas, gessos. colas, resinas, madeiras, reciclagem de materiais e muitos relevos. Foram realizadas algumas instalações sobre esta série. Série ainda activa.

Baby Animals - Uma série a que o artista se dedica desde final de 2005, com 11 trabalhos realizados, dos quais 6 estão colocados em colecções particulares.
O objectivo está claramente concentrado nos animais selvagens bébés, que aparecem sempre junto das suas progenitoras. Trabalhos grandes no formato e na escala.
Técnicas mistas em que as tintas se juntam a outros materiais reciclados, com resinas e muitos relevos. Série em desenvolvimento criativo.

Urbano nasceu em Leça da Palmeira em 1961 . Os trabalhos de Irbano podem ser comprados no portal Art Portugal.
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Motherwell, Robert - Abstracto Expressionista

Quarta-feira, Janeiro 24, 2007


Pancho Villa - 1943
Oil, gouache and paper collage
71,7 x 9,1 cm
Museum of Modern Art, New York



Personage (Autoportrait) - 1943
Paper collage, gouache, and ink on board
103.8 x 65.9 cm
Guggenheim Museum, New York



Collage - 1946
Collage and oil on paper
40 x 30 in
David Winton Bell Gallery at Brown University, Providence, Rhode Island



Western Air - 1946-47
Oil and sand on canvas
6' x 54" (182.9 x 137.2 cm)
Museum of Modern Art, New York



Personage, with Yellow Ochre and White - 1947
Oil on canvas
6' x 54" (182.8 x 137 cm)
Museum of Modern Art, New York



Ulysses - 1947
Oil and cardboard on wood
857 x 711 mm frame: 962 x 814 x 85 mm
Tate Gallery, London



Ulysses - 1947-51
Oil on board
Montclair Art Museum, New Jersey



Elegy to the Spanish Republic #34 - 1953-54
Oil on canvas
80 x 100 in
Albright-Knox Art Gallery, Buffalo, New York



Elegy to the Spanish Republic, 54 - 1957-61
Oil on canvas
70" x 7' 6 1/4" (178 x 229 cm)
Museum of Modern Art, New York



Elegy to the Spanish Republic - 1958
Synthetic polymer paint on canvas
175.3 (h) x 248.9 (w) cm
National Gallery of Australia, Canberra



Mail Figure - 1959
Water-based paint, paper, mailing label, and wrapping paper collage
28 1/2 x 22 1/2 in.
The Phillips Collection, Washington D.C.



Monster (for Charles Ives) - 1959
Oil on canvas
78 1/4 x 118 1/4 in. (198.8 x 300.4 cm.)
Smithsonian American Art Museum, Washington D.C.



Figure before Blackness - 1960
Oil and charcoal on canvas
Spencer Museum of Art at the University of Kansas



In White and Yellow Ochre - 1961
Oil, charcoal, ink, tempera and paper collage
40 7/8 x 27 in
The Phillips Collection, Washington D.C.



Capriccio - 1961
Color collotype and photo-silkscreen on paper
20 3/8 x 15 5/8 in. (51.7 x 39.7 cm)
Smithsonian American Art Museum, Washington D.C.



Structure over Italian Mediterranean - 1961-1967
Oil on canvas
131 x 107 cm
Art Collection of the Biblioteca Luis Ángel Arango, Colombia



[no title] - 1964
Screenprint and collage on paper
560 x 406 mm
Tate Gallery, London



Water's Edge (B. 307) - nd
Lithograph w/collage
33 x 26 1/2 inches



Untitled (from “Lyric Suite”) - 1965
Ink wash on Japanese paper
11 x 9 in (27.94 x 22.86 cm )
Pennsylvania Academy of the Fine Arts, Philadelphia



New England Elegy 2 - 1965-66
Synthetic polymer paint on canvas
6' 10" x 11' 7" (208.3 x 351.1 cm)
Museum of Modern Art, New York



Beside the Sea #42 - 1966
Black ink on wove paper
77.79 x 56.51 cm (30 5/8 x 22 1/4 in.)
The National Gallery of Art, Washington D.C.



Untitled - n.d.
Casein and gesso on plasterboard
67 1/8 x 71 3/4 in. (170.5 x 182.3 cm.)
Smithsonian American Art Museum, Washington D.C.



Elegy to the Spanish Republic No. 110 - 1971
Acrylic with pencil and charcoal on canvas
82 x 114 inches
Guggenheim Museum, New York



Summer Light Series: Pauillac, #1 - 1973
Lithograph, collage, embossing
Edition 78/92
36 1/8 x 23 3/4 inches
Kemper Museum of Contemporary Art, Kansas City, Missouri



The sienna wall - 1972-73
Synthetic polymer paint on canvas
203.2 (h) x 274.3 (w) cm
National Gallery of Australia, Canberra



Harvest, in Scotland - 1973
106.7 x 61.0 cm (42 x 24 in.)
The National Gallery of Art, Washington D.C.



Roth-Händle - 1974-1975
Aquatint on paper
19.5625 x 15.6875 inches
Walker Art Center, Minnesota



Untitled - 1975
Color etching and aquatint on paper
9 1/4 x 11 7/8 in. (23.6 x 30.3 cm)
Smithsonian American Art Museum, Washington D.C.



Palo Alto - 1978
91.4 x 61.0 cm (36 x 24 in.)
The National Gallery of Art, Washington D.C.



Mexican Night II - 1984
Etching, aquatint on paper
25 x 24 inches
Walker Art Center, Minnesota

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O quadro Pancho Villa, de 1943, parece um padrão abstracto de cores, linhas e marcas, mas na realidade representa uma narrativa. Baseada numa fotografia do revolucionário mexicano assassinado, Pancho Villa, esta obra põe em contraste imagens da vida e da morte. À esquerda, as áreas de tinta compactas mostram Pancho Villa vivo, enquanto que, à direita, as marcas violentas em vermelho e preto representam os buracos das balas que trespassam o seu corpo. Esta obra é uma colagem feita de pedaços de papel pintados fixados ao cartão. Motherwell interessou-se sempre pela colagem durante toda a sua carreira, inicialmente incentivada pelo convite da coleccionadora Peggy Guggenheim para produzir colagens para uma exposição em 1944. Em meados dos anos 40 do século passado, pintou quadros figurativo-abstractos sob a influência do Surrealismo. Em 1949 pintou o primeiro de uma série de trabalhos a que chamou Elegy to the Spanish Republic. Pintou cerca de 150 versões destas Elegies durante as três décadas seguintes. Estas pinturas Abstractas Expressionistas demonstram o seu contínuo desenvolvimento de um ilimitado reportório de simples, serenas e maciças formas negras que sugerem um sentimento de calma, solenidade e sugestivo movimento. Motherwell foi um dos membros chave do movimento expressionista abstracto, que partilhava o interesse pela pintura abstracta e espontânea. Em 1958 casou com a pintora Frankenthaler. Era também um escritor e um teórico da arte, um impressor e um desenhista extremamente talentoso. Robert Motherwell nasceu em Aberdeen, WA (EUA) em 1915 e morreu em Provincetown, MA (EUA) em 1991.
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Robert Motherwell was born January 4, 1915, in Aberdeen, Washington. He was awarded a fellowship to the Otis Art Institute in Los Angeles at age 11, and in 1932 studied painting briefly at the California School of Fine Arts in San Francisco. Motherwell received a B.A. from Stanford University in 1937 and enrolled for graduate work later that year in the Department of Philosophy at Harvard University, Cambridge, Massachusetts. He traveled to Europe in 1938 for a year of study abroad. His first solo show was presented at the Raymond Duncan Gallery in Paris in 1939. In September of 1940, Motherwell settled in New York, where he entered Columbia University to study art history with Meyer Schapiro, who encouraged him to become a painter. In 1941, Motherwell traveled to Mexico with Roberto Matta for six months. After returning to New York, his circle came to include William Baziotes, Willem de Kooning, Hans Hofmann, and Jackson Pollock. In 1942, Motherwell was included in the exhibition First Papers of Surrealism at the Whitelaw Reid Mansion, New York. In 1944, Motherwell became editor of the Documents of Modern Art series of books, and he contributed frequently to the literature on Modern art from that time. A solo exhibition of Motherwell’s work was held at Peggy Guggenheim’s Art of This Century gallery, New York, in 1944. In 1946, he began to associate with Herbert Ferber, Barnett Newman, and Mark Rothko, and spent his first summer in East Hampton, Long Island. This year, Motherwell was given solo exhibitions at the Arts Club of Chicago and the San Francisco Museum of Art, and he participated in Fourteen Americans at the Museum of Modern Art in New York. The artist subsequently taught and lectured throughout the United States, and continued to exhibit extensively in the United States and abroad. A Motherwell exhibition took place at the Kunsthalle Dusseldorf, the Museum des 20. Jahrhunderts, Vienna, and the Musée d’Art Moderne de la Ville de Paris in 1976–77. He was given important solo exhibitions at the Royal Academy, London, and the National Gallery of Art, Washington, D.C., in 1978. A retrospective of his works organized by the Albright-Knox Art Gallery, Buffalo, New York, traveled in the United States from 1983 to 1985. From 1971, the artist lived and worked in Greenwich, Connecticut. He died July 16, 1991, in Cape Cod, Massachusetts.

Guggenheim Collection - Motherwell Biography
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Warhol, Andy - Arte Pop

Segunda-feira, Janeiro 22, 2007


Water Heater - 1961
Casein on canvas
44 3/4 x 40" (113.6 x 101.5 cm)
The Museum of Modern Art, New York



Do-It-Yourself (Flowers) - 1962
Synthetic polymer paint, Prestype and pencil on canvas
69 x 59 inches (175 x 150 cm)
Daros Exhibitions, Zurich, Switzerland



A Boy for Meg - 1962
oil on canvas
182.9 x 132.1 cm (72 x 52 in.)
The National Gallery of Art, Washington D.C.



Big Torn Campbell’s Soup Can (Vegetable Beef) - 1962
Acryl auf Leinwand
183 x 137 cm
Kunsthaus Zurich



Campbell’s Condensed Tomato Soup - 1962
Oil on canvas
30 x 23 cm
Kunstmuseum St.Gallen, Switzerland



Red Liz - 1962
Synthetic polymer paint and silk screen ink on canvas
40 in. x 40 in. (101.6 cm x 101.6 cm)
San Francisco Museum of Modern Art



Blue Liz as Cleopatra - 1963
Silkscreen ink and synthetic polymer paint on canvas
82 1/4 x 65 inches (209 x 165 cm)
Daros Exhibitions, Zurich, Switzerland



Orange Disaster #5 - 1963
Acrylic and silkscreen enamel on canvas
106 x 81 1/2 inches
Guggenheim Museum, New York



Elvis - 1963
Synthetic polymer paint screenprinted onto canvas
208.0 (h) x 91.0 (w) cm
National Gallery of Australia, Canberra



Double Elvis - 1964
Silkscreen and synthetic polymer on canvas
unconfirmed: 2070 x 2083 mm
Tate Gallery, London



Birmingham Race Riot - 1964
serigraph on Bristol board, with japan paper borders
50.9 x 60.8 cm
National Gallery of Canada, Ottawa



Flowers - 1964
Silk screen on canvas
47 1/8 x 46 1/8 x 1 in. (119.7 x 117.2 x 2.5 cm)
Yale University Art Gallery, New Haven, Connecticut



Campbell’s Soup - 1965
Acrylic on canvas.
Milwaukee Art Museum, Wisconsin



Corporate Trade Ad - ca. 1965-1970
Silkscreen on canvas mounted on paperboard mounted on fiberboard
30 x 32 in. (76.2 x 81.3 cm.)
Smithsonian American Art Museum, Washington D.C.



Self-Portrait - 1966
Silkscreen ink on synthetic polymer paint on nine canvases
Each canvas 22 1/2 x 22 1/2" (57.2 x 57.2 cm)
Overall 67 5/8 x 67 5/8" (171.7 x 171.7 cm)
The Museum of Modern Art, New York



Untitled from Marilyn Monroe (Marilyn) - 1967
One from a portfolio of ten screenprints
Composition and sheet: 36 x 36" (91.5 x 91.5 cm)
The Museum of Modern Art, New York



from Marilyn (P07121-P07130; complete)
[no title] 1967
Screenprint on paper
910 x 910 mm
Tate Gallery, London



Marilyn Monroe - 1967
Serigraph
37 1/2 x 37 1/2 in
Chazen Museum of Art at the University of Wisconsin



Electric chair - 1967
synthetic polymer paint screenprinted onto canvas
137.2 (h) x 185.1 (w) cm
National Gallery of Australia, Canberra



Vegetarian Vegetable from Campbell's Soup II - 1969
Screenprint
35 x 23 in. (88.9 x 58.4 cm)
The Metropolitan Museum of Art, New York



Mao Tse-tung 1972
Colour serigraph on wove paper (one of ten)
Printed by Styria Studio
91.4 x 91.4 cm
National Gallery of Canada, Ottawa



from Mao Tse-Tung (P77073-P77082; complete)
[no title] 1972
Screenprint on paper
914 x 914 mm
Tate Gallery, London



Mao - 1973
Acrylic and silkscreen on canvas
448.3 x 346.7 cm
Art Institute of Chicago



Mick Jagger - 1975
Silkscreen ink on synthetic polymer paint on canvas
101.6 x 101.6 cm (40 x 40 in.)
Museum of Fine Arts, Boston



Helen / Harry Morales for "Ladies and Gentlemen" - 1975
Polaroid Polacolor print
3 3/4 x 2 7/8 in.
J. Paul Getty Museum, Los Angeles



Portrait of Maurice - 1976
Synthetic polymer paint and silkscreen ink on canvas
65.80 x 81.40 cm
National Galleries of Scotland, Edinburgh



Hammer and Sickle - 1976
Silkscreen ink on synthetic polymer paint on canvas
10' x 13' 4" (304.8 x 406.4 cm)
The Museum of Modern Art, New York



American Indian Series (Russel Means) - 1976
Acrylic and silkscreen on canvas
84 x 70 inches
Dayton Art Institute, Ohio



Oxidation Painting - 1978
Urine on metallic pigment in acrylic pigment on canvas
193 x 132.1 cm (76 x 52 in.)
Museum of Fine Arts, Boston



Paul Jenkins - 1979
Acrylic and silkscreen on canvas
40 X 40" (101.60 x 101.60 cm.)
Signed, on reverse
Butler Institute of American Art, Ohio



Self-Portrait - 1979
Polaroid Polacolor print
32 1/4 x 22 in.
J. Paul Getty Museum, Los Angeles



Portrait of Joseph Beuys - 1980
Synthetic polymer paint and silkscreen ink on canvas
50.80 x 40.60 cm
National Galleries of Scotland, Edinburgh



Gertrude Stein - 1980
Color screenprint
101.4 x 81.4 cm / 40 x 32 in. (sheet)
Block Museum of Art at Northwestern University, Illinois



Self-Portrait (in Drag) - 1981
Polaroid print
4 1/4 x 3 3/8 inches
Guggenheim Museum, New York



Wayne Gretzky 99 - 1984
serigraph on card
101.6 x 83.3 cm
National Gallery of Canada, Ottawa



Queen Elizabeth II of the United Kingdom - 1985
Screenprint on paper
unconfirmed: 1000 x 795 mm
Tate Gallery, London



Self-Portrait - 1986
Silkscreen ink on synthetic polymer paint on canvas
106 x 106 inches
Guggenheim Museum, New York



Untitled from Camouflage - 1987
One from a portfolio of eight screenprints
Composition & sheet: 38 x 38" (96.5 x 96.5 cm)
The Museum of Modern Art, New York

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Em "Campbell’s Condensed Tomato Soup - 1962", a imagem brilhantemente colorida de uma lata de sopa Campbell faz parte de uma série produzida sobre o mesmo tema. Warhol começou por pintar cada imagem à mão, mas depois passou a imprimi-las, fixando um stencil a um ecrã esticado sobre uma moldura e forçando a cor através das zonas da tela que estão a descoberto. Ao produzir em massa imagens de objectos do quotidiano como, por exemplo, esta lata de sopa, ele criticou tanto a autoria como a validade do facto de ser o único do género. Ao repetir o mesmo motivo, ele também conseguiu uma distância estética da sua obra. Ele baptizou a sua elegante galeria/estúdio com o nome de "A Fábrica". Através de diversos temas - Marilyn Monroe, Jackie Kennedy, conflitos raciais e a cadeira eléctrica - Warhol pretendeu desmistificar grandes temas tais como a fama e a morte. Também fez inúmeros filmes e foi o empresário da banda de rock de culto Velvet Underground. Sendo um brilhante auto-promotor, ele transformou-se num enigma. Teve uma enorme influência em gerações posteriores de artistas. Andy Warhol nasceu em Pitsburg (EUA) em 1928 e morreu em Nova Iorque em 1987.
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Dubuffet, Jean - Arte Pop / Arte Bruta

Sexta-feira, Janeiro 19, 2007


A Widow - 1943
Oil on canvas
36 x 28 3/4 in. (91.4 x 73 cm)
The Metropolitan Museum of Art, New York



A View of Paris with Furtive Pedestrians - 1944
Oil on canvas
The Metropolitan Museum of Art, New York



The Violinist [Le Violoniste] from the Marionettes
de la ville et de la campagne series - 1944
Oil on canvas
23 3/4 x 28 3/4" (60.4 x 73 cm)
The Museum of Modern Art, New York.



Childbirth - March 1944
Oil on canvas
39 3/8 x 31 3/4" (99.8 x 80.8 cm)
Museum of Modern Art, New York



Grand Jazz Band (New Orleans) - December 1944
Oil and tempera on canvas
45 1/8 x 57 3/4" (114.6 x 146.7 cm)
Museum of Modern Art, New York



Snack for Two [Casse-croûte à deux] from the Mirobolus,
Macadam et Cie/Hautes Pâtes series - 1945
Oil on canvas
29 1/8 x 24 1/8" (74 x 61.2 cm)
The Museum of Modern Art, New York



Woman Grinding Coffee - 1945
Plaster, oil, tar, and sand on canvas
45 3/4 x 35 in. (116.2 x 88.9 cm)
The Metropolitan Museum of Art, New York



Supervielle, Large Banner Portrait - 1945
Oil on canvas
130.2 x 97.2 cm
The Art Institute of Chicago



Apartment Houses, Paris, 1946
Oil with sand and charcoal on canvas
44 7/8 x 57 3/8 in. (114 x 145.7 cm)
The Metropolitan Museum of Art, New York



Léautaud, Redskin-Sorcerer - November 1946
Oil on canvas with pebbles and gravel
36 1/4 x 28 3/4" (92.1 x 73 cm).
Museum of Modern Art, New York



Will to Power - January 1946
Oil, pebbles, sand, and glass on canvas
45 3/4 x 35 inches
Guggenheim Museum, New York



Dhotel nuance d'abricot - 1947
Oil on canvas
45 1/2 x 35 in. (116 x 89 cm)
Private Collection



Triumph and Glory - December 1950
Oil on canvas
51 x 38 inches
Guggenheim Museum, New York



Fleshy Face with Chestnut Hair (Châtaine aux hautes chairs) - August 1951
Oil-based mixed-media on board
64.9 x 54 cm
Guggenheim Museum, Ney York



Tumultuous Landscape -June 1952
Ink on paper
18 3/4 x 23 7/8" (47.5 x 60.5 cm)
Museum of Modern Art, New York



Butterfly-Wing Figure - October 1953
Butterfly wings and gouache on paperboard
9 7/8 x 7 5/16 in. (25.0 x 18.5 cm.)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



The Cow with the Subtile Nose - September 1954
Oil and enamel on canvas
35 x 45 3/4" (88.9 x 116.1 cm)
Museum of Modern Art, New York



Jardin de Bibi Trompette (Bibi Trompette's Garden) - 1955
Butterfly wings, gouache, and watercolor on wove paper mounted to paperboard
22.07 x 32.07 cm (8 11/16 x 12 5/8 in.)
The National Gallery of Art, Washington D.C.



Cloudy Weather (Temps Nuageux) - 1955
Ink and collage
20 -1/4 x 26 -1/2
Berkeley Art Museum + Pacific Film Archive



Mother-of-Pearl Garden - 1956
Cut pieces of previously painted oils on canvas pasted on canvas
15 x 24 1/2 in. (38.1 x 62.2 cm)
The Metropolitan Museum of Art, New York



Door with Couch Grass - October 31, 1957
Oil on canvas with assemblage
74 1/2 x 57 1/2 inches
Guggenheim Museum, New York



Villa sur la route [Villa by the Road] - 1957
Oil on canvas
81.30 x 100.30 cm
National Galleries of Scotland, Edinburgh



Beard Garden, 1959
Torn printed papers pasted on paper
20 x 13 1/2 in. (50.8 x 34.3 cm)
The Metropolitan Museum of Art, New York



Soul of the Underground. Vence - December 1959
Oil on aluminum foil on composition board
58 7/8" x 6' 4 3/4" (149.6 x 195 cm)
Museum of Modern Art, New York



Figure, Black Background - October 3, 1961
Ink on paper
13 1/4 x 9 7/8" (33.5 x 25.0 cm)
Museum of Modern Art, New York



Gare Montparnasse Porte des Lilas - 1961
Gouache, Pen and Ink and Pencil
50 cm x 66 cm
Tehran Museum of Contemporary Art, Iran



Nez carotte (Carrot Nose) - 1961, published 1962
Lithograph, composition
23 13/16 x 14 15/16" (60.5 x 37.9 cm)
Museum of Modern Art, New York



Baba Solstice - May 1, 1961
Gouache, watercolor, brush, pen and ink, and pencil on paper
19 3/4 x 26 3/8" (50.0 x 66.8 cm)
Museum of Modern Art, New York



Typewriter III - 1964
Felt-tipped pen and ballpoint pen on paper
8 3/8 x 10 5/8" (21.0 x 26.9 cm)
Museum of Modern Art, New York



Nimble Free Hand to the Rescue (Main leste et rescousse) - 1964
Acrylic on canvas
1499 x 2007 mm
Tate Gallery, London



Stairs III. 1966
Felt-tipped pen on paper
10 x 6 1/2" (25.2 x 16.5 cm)
Museum of Modern Art, New York



Vicissitudes (Les Vicissitudes) - 1977
Acrylic on paper and canvas
2100 x 3390 mm
Tate Gallery, London



Idioplasm VI - 1984
Acrylic on paper, mounted on linen
39 5/8 x 26 3/4 in. (100.6 x 68.0 cm.)
Hirshhorn Museum and Sculpture Garden, Washington D.C.

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Asas de borboleta cobrem uma figura tosca (Butterfly-Wing Figure - October 1953) que olha directamente para o obsrvador. A caricatura feita de colagens é característica do estili naif de Dubuffet. O recurso a materiais atípicos como o vidro, fragmentos de tecido, botões e areia para dotar as suas imagens de uma confrontalidade rudimentar, aproxima-o vagamente do Informalismo. Interessado em alcançar as origens subconscientes da actividade mental e em "homenagear" o primitivo contra o "civilizado", Dubuffet procurou alternativas ao retrato, utilizando o corpo como uma espécie de paisagem. Contribuiu significativamente para a rotura das interpretações tradicionais da arte ocidental, reunindo obras de psicóticos e inventando a expressão "Art Brut" (Arte Bruta), trabalho primário, não afectado pela cultura, produzido por pessoas estranhas ao mundo da arte, sobretudo crianças e doentes mentais. Jean Dubuffef nasceu em Le Havre em 1901 e morreu em Paris em 1985.
........................................................................................................
Jean Dubuffet was born July 31, 1901, in Le Havre, France. He attended art classes in his youth and in 1918 moved to Paris to study at the Académie Julian, which he left after six months. During this time, Dubuffet met Raoul Dufy, Max Jacob, Fernand Léger, and Suzanne Valadon and became fascinated with Hans Prinzhorn’s book on psychopathic art. He traveled to Italy in 1923 and South America in 1924. Then, Dubuffet gave up painting for about ten years, working as an industrial draftsman and later in the family wine business. He committed himself to becoming an artist in 1942. Dubuffet’s first solo exhibition was held at the Galerie René Drouin, Paris, in 1944. During the 1940s, the artist associated with André Breton, Georges Limbour, Jean Paulhan, and Charles Ratton. His style and subject matter in this period owed a debt to Paul Klee. From 1945, he collected Art Brut [more], spontaneous, direct works by untutored individuals, such as mental patients. The Pierre Matisse Gallery gave him his first solo show in New York in 1947. From 1951 to 1952, Dubuffet lived in New York. He then returned to Paris, where a retrospective of his work took place at the Cercle Volney in 1954. His first museum retrospective occurred in 1957 at the Schloss Morsbroich, Leverkusen. Dubuffet exhibitions were subsequently held at the Musée des Arts Décoratifs, Paris, in 1960–61; the Museum of Modern Art, New York, and the Art Institute of Chicago in 1962; Palazzo Grassi, Venice, in 1964; the Tate Gallery, London, and Stedelijk Museum, Amsterdam, in 1966; and the Solomon R. Guggenheim Museum, New York, in 1966–67. A collection of Dubuffet’s writings, Prospectus et tous écrits suivants, was published in 1967, the same year he started his architectural structures. Soon thereafter, he began numerous commissions for monumental outdoor sculptures. In 1971, he produced his first theater props, the “practicables.” A Dubuffet retrospective was presented at the Akademie der Kunst, Berlin, the Museum Moderner Kunst, Vienna, and the Joseph-Haubrichkunsthalle, Cologne, in 1980–81. In 1981, the Solomon R. Guggenheim Museum observed the artist’s 80th birthday with an exhibition. Dubuffet died May 12, 1985, in Paris.

Guggenheim Collection - Dubuffet Biography
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Modigliani, Amedeo - Expressionismo

Terça-feira, Janeiro 16, 2007


Paul Guillaume, Novo Pilota - 1915
Huile sur carton collé sur contre-plaqué parqueté
Musée de l'Orangerie, Paris



Femme au ruban de velours - vers 1915
Huile sur papier collé sur carton
Musée de l'Orangerie, Paris



The red girl (Head of a woman with red hair) - 1915
Oil on canvas
GAM - Galleria Civica d'Arte Moderna e Contemporanea, Turin



Portrait of a young woman, seated - circa 1915
Oil on card
75.0 x 52.4 cm
Fitzwilliam Museum at the University of Cambridge, UK



Portrait of Chaim Soutine - 1915
Oil on panel
36 x 27.5 cm
Staatsgalerie, Stuttgart, Germany



Portrait of Juan Gris - 1915
Oil on canvas
55.5 x 38 cm
The Metropolitan Museum of Art, New York



Portrait of Beatrice Hastings - 1916
Oil on canvas
Barnes Foundation, Merion, PA



Female nude - Circa 1916
Oil on canvas
92.4 cm x 59.8 cm (canvas)
Courtauld Institute of Art, London, UK



Portrait of Max Jacob - 1916
Oil on canvas
73 x 60 cm
Kunstsammlung Nordrhein-Westfalen, Dusseldorf



Madame Kisling - c. 1917
Oil on canvas
46.2 x 33.2 cm (18 1/4 x 13 1/8 in.)
National Gallery of Art, Washington D.C.



Anna Zborowska - 1917
Oil on canvas
51 1/4 x 32" (130.2 x 81.3 cm)
Museum of Modern Art, New York City



Nu couché de dos (Reclining Nude from the Back) - 1917
Oil on canvas
64.5 x 99.5 cm (25 3/8 x 39 1/8 in)
Barnes Foundation, Merion, PA



Nude (Nu) - 1917
Oil on canvas
28 3/4 x 45 7/8 inches
Guggenheim Museum, New York



Nude with Coral Necklace - 1917
Oil on canvas
26 3/16 x 39 13/16 in. (66.5 x 101.1 cm)
Allen Art Museum at Oberlin College, Ohio



The Little Peasant - circa 1918
Oil on canvas
1000 x 645 mm
Tate Gallery, London



Young Redhead in an Evening Dress - 1918
Oil on canvas
Barnes Foundation, Merion, PA



Portrait of the Artist's Wife, Jeanne Hebuterne - 1918
Oil on canvas
39-3/4 x 25-7/8 in. (101 x 65.7 cm)
Norton Simon Museum, Pasadena, California



Portrait of Leopold Survage - 1918
Oil on canvas
61,5x46 cm
Finnish National Gallery, Helsinki, Finland



Marie (Marie, fille du peuple; La Petite Marie) - 1918
Oil on canvas
62 x 50.5 cm
Kunstmuseum Basel, Switzerland



Madame Zborowska - 1918
Oil on canvas
645 x 460 mm
Tate Gallery, London



Jeanne Hébuterne with Yellow Sweater (Le Sweater jaune) - 1918–19
Oil on canvas
39 3/8 x 25 1/2 inches
Guggenheim Museum, New York



Portrait of Leopold Zborowski - 1919
Oil on canvas
Barnes Foundation, Merion, PA



Elvira Resting at a Table - 1919
Oil on canvas
36 1/2 x 23 13/16 in. (92.7 x 60.5 cm)
Saint Louis Art Museum, Missouri



Self-Portrait - 1919
Oil on canvas
100 x 64.5 cm
Museu de Arte Contemporanea da Universidade, São Paulo, Brazil

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No seu Auto-retrato de 1919, Madigliani olha fixamente para fora da tela, segurando uma palete e pincèis numa mão. Vestido com um grande casaco castanho e um lenço azul à volta do percoço, parece que vai começar a pintar. Os seus olhos foram reduzidos a dois buracos negros e o seu nariz e boca estão perfeitamente definidos, tal como numa escultura. As feições alongadas e simplificadas são típicas de Modigliani e revelam a influência da arte africana. As cores ecuras dão à obra um ar melancólico, talvez evocativo das condições miseráveis em que o artista viveu em Paris. Modigliani juntou-se aos artistas vanguardistas da época, mas apesar do contacto com novos movimentos, como por exemplo o Cubismo, continuouo distante da preocupação destes em reduzir a forma a figuras geométricas, tal como revela este auto-retrato subtilmente modelado. É também famoso pelo terno erotismo das suas esculturas e quadros de nus e pelas suas esculturas abstractas de cabeças. Morreu devido a uma combinação de tuberculose, toxidependência e alccolismo. Amedeo Mi«odigliani nasceu em Leghorn, Itália em 1884 e morreu em Paris em 1920.
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Redon, Odilon - Pós-Impressionismo

Quinta-feira, Janeiro 11, 2007


Guardian Spirit of the Waters, 1878
Charcoal
46.6 x 37.6 cm
The Art Institute of Chicago



Self-portrait, 1880
Oil on canvas
46.4 x 33.3 cm
Musée de Orsay, Paris, France



The Crying Spider, 1881
Charcoal
49,5 x 37,5 cm
Private collection



Cactus Men - 1881
49x32,5



Trees in the Blue Sky - c. 1883
Oil over traces of graphite on light-brown wove paper mounted on board
11 7/8 x 9 1/2" (30.2 x 24.1 cm)
The Museum of Modern Art, New York



Beatrice - 1885
Pastel over charcoal
34.5 x 30 cm
Private collection



Les yeux clos (Closed Eyes) - 1890
Oil on canvas mounted on cardboard
44 x 36 cm (17 3/8 x 14 1/4 in)
Musee d'Orsay, Paris



Woman with Wildflowers - Circa 1890/1900
Pastel and charcoal
52x37.5 cm
Hermitage Museum, Saint Petersburg, Russia



La Barque Mystique, c. 1890-95
Pastel on wove paper
51 x 63.5 cm (20 1/16 x 25 in.)
The Woodner Collection, New York



Saint John - 1892
Pastel over charcoal
42.5 x 29 cm
Private collection



The Golden Cell - 1892
Oil and gold metallic paint on paper prepared with white ground
30.1 x 24.6 cm
The British Museum



The Calvary - 1895 or later,
Pastel on cardboard
69 x 53 cm.
E.G. Bührle Collection, Zurich



Profile of a Woman with a Vase of Flowers - circa 1895-1905
Profile de femme avec vase de fleurs
Oil on canvas
655 x 505 mm
Tate Gallery, London, UK



Orfeo, 1898
Pastel
69 x 56 cm
The Cleveland Museum of Art, Cleveland



Woman with a Yellow Bodice - c. 1899
Pastel
66 x 50 cm
Museum Kroller-Mueller, Otterlo, The Netherlands



The Black Sun - c. 1900
Oil with incising on board
12 3/4 x 9 3/8" (32.4 x 23.8 cm)
The Museum of Modern Art, New York



Mystery, c. 1900
Oil on canvas
28 3/4 x 21 1/4 in
The Phillips Collection, Washington



Orfeo, 1900
Oil on canvas
73.5 x 54 cm
Private collection



Woman Sleeping under a Tree - 1900/1901
Tempera on canvas
26x35 cm
Hermitage Museum, Saint Petersburg, Russia



Ophelia, c. 1900-1905
Pastel on paper mounted on board
50.5 x 67.3 cm (19 7/8 x 26 1/2 in.)
The Woodner Collection



Panel, c. 1902
Distemper on canvas
225 x 185 cm
Rijksmuseum Twenthe, Enschede, The Netherlands



Flowers - c. 1903
Oil on canvas
66 x 54.5 cm
Kunstmuseum St. Gallen, Switzerland



Flower Clouds - c. 1903
Pastel
44.5 x 54.2 cm
The Art Institute of Chicago



Paul Gauguin, 1903-05
Oil on canvas
66 x 54,5 cm
Musée de Orsay, Paris, France



Le Bouddha (The Buddha) - c. 1905
Pastel on paper
98 x 73 cm (35 1/2 x 28 3/4 in)
Musee d'Orsay, Paris



Ophelia among the Flowers - 1905 to 1908
Pastel
64 x 91 cm
National Gallery, London



Two Young Girls Among Flowers, 1905-1912
Oil on canvas
24 1/2 x 20 1/4 in
Museum of Fine Arts, Houston, Texas



Red Boat with Blue Sail - 1906-07
Oil on canvas
54 x 73 cm
Private collection



Oannès, 1907
Oil on wood
65 x 50 cm
Private collection



Le char d' Apollon (The chariot of Apollo) - 1907 to 1910
Oil on panel
47.6 x 29.9 cm
Fitzwilliam Museum at the University of Cambridge, UK



The Fall of Phaeton - 1910
Oil on paper
40 x 48 cm
E.G. Bührle Collection, Zurich



Butterflies - c. 1910
Oil on canvas
29 1/8 x 21 5/8" (73.9 x 54.9 cm)
The Museum of Modern Art, New York



Roger and Angelica, 1910
Pastel on paper on canvas
92.7 x 73 cm
The Museum of Modern Art, New York City



Parsifal, c. 1912
Pastel on beige paper
26 x 20 1/2 in. (66 x 52 cm)
Musee d'Orsay, Paris



Evocation of Butterflies Evocation des Papillons - c. 1910/1912
Oil on canvas
27½ x 23 7/8 x 1 3/4 in. 69.8 x 60.6 x 4.4 cm
Detroit Institute of Arts, Michigan



Profile and Flowers - 1912
Pastel on paper
70.2 x 55.2 cm (27 5/8 x 21 3/4 in)
McNay Art Institute, San Antonio, TX



La coquille (The Seashell) - 1912
Pastel on paper
51 x 57.8 cm (20 1/2 x 22 3/4 in)
Musee d'Orsay, Paris



The Red Sphinx - c. 1912
Oil on canvas
61 x 49.5 cm
Private collection



The Cyclops - c. 1914
Oil on canvas
64 x 51 cm
Museum Kroller-Mueller, Otterlo, The Netherlands

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Em "Ophelia among the Flowers - 1905 to 1908", o poético mundo de fantasia da Ofélia de Shakespeare é a unspiração do quadro. Ofélia aparece, pouco antes da sua morte, num estado hipnótico e sonhador e as flores, que caem à frente do seu rosto, quase que representam a sua visão estática. O quadro tem uma certa sensualidade alucinante, um aspecto que levou a que Redon fosse adoptado pela cultura hippie dos anos 60. Os primeiros "noirs" do artista, as obras mórbidas e sinistras a preto e branco da sua juventude, eram a sua resposta a uma infência infeliz e solitária. Ele foi separado da família, provavelmente devido a uma epilepsia. No entanto, quando a casa da família em Bordeus foi vendida, em 1897, ele parece ter-se libertado dessas "origens dolorosas" como as chamou e as suas obras tornaram-se mais vibrantemente coloridas e começaram a ser mais apreciadas pelo público. A preocupação de Redon com o subconsciente foi uma fonte importante para os surrealistas. Odilon Redon nasceu em Bordéus em 1840 e faleceu em Paris em 1916.
...................................................................................................
Odilon Redon (1840-1916) - Odilon Redon was born and educated in Bordeaux, France. He went to Paris at the age of 30, where he worked for the next 20 years producing black and white drawings and lithographs. In these works, Redon developed a highly distinctive repertoire of strange subjects that included amoeba-like creatures, and insects and plants with human heads. He joined the Symbolist movement after 1884 when he was fictionalized in the infamous novel by Joris Karl Huysmans, A Rebours.
During the 1890’s, Redon turned to painting revealing a remarkable talent as a colorist. In oil and pastel, Redon used radiant color in paintings of mythological subjects and flowers. Historically, Redon is considered to be an important Symbolist artist as well as a precursor to Surrealism.
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Feininger, Andreas - Fotografia

Terça-feira, Janeiro 09, 2007


Daisies - Negative - c. 1930
Gelatin silver print
23,4 x 18,1 cm (6,5 x 7,5 ")



Cocktailparty, Hamburg, 1931



Schilfrohr - 1934



Nautilus - 1935



Nude (solarised), 1939



Empire State Building, New York - 1940



New York 1940 - Rockefeller Center reflected in window - 1940
Gelatin silver print
34.9 x 27.7 cm.



Railroad ferry, Hudson River, New York -1940
Gelatin silver print
34.1 x 27.1 cm.



Flat Iron Building, New York - 1940
Gelatin silver print
35.6 x 27.9 cm



Railroad ferry, Hudson River, New York, 1940
Gelatin silver print
34.1 x 27.1 cm



Port of New York, section for derelict vessels, 1940
Gelatin silver print
30.8 x 27.0 cm



Central Park, Sheeps Meadow, 1940
Gelatin silver print
28.4 x 35.6 cm



Poultry market, Lower East Side, Manhattan - 1940
Gelatin silver print
35.4 x 28.5 cm



Jewish shop on Lower East Side, Manhattan, 1940
Gelatin silver print
34.3 x 27.5 cm



Jewish shop on Lower East Side, Manhattan, 1940
Gelatin silver print
34.8 x 27.4 cm



Italian Store on Mulberry Street, 1940
Gelatin silver print
35.2 x 27.4 cm



Wholesale fish market, South Street, 1940
Gelatin silver print
35.0 x 28.4 cm



Harlem, New York, 1940



RCA building at night - diffraction, 1940
Gelatin silver print
34.2 x 27.6 cm.



Fishing boat moored at a South Street Pier - Winter 1940-41
Gelatin silver print
35.2 x 28.3 cm.



Dearborn Station, Chicago, 1941



Employment Agency, 6th Avenue, north of 42nd Street, 1941
Gelatin silver print
35.6 x 28.6 cm



Carl Mydans, 1942



Brooklyn Bridge at Night - 1948
Gelatin silver prints
h: 16 x w: 20 in / h: 40.6 x w: 50.8 cm



Coney Island, July 4th 1949 - 1949
h: 16 x w: 20 in / h: 40.6 x w: 50.8 cm



Navy Helicopter - 1949
h: 16 x w: 20 in / h: 40.6 x w: 50.8 cm



5th Avenue at Lunchtime - 1950
Gelatin Silver Print



Brooklyn Bridge and Manhattan, New York, 1950



Leica Photographer - 1951
Gelatin silver print



The Photojournalist - 1951
Gelatin Silver



Landscape California - 1952
h: 16 x w: 20 in / h: 40.6 x w: 50.8 cm



S.S. United States N.Y. Harbor - 1952



Route 66, Arizona, 1953



US 40, Wendover, Nevada - 1953



Queen Elizabeth and The Chysler Building, New York - 1958
h: 16 x w: 20 in / h: 40.6 x w: 50.8 cm



World Trade Center - c. 1970
Gelatin silver print
48 x 38 cm



Chelsea Rooftops in the Snow - 1980-1989
Gelatin Silver Print

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Andreas Feininger passou a juventude na Alemanha, onde estudou na Bauhaus de Weimar e na Escola de Arquitectura, em Zerbst. Inicialmente, trabalhou como arquitecto em Dessau e Hamburgo, mas para o final dos anos vinte começou a interessar-se por fotografia. As suas primeiras publicações sobre fotografia surgiram em 1930. Feininger possuía uma maneira única de combinar os conteúdos da fotografia com critérios formais tais como estruturas, composição da imagem e perspectiva. As suas fotografias de Nova Iorque são sempre estruturadas arquitectónicamente, adaptando-se ao rectângulo da imagem sem nunca se assemelharem a perspectivas através de uma moldura. No seu trabalho fotojornalístico para a revista Life, Feininger colocou uma ênfase particular sobre uma combinação criteriosa do conteúdo e da expressão da imagem. Segundo Feininger, a história devia ser contada pelas próprias fotografias, reduzindo-se assim ao mínimo o texto que as acompanha. A fotografia de Feininger cobre todo o espectro da actividade fotográfica: desde cenas de rua cheias de vida até perspectivas de cidade cuidadosamente compostas, desde paisagens quase abstractas até pormenores minúsculos de plantas, pedras, conchas ou esculturas. Andreas Feiniger nasceu em Paris em 1906 e morreu em Nova Iorque em 1999.
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Born in Paris and raised in Germany, Andreas Feininger was influenced by the Bauhaus Movement. His father, artist Lyonel Feininger, taught at the Bauhaus prior to World War II. By the 1920s, the younger Feininger had already established several stylistic traits in his photographic work, such as monumentalized subject matter and emphasis on line. Trained as an architect, Feininger remained interested in building structures and capturing their images on film. His nature photographs tend to reveal patterns in animal and plant forms as found in the backbones of a snake or veins in a leaf. Feininger emigrated to America in 1939. Between 1943 to 1962 he completed nearly 350 photographic essays for Life magazine. Feininger was a free-lance photographer as well as one of the foremost teachers of photography. Besides instructional guides he wrote more than 40 photographic books that were translated into 13 foreign languages. City life has attracted Feininger?s attention because of his love of buildings and light effects on them. He has portrayed all the aspects of the city-its buildings, people, traffic jams, as well as its ugliness, violence, and brutality. He is best known for his photos that captured the majesty and the energy of American cities. Major solo exhibitions have been held at The American Museum of Natural History, New York (1957); Smithsonian Institution, Washington, D.C (1963); International Center of Photography, New York (1976); Museum für Kunst und Gewerbe, Hamburg, Germany (1981); and the Altonaer Museum, Hamburg, Germany (1999). A solo exhibition of Feininger?s work originated at The Frances Lehman Loeb Art Center, Poughkeepsie, New York in 2003 and will travel to other American museums in 2004. Selected public collections containing Feininger?s work include the Metropolitan Museum of Art, the Museum of Modern Art and the International Center of Photography in New York; International Museum of Photography, George Eastman House, Rochester, New York; National Gallery of Art, Washington, D.C.; New Orleans Museum of Art, Louisiana; Victoria and Albert Museum, London; and the Bibliothèque Nationale, Paris.
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De Chirico, Giorgio - Surrealismo

Domingo, Janeiro 07, 2007


The Enigma of the Hour - 1911
Oil on canvas
Private collection



Portrait prémonitoire de Guillaume Apollinaire - 1914
Oil on canvas
81.5 x 65 cm
Musée National d'Art Moderne, Centre Georges Pompidou, Paris, France.



La Solitudine - 1910s or 1920s
Oil on canvas
Allen Art Museum at Oberlin College, Ohio



The Anxious Journey. Paris - spring-summer 1913
Oil on canvas
29 1/4 x 42" (74.3 x 106.7 cm)
Museum of Modern Art, New York City



The Uncertainty of the Poet 1913
Oil on canvas
1060 x 940 mm
Tate Gallery, London



Ariadne - 1913
Oil and graphite on canvas
53 3/8 x 71 in. (135.6 x 180.3 cm)
Metropolitan Museum of Art, New York City



The Red Tower (La Tour rouge) - 1913
Oil on canvas
73.5 x 100.5 cm
Peggy Guggenheim Collection.
Guggenheim Museum, New York City



Torino printanière - 1914
Oil on canvas
124 x 99.5 cm
Private collection



The Enigma of a Day - early 1914
Oil on canvas
6' 1 1/4" x 55" (185.5 x 139.7 cm).
Museum of Modern Art, New York City



Gare Montparnasse (The Melancholy of Departure) - early 1914
Oil on canvas
55 1/8" x 6' 5/8" (140 x 184.5 cm)
Museum of Modern Art, New York City



The Song of Love - June-July 1914
Oil on canvas
28 3/4 x 23 3/8" (73 x 59.1 cm).
Museum of Modern Art, New York City



The Evil Genius of a King - 1914-15
Oil on canvas
24 x 19 3/4" (61 x 50.2 cm)
Museum of Modern Art, New York City



The Duo. Paris, winter 1914-15
Oil on canvas
32 1/4 x 23 1/4" (81.9 x 59 cm)
Museum of Modern Art, New York City



The Seer - winter 1914-15
Oil on canvas
35 1/2 x 27 1/2" (89.6 x 70.1 cm)
Museum of Modern Art, New York City



The Double Dream of Spring - January-May 1915
Oil on canvas
22 1/8 x 21 3/8" (56.2 x 54.3 cm)
Museum of Modern Art, New York City



Andromache, 1916
Oil on panel
8 x 5 3/4 in. (20.3 x 14.6 cm)
Johnson Museum of Art at Cornell University, Ithaca, New York



The Melancholy of Departure - 1916
Oil on canvas
518 x 359 mm
Tate Gallery, London



The Faithful Servitor - 1916 or 1917
Oil on canvas
15 1/8 x 13 5/8" (38.2 x 34.5 cm)
Museum of Modern Art, New York City



Great Metaphysical Interior - April-August 1917
Oil on canvas
37 3/4 x 27 3/4" (95.9 x 70.5 cm)
Museum of Modern Art, New York City



Hector and Andromache - 1917
Oil on canvas
Galleria Nazionale d'Arte Moderna, Rome



The Prodigal Son - 1922
Oil on canvas
Museo d'Arte Contemporanea, Milan



The Painter's Family - 1926
Oil on canvas
1464 x 1149 mm
Tate Gallery, London

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No quadro "The Song of Love - Junho-Julho 1914", uma cabeça clássica, uma luva de borracha e uma esfera foram dispostas contra a fachada de um edifício, contra iluminada por um vivíssimo céu azul. A luz dramática lembra a beleza artificial de um cenário de um teatro, enquanto a cabeça clássica remete para Atenas, onde o autor nasceu, de pais italianos. O mistério romântico e a combinação etérea de objectos bizarros e aparentemente desconexos ligam esta obra ao Surrealismo, embora tenha sido pintada dez anos antes da fundação deste movimento. De Chirico é mais conhecido pelas séries de paisagens urbanas, retratando praças vazias e edifícios fantasmagóricos monumentais. Em 1917, ele e o seu colega italiano Carrá fundaram o grupo Pittura Metafísica (Pintura Metafísica),que procurou retratar os aspectos mágicos e íntimos dos objectos, isolando-os do seu contexto normal e imbuindo-os de uma áurea enigmática. A obra de De Chirico inclui frequentemente elementos da Antiguidade grega e romana, associados à sua herança italiana. Giorgio De Chirico nasceu em Vólos, Grécia, em 1888 e morreu em Roma, Itália, em 1978.
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Hartley, Marsden - Modernismo Americano

Sexta-feira, Janeiro 05, 2007


Storm Clouds, Maine - 1906-1907
Oil on canvas
30 x 25 x inches
Walker Art Center, Minnesota



Mountain Lake—Autumn, circa 1910
Oil on canvas
12 x 12 in.
The Phillips Collection, Washington D.C



Military - 1913
Oil on canvas
Wadsworth Atheneum Museum of Art, Connecticut



The Aero - 1914
Oil on canvas, without frame
100.3 x 81.2 cm (39 1/2 x 32 in.)
National Gallery of Art, Washington D.C.



Portrait of a German Officer - 1914
Oil on canvas
68 1/4 x 41 3/8in. (173.4 x 105.1cm)
Metropolitan Museum of Art, New York City



Painting No. 50 - 1914–15
Oil on canvas
47 x 47 in. (119.4 x 119.4 cm)
Terra Foundation for American Art, Chicago



Berlin Abstraction - 1914/1915
Oil on canvas
32 x 26 in.
Corcoran Gallery of Art, Washington D.C.



Still Life—Calla Lilies - 1920
Oil on canvas board
The Newark Museum, New Jersey



Still Life - 1920
Oil on canvas
32.25 x 24.125 inches
Walker Art Center, Minnesota



Landscape No. 5 - 1922/1923
Oil on canvas
58.4 x 90.2 cm (23 x 35 1/2 in.)
National Gallery of Art, Washington D.C.



Shell - 1929
Oil on composition board
18 x 15 in. (45.7 x 38.1 cm)
Ringling Museum of Art, Florida



Cascade of Devotion, Mexico - 1932
Oil on panel
27 x 23
Berkeley Art Museum



Popocatepetl, Spirited Morning, Mexico - 1932
Oil on board
25 x 29 in. (63.5 x 73.7 cm)
Smithsonian American Art Museum



Yliaster (Paracelsus) - 1932
Oil on paperboard mounted on particleboard
25 1/4 x 28 1/2 in. (64.1 x 72.4 cm.)
Smithsonian American Art Museum



Sea View, New England, 1934
Oil on academy board
12 x 16 in.
The Phillips Collection, Washington D.C.



Gardener's Gloves and Shears, circa 1937
Oil on canvas board
15 7/8 x 20 in.
The Phillips Collection, Washington D.C



Off to the Banks, between 1936 and 1938
Oil on canvas board
11 3/4 x 15 7/8 in
The Phillips Collection, Washington D.C.



After the Storm, Vinalhaven - 1938-9
Oil on academy board
22 1/16 x 28 1/16 inches
Bowdoin College Museum of Art, Maine



Cleophas, Master of the "Gilda Grey" - 1938-1939
Oil on board
27.75 x 21.75 inches
Walker Art Center, Minnesota



Birds of the Bagaduce - 1939
Oil on board
28 X 22" (71.12 x 55.88 cm.)
Butler Institute of American Art, Ohio



Wood Lot, Maine Woods, 1939
Oil on canvas
28 1/8 x 22 in.
The Phillips Collection, Washington D.C.



Waterfall, Morse Pond - ca. 1940
Oil on board
22 in. x 28 in.
Art Gallery of the University of Rochester, New York



Madawaska - 1940
Oil on board
1001,6 x 76,2 cm
Private collection



Lobster on Black Background -1940-1941
Oil on fiberboard
22 x 28 in. (55.9 x 71.1 cm)
Smithsonian American Art Museum



Mount Katahdin, Maine - 1942
Oil on hardboard
76 x 101.9 cm (30 x 40 1/8 in.)
National Gallery of Art, Washington D.C.



Off the Banks at Night, 1942
Oil on hardboard
30 x 40 in.
The Phillips Collection, Washington D.C.



Wild Roses - 1942
Oil on hardboard
22 x 28 in.
The Phillips Collection, Washington D.C.



Fisherman's Family - n.d.
Oil on canvas
40 in. x 30 in. (101.6 cm x 76.2 cm)
Crocker Art Museum, California

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A dominar a composição (Madawaska - 1940) encontra-se a figura larga de um homem com uma presença marcante. Sentado resolutamente com as mão sobre as pernas, o relevo da sua forma destaca-se através da luz que bate no lado esquerdo, representada pelo amarelo forte nos eus ombro, mão e peito. O esquema de cores fortes inspira-se no Expressionismo, que explorava o valor emotivo da cor, ao passo que a simplificação da forma se aproxima do Cubismo. Hartley pertenceu ao círculo da vanguarda americana de pintores que exibiam na famosa galeria 291, cujo dono era o fotógrafo Alfred Stieglitz. Stieglitz encorajou Hartley a procurar influências da Europa, levando o artista a viajar até Paris, em 1912, onde assimilou o Cubismo. Prosseguiu para berlim, em busca de inspiração, onde bebeu da obra de Kandinsky e Jawlensky, tendo exibido, em 1913, com o Der Blaue Reiter, um grupo de pintores expressionistas. Os últimos anos de Hartley foram passados em França, Itália, Alemanha e Novo México. Marsden Hartley nasceu em Lewiston, ME (EUA) e morreu em Ellworth, ME (EUA) em 1943.
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Burri, Alberto - Arte Informal

Terça-feira, Janeiro 02, 2007


SZ1, 1949



Sacco e oro - 1953
Sacco, oro su tela
119,5x149 cm
Museo d'Arte della Città di Ravenna, Italy



Composition - 1953
Oil, gold paint, and glue on burlap and canvas
33 7/8 x 39 1/2 inches
Solomon R. Guggenheim Museum, New York



Sacco IV - 1954
Toile de jute, coton, colle de vinavil,
soie et peinture sur le support noir de coton
114 x 76 cm



Sacco IV (detail) - 1954
Burlap, cotton, vinavil glue, silk and paint on black cotton backing.



Sacco e rosso - 1954
Sacco, olio, vinavil su tela
86 x 100 cm
Tate Galerry, Londom



Sacco e rosso - 1956
Sacco, olio, vinavil su tela
119,5x149 cm
Museo d'Arte della Città di Ravenna, Italy



Grande Ferro E, 1959
Ferro color ruggine



Legno, 1959
Legno spesso disposto a lamelle



Grande Rosso P.18 - 1964
Sacchi, Ferri, Cretti
Galleria Nazionale d'Arte Moderna, Roma



Bianco plastica B3 - 1965.
Plastica, acrilico, combustione su cellotex
100x75cm



Cretto G 1, 1975
caolino e vinavil (mischiati a pigmento) fissati su cellotex

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Reunindo uma série de materiais pobres e pouco prometedores - serrapilheira, cola e tinta vinilíca industrial - Burri fez trabalhos de extrema beleza. A conjugação de diferentes texturas e cores, e as composições equilibradas dão uma beleza extraordinária às suas obras. Em "Sacco e rosso - 1954", por exemplo, também pode observar-se uma dimensão simbólica ou psicológica. A serrapilheira sugere ligaduras e a cor vermelha sangue, remetendo para a experiência de Burri como médico num campo de prisioneiros de guerra italiano. Os seus materiais rudes dão à obra uma "fisicalidade" brutal, que os criticos associaram à experiência generalizada, no pós-guerra, da austeridade e e omnipresença de memórias de sofrimento e destruição. A utilização pouco convencional que Burri faz de materiais pouco usuais, incluindo madeira queimada e lençois de plástico, associa-o à Arte Informal, um movimento cujos artistas utilizavam materiais ligados ao quotidiano, rejeitando as formas e os métodos tradicionais de composição. Alberto Burri nasceu em Città di Castelo, Itália, em 1915 e morreu em Nice, França, em 1995.
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