O SÉCULO PRODIGIOSO

A arte no século XX

Munch, Edvard - Simbolismo / Expressionismo

Segunda-feira, Fevereiro 26, 2007


Evening on Karl Johan, 1892
Oil on canvas
84.5 x 121 cm
Rasmus Meyer Collection, Bergen



The Scream (or The Cry), 1893
Casein/waxed crayon and tempera on paper (cardboard)
91 x 73.5 cm (35 7/8 x 29")
Nasjonalgalleriet (National Gallery), Oslo



Summer Night´s Dream (The Voice), 1893
Oil on canvas
Museum of Fine Arts, Boston



Death at the Helm, 1893
Oil on canvas
100x120.5cm



The Voice, 1893
Oil on canvas
34 1/2 x 42 1/2 in
Museum of Fine Arts, Boston



The Hands, 1893
Oil on canvas
89 x 76,5 cm
Kommunes Kunstsamlinger, Oslo



The Storm, 1893
Oil on canvas
91,5 x 131 cm
Museum of Modern Art, New York City



Clair de lune, 1893
Oil on canvas
140,5 x 135 cm
National Gallery, Oslo



Starry Night, 1893
Oil on canvas
53 3/8 x 55 1/8 in.
J. Paul Getty Museum, Los Angeles



Ashes, 1894
Oil on canvas
120.5 x 141 cm
Nasjonalgalleriet (National Gallery), Oslo



Anxiety, 1894
Oil on canvas
94x73cm
Munch Museum, Oslo



Madonna, 1894-95
Oil on canvas
91 x 70.5 cm
National Gallery, Oslo



Puberty, 1895
Oil on canvas
150 x 110 cm (59 5/8 x 43 1/4 in)
Nasjonalgalleriet (National Gallery), Oslo



Death, 1895
Oil on canvas
90 x 120,5 cm
Collection Rasmus Meyer, Bergen



Self-Portrait with Burning Cigarette, 1895
Oil on canvas
110.5 x 85.5 cm
National Gallery, Oslo



Death in the Sickroom, c. 1895
Oil on canvas
59 x 66 in
National Gallery, Oslo



Man and Woman, 1898
Oil on canvas
Bergen Art Museum



Red Virginia Creeper, 1898-1900
Oil on canvas
119.5x121cm
Munch Museum, Oslo



Melancholy, Laura, 1899
Oil on canvas
134.5x160cm



The Dance of Life, 1899-1900
Oil on canvas
49 1/2 x 75 in
National Gallery, Oslo



The Dead Mother, 1899-1900
Oil on canvas
39 3/8 x 35 3/8 in
Kunsthalle, Bremen



Golgotha, 1900
Oil on canvas
80x120cm
Munch Museum, Oslo



Red Creeper, 1900
Oil on canvas
32,5 x 48 cm
National Gallery, Oslo



The Beast, 1901
Oil on canvas
94.5 x 63.5 cm
Sprengel Museum, Hanover, Germany



Girls on the Jetty, 1903
Oil on canvas
92 x 80 cm
Collection of Vivian and David Campbell



Max Linde's four sons, 1903
Oil on canvas
144 x 199,5 cm
Museum of Arts, Lubeck



Woman in Red Dress (Street in Aasgaardstrand), 1903
Oil on canvas
59,7 x 75,5 cm
Neue Pinakothek, Munich, Germany



Inheritance, 1903-05
Oil on canvas
119 x 100 cm
Munch Museum, Oslo



Generations, circa 1904
Oil on canvas
96 cm (37.8 in.), Width: 119 cm (46.85 in.)
Private collection



Lübeck Harbor with the Holstentor, 1907
Oil on canvas
84 x 100 cm
Nationalgalerie. Berlin



The Sick Child, 1907
Oil on canvas
1187 x 1210 mm
Tate Gallery, London



Winter at Kragerö, 1912
Oil on canvas
131,5 x 131 cm
Munch Museum, Oslo



Workers Returning Home, 1913-1915
Oil on canvas
201 x 227 cm
Kommunes Kustsamlinger, Oslo



The Wave, c. 1919
Oil on canvas
110 x 130 cm
Private collection



Kneeling Nude, circa 1920-1923
Oil on canvas
32 1/2 x 31 1/4 in. (82.4 x 79.3 cm.)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Meeting, 1921
Oil on canvas
127 x 108 cm
Private collection

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Em "The Dance of Life, 1899-1900", casais dançam num campo verdejantes próximo da costa, enquanto duas mulheres observam. As duas figuras ao fundo, à esquerda, parecem dançar estáticamente, ao mesmo tempo que o casal ao centro parece ter parado, olhando atentamente para um e outro. Este quadro de Munch baseia-se nas celebrações do solstício de Verão em Argardstrand, no seu país natal, a Noruega. A mulher de branco, que se assemelha à namorada do autor, Tulle Larson, simboliza a virgindade, a mulher de vermelho representa o conhecimento carnal e figura de preto, que olha fixamente para os bailarinos cheia de inveja, representa a velhice. Os contornos deformados e o uso simbólico da cor nesta obra são típicos de Munch e estão ilustrados na sua obra mais famosa intitulada O Grito. O seu estilo é amplamente considerado como aquele que deu origem ao Expressionismo na Europa. Este quadro faz parte de uma série intitulada "O Friso da Vida", que Munch iniciou quando esteve em Paris, após um primeiro caso amoroso infeliz e a morte de seu pai. Impressor talentoso além de pintor, Munch foi um dos pioneiros da arte moderna. Edvard Munch nasceu em Lote (NOR) em 1863 e morreu em Oslo (NOR) em 1944.
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Edvard Munch was a Norwegian artist whose brooding and anguished paintings and graphic works, based on personal grief and obsessions, were instrumental in the development of expressionism. Born in Løten, Norway, on December 12, 1863, Munch began painting at the age of 17 in Christiania (now Oslo). A state grant, awarded in 1885, enabled him to study briefly in Paris. For 20 years thereafter Munch worked chiefly in Paris and Berlin. At first influenced by impressionism and postimpressionism, he then turned to a highly personal style and content, increasingly concerned with images of illness and death. In 1892, in Berlin, an exhibition of his paintings so shocked the authorities that the show was closed. Undeterred, Munch and his sympathizers worked throughout the 1890's toward the development of German expressionist art. Perhaps the best known of all Munch's work is The Scream (1893, Nasjonalgalleriet, Oslo). This, and the harrowing The Sick Child (1881-86, Nasjonalgalleriet), reflect Munch's childhood trauma, occasioned by the death of his mother and sister from tuberculosis. Melancholy suffuses paintings such as The Bridge —in limp figures with featureless or hidden faces, over which loom the threatening shapes of heavy trees and brooding houses. Reflections of sexual anxieties are seen in his portrayals of women, alternately represented as frail, innocent sufferers or as lurid, life-devouring vampires. In 1908 Munch's anxiety became acute and he was hospitalized. He returned to Norway in 1909 and died in Oslo on January 23, 1944. The relative tranquillity of the rest of his life is reflected in his murals for the University of Oslo (1910-16), and in his vigorous, brightly colored landscapes. Although his later paintings are not as tortured as his earlier work, a return to introspection marks his late self-portraits, notably Between Clock and Bed (1940, Munch Museet, Oslo). Munch's considerable body of etchings, lithographs, and woodcuts is now considered a significant force in modern graphic art; the work is simple, direct, and vigorous in style, and powerful in subject matter. Few of Munch's paintings are found outside Norway. His own collection is housed in the Munch Museet.
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Martins, Aldemir - Arte Brasileira Contemporânea

Sábado, Fevereiro 24, 2007


A Fera, 1966
190 x 130 cm
Tinta impressa s/ tela



O Flautista, 1967
100 x 80 cm
Acrílico sobre tela



Gato, 1968
54 x 73 cm
Acrílico sobre tela



Paisagem Marinha, 1970
60 x 80 cm
Acrílico sobre tela



Bois, 1971
25 x 25 cm
Acrílico sobre tela



Cangaceiro Az de Ouro, 1973
115 x 89 cm
Acrílico sobre tela



Galo, 1987
81 x 60 cm
Acrílico sobre tela



Apartaide, 1989
74 x 52 cm
Acrílico sobre papel martelado



Paisagem, 1994
46 x 55 cm
Acrílico sobre tela



Frutas, 1995
60 x 81 cm
Acrílico sobre tela



Gato Azul, 1995
55 x 46 cm
Acrílico sobre tela



Flores, 1995
81 x 60 cm
Acrílico sobre tela



Flores, 1995
97 x 130 cm
Acrílico sobre tela



Cangaceiro, 1999
40 x 30 cm
Acrílico sobre tela colada cartão



Cangaceiro, 1999
40 x 30 cm
Acrílico sobre tela colada cartão



Cangaceiro, 1999
40 x 30 cm
Acrílico sobre tela colada cartão



Cangaceiro, 1999
40 x 30 cm
Acrílico sobre tela colada cartão



Palheta - Natureza morta, 2000
27.5 x 41.5 cm
Acrílico sobre madeira



Paisagem, 2000
40 x 50 cm
Acrílico sobre tela



Gato, 2003
130 x 98 cm
Acrílico sobre tela

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Aldemir Martins nasceu no dia 8 de novembro de 1922 em Ingazeiras, Vale do Cariri, Ceará. Ainda menino, transfere-se com a familia para Vila Guaiúba, município de Pacatuba, localizado nas proximidades da capital cearense. Aos 11 anos é enviado ao Colégio Militar de Fortalez, no qual permanece 5 anos, tranferindo-se em seguida para o ateneu São José. Aldemir desenha desde menino. No colégio militar, torna-se monitor de desenho de sua classe e no Exército, para o qual é convocado após fazer a Companhia de Quadros (1941) e no qual permanece até 1045, desenha o mapa aerofotogramétrico da cidade de Fortaleza, e vence concurso nas oficinas de material bélico, tornando-se Cabo Pintor. No início dos anos 40, Aldemir Martins cria, juntamente com Mário Barata, Barbosa Leite, Antonio Nadeira, Carmélio Cruz, Inimá de Paula e outros, o Grupo Artys e a SCAP - Sociedade Cearense de Artistas Plásticos, responsáveis pela renovação do ambiente artístico cearense. Em 1942 expôe, pela primeira vez, no II Salão de Pintura do Ceará. Faz ilustrações para os jornais "O Unitário", "O Correio do Ceará" e "O Estado" e para livros de intelectuais cearenses. Aldemir transfere-se em 1945, para o Rio de Janeiro, onde participa de uma coletiva na Galeria Askanasi e do Salão Nacional de Belas Artes. Um ano depois está em São Paulo onde realiz sua primeira individual, na seção paulista do Instituto dos Arquitetos do Brasil. Em 1947 é convidado a participar da exposição "19 Pintores", que marca a emergência de uma nova geração de artistas brasileiros. Desde então, Aldemir Martins participa ativamente do movimento artístico brasileio. Concorre aos principais salões de arte do país, recebendo numerosos prêmios entre os quais o "Prêmio Viagem ao Exterior" do Salão Nacional de Arte Moderna (1954). Participa ainda de outras mostras competitivas como a Bienal de São Paulo e a Bienal de Veneza. Na I Bienal de São Paulo recebe o Prêmio de desenho "da Olívia Guedes Penteado" e na II, o prêmio "Nadir Figueiredo S.A.". Em 1956, Aldemir Martins conquista a láurea mais importante de sua carreira: O Prêmio Internacional de Desenho da Bienal de Veneza, que o consagra definitivamente.Em 1982 lhe foi outorgado o título Doutor Honóris Causa pela Universidade Federal do Ceará. Em 1985 a MWM lançou o livro "Aldemir Martins Linha, Cor e Forma" e, em 1990, a Best Seller editou o volume "Desenhos de Roma", que reúne trabalhos realizados por Aldemir Martins quando esteve na capital italiana desfrutando o prêmio Viagem ao Exterior. Desenhos e pinturas de sua autoria foram reproduzidos em numerosos produtos industriais tais como pratos, bandejas, xícaras, tecidos, embalagens e na abertura de telenovelas, "Terras Sem Fim" e "Gabriela, Cravo e Canela", de Jorge Amado, o que o tornou um dos artístas plásticos mais conhecidos do país. Ao longo de sua carreira, Aldemir Martins participou de mais de 150 exposições coletivas e individuais no Brasil e no exterior. Aldemir Martins faleceu em fevereiro de 2006 na cidade de Sao Paulo, onde residia.
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Wyeth, Andrew - Realismo Contemporâneo

Sexta-feira, Fevereiro 23, 2007


Winter Farm Scene, nd
Watercolor on paper
22 3/4 x 30 7/8 inches (57.8 x 78.7 cm)
Private collection



Tomorrow The Outer Shoals, nd
Tempera on panel
22 x 37 7/8 inches (55.9 x 96.5 cm)
Private collection



Brandywine Valley, 1940
Watercolor on wove paper
55.6 x 76.3 cm
The National Gallery of Art, Washington D.C.



Turkey Pond, 1944
Tempera on panel
Farnsworth Art Museum



Winter 1946, 1946
Tempera on composition board
31 3/8 x 48 in. (79.7 x 121.9 cm)
North Carolina Museum of Art



Dodges Ridge, 1947
Egg tempera on fiberboard
41 1/8 x 48 1/8 inches (104.5 x 122.3 cm)
Smithsonian American Art Museum, Washington D.C.



Christina' World, 1948
Tempera on gessoed panel
32 1/4 x 47 3/4" (81.9 x 121.3 cm)
The Museum of Modern Art, New York



Wind from the Sea, 1948
Tempera on panel
19 x 28 in
Private collection



November First, 1950
Watercolor on paper mounted on paperboard
21 5/8 x 29 5/8 inches (55.2 x 75.4 cm)
Smithsonian American Art Museum, Washington D.C.



Roaring Reef, ca. 1951
Watercolor on paper mounted on paper
21 7/8 x 28 1/2 in. (55.5 x 72.4 cm)
Smithsonian American Art Museum, Washington D.C.



Trodden Weed, 1951
Tempera on panel
Private collection



Snow Flurries, 1953
Tempera on panel
94.5 x 122 cm (37 1/4 x 48 in.)
The National Gallery of Art, Washington D.C.



Corner of the Woods, 1954
Egg tempera on Masonite
98.42 x 79.06 cm (38 3/4 x 31 1/8 in.)
Museum of Fine Arts, Boston



Hawk Mountain, 1961
Watercolor over graphite
54.7 x 75.9 cm (21 1/2 x 29 15/16 in.)
The National Gallery of Art, Washington D.C.



Christina's Teapot, 1968
Watercolor
22 3/4 x 28 3/4 in
The Holly and Arthur Magill Collection



In the orchard, 1973
Watercolor. 23 5/8" x 18"
Private Collection



Knapsack, 1977
Waterclor on paper



Braids, 1979
Tempera
16 1/2" x 20 1/2"
Private Collection



White Dress, 1981
Watercolor on paper



Kuerner's Farm, 1983
Watercolor on Paper
21.5" x 30.5"



In the Doorway, 1984
Watercolor on paper



Field Hand, recto, 1985
Dry brush watercolor on wove paper
55.3 x 100.7 cm (21 3/4 x 39 5/8 in.)
The National Gallery of Art, Washington D.C.



Roof At Archie's, 1986
Watercolor on paper



Sunday Times, 1987
Watercolor on paper
Private collection



Man and the Moon, 1990
egg tempera paint on Renaissance panel (Pre-gessoed masonite)
30 1/8 x 48 inches
Kemper Museum of Contemporary Art, Kansas City, Missouri



Leaving, 1993,
Drybrush and watercolor
27 1/2"x19 5/8"



Blue Ice, 1994
Watercolor on paper



Tracks at Kuerners, 1995
Watercolor on paper
h: 19.2 x w: 27.5 in / h: 48.8 x w: 69.8 cm



Sharpshooter, 1997
Watercolor
19 1/2" x 27 3/4"



The Carry, 2003
Tempera on panel
Private collection.

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Em "Field Hand, recto, 1985", um trabalhador do campo encosta-se a um tronco de uma árvore no cimo de um monte, fazendo uma pausa no trabalho. A sua prótese, com a forma de um gancho, é o bizarro ponto focal desta obra. A solidão da existência do trabalhador, a sua batalha com a natureza e a sua vontade de sobreviver são reflectidas pelo símbolo forte do seu membro falso. Esta imagem altamente evocativa e sentimental, pintada com um realismo meticuloso, é típica da obra de Wyeth. Ao usar técnicas de pintura tradicionais, ele copnsegue uma imtemporalidade que associa as severas condições do trabalho no campo durante a era pioneira à vida rural contemporânea americana. Pequenas figuras, muitas vezes com alguma forma de incapacidade fisica ou mental, colocadas em grandes paisagens áridas são comuns na obra deste autor. Uma criança isolada, Wyeth foi educado por professores particulares e estudou arte com o seu pai, Newell Convers Wyeth, um famoso ilustrador. Nas suas obras nostálgicas, ele celebra a vida simples, livre das repressões da era tecnológica. Andrew Wyeth nasceu em Chads Ford, PA (EUA) em 1914.
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Andrew Wyeth was born July 12, 1917 in Chadds Ford, Pennsylvania. He was the youngest of five children. Andrew was a sickly child and so his mother and father made the decision to pull him out of school after he contracted whooping cough. His parents home-schooled him in every subject including art education. Newell Convers Wyeth (Andrew's father) was a well known illustrator whose art was featured in many magazines, calendars, posters and murals. He even painted maps for the National Geographic Society! Andrew had a vivid memory and fantastic imagination that led to a great fascination for art. His father recognized an obvious raw talent that had to be nurtured. While his father was teaching him the basics of traditional academic drawing Andrew began painting watercolour studies of the rocky coast and the sea in Port Clyde Maine. He worked primarily in watercolours and egg tempera and often used shades of brown and grey. He held his first one-man show of watercolours painted around the family's summer home at Port Clyde, Maine in 1937. It was a great success that would lead to plenty more. He married at the age of twenty-two to a local girl named Betsey James and had two boys, Nicholas who became an art dealer, and James who became the third generation artist in his family. Interestingly, although James' father was the most popular artist in his family history, he was greatly inspired by his grandfather's illustrations. He was featured on the cover of American Artist as well as many other famous magazines such as the Saturday Evening Post that displayed his painting "The Hunter." His first solo museum exhibition was presented in 1951 at the Farnsworth Art Museum. Since then he has seen many more successes and is considered one of the most "collectable" living artist's of our time.
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Escher, M.C. - Ilustração

Quarta-feira, Fevereiro 21, 2007


Eight Heads, 1922
Woodcut, block printed four times
32.5 x 34 cm (12 13/16 x 13 3/8 in.)



Tower of Babel, 1928
Woodcut
62 x 38,5 cm



Infant (A.E. Escher), 1929
Woodcut in red-brown and two tones of pink, printed from three blocks



Castrovalva (Abruzzi), 1930
Lithograph
53 x 42.1 cm (20 7/8 x 16 5/8 in.)



Still Life with Mirror, 1934
Lithograph
39.4 x 28.7 cm (15 1/2 x 11 1/4 in.)



Still Life with reflecting globe, 1934
Lithograph
28,5 x 32,5 cm



St. Peter's, Rome, 1935
Wood-engraving
24 x 32 cm



Hell (copy after a scene by Hieronymous Bosch), 1935
Lithograph
25.1 x 21.4 cm (9 7/8 x 8 3/8 in.)



Scarabs, 1935
Wood engraving on laid paper
21.1 x 32.1 cm



Hand with Reflecting Sphere, 1935
Lithograph on silver-coated wove paper
43.5 x 25 cm



Day and Night, 1938
Woodcut in black and gray, printed from two blocks
39.1 x 67.7 cm (15 3/8 x 26 5/8 in.)



Cycle, 1938
Lithograph
47,5 x 28 cm



Sky and water I, 1938
Woodcut
44 x 44 cm



Sky and Water II, 1938
Woodcut
62.3 x 40.7 cm (24 1/2 x 16 in.)



Fish, c. 1942
Woodcut on textile



Reptiles, 1943
Lithograph
33.4 x 38.5 cm (13 1/8 x 15 1/8 in.)



Ant, 1943
Lithograph



Diploma Tijdelijke Academie, 1945
Woodcut, fourth state
34.2 x 24 cm (13 1/2 x 9 1/2 in.)



Doric Columns, 1945
Wood-engraving printed from three blocks
32 x 24 cm



Three Spheres I, 1945
Wood engraving on wove paper
36.6 x 29 cm



Eye, 1946
Mezzotint
Third state (upper left)
Fourth state (lower left)
Sixth state (upper right)
Seventh and final state (lower right)
31.9 x 31.7 cm (12 1/2 x 12 1/2 in.)



Other world II, 1947
Wood-engraving printed from three blocks
31,5 x 26 cm



Drawing Hands, 1948
Lithograph
28.2 x 33.2 cm (11 1/8 x 13 1/8 in.)



Sun and Moon, 1948
Woodcut printed from four blocks
25.1 x 27 cm (9 7/8 x 10 5/8 in.)



Dewdrop, 1948
Mezzotint
18 x 24,5 cm



Stars, 1948
Wood engraving in black, turquoise, yellow and pink on wove paper
39.6 x 32.6 cm



Double Planetoid, 1949
Wood engraving in black, yellow ochre, pale-green, and dark-blue on wove paper
46.7 x 50.3 cm



Curl-up, 1951
Lithograph on wove paper
29.4 x 44.5 cm; image



Puddle, 1952
Woodcut in three colors
24 x 31.9 cm (9 1/2 x 12 1/2 in.)



Cubic space division, 1952
Lithograph
27 x 26,5 cm.



Relativity, 1953
Woodcut
28.2 x 29.4 cm (11 1/8 x 11 5/8 in.)



Spirals, 1953
Wood engraving in black and grey on wove paper
32.6 x 39.6 cm



Three Worlds, 1955
Lithograph
36.2 x 24.7 cm (14 1/4 x 9 3/4 in.)



Depth, 1955
Wood-engraving printed from three blocks
32 x 23 cm.



Concave and convex, 1955
Lithograph
28 x 33,5 cm



Rind, 1955
Colour wood engraving and woodcut on japan paper
43.3 x 30.7 cm



Bond of Union, 1956
Lithograph
25.3 x 33.9 cm (10 x 13 3/8 in.)



Swans, 1956
Wood-engraving
20 x 32 cm



Print Gallery, 1956
Lithograph
31.9 x 31.7 cm (12 1/2 x 12 1/2 in.)



Mosaic II, 1957
Lithograph
32 x 37 cm



Cube with Ribbons, 1957
Lithograph on wove paper
39.1 x 39.2 cm



Belvedere, 1958
Lithograph
46.2 x 29.5 cm (18 1/4 x 11 5/8 in.)



Flat Worms, 1959
Lithograph
34 x 41,5 cm



Fish and Scales, 1959
Woodcut on japan paper
48.3 x 46.4 cm



Circle Limit III, 1959
Woodcut in black, rust, green, blue and orange on japan paper
46.9 x 51 cm



Ascending and Descending, 1960
Lithograph
35.5 x 28.5 cm (14 x 11 1/4 in.)



Waterfall, 1961
Lithograph
38 x 30 cm (15 x 11 3/4 in.)



Mobius Strip I, 1961
Wood engraving and woodcut in black, red, green and gold on japan paper
31.4 x 32.1 cm



Moebius Strip II (Red Ants), 1963
Woodcut printed from three blocks
45.3 x 20.5 cm (17 7/8 x 8 1/8 in.)



Knots, 1965
Woodcut in black, orange and green on laid japan paper
53.3 x 42.3 cm

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Mauritus Cornelis Escher, nasceu em Leeuwarden na Holanda em 1898, faleceu em 1970 e dedicou toda a sua vida às artes gráficas. Na sua juventude não foi um aluno brilhante, nem sequer manifestava grande interesse pelos estudos, mas os seus pais conseguiram convencê-lo a ingressar na Escola de Belas Artes de Haarlem para estudar arquitectura. Foi lá que conheceu o seu mestre, um professor de Artes Gráficas judeu de origem portuguesa, chamado Jesserum de Mesquita. Com o professor Mesquita, Escher aprendeu muito, conheceu as técnicas de desenho e deixou-se fascinar pela arte da gravura. Este fascínio foi tão forte que levou Mauritus a abandonar a Arquitectura e a seguir as Artes Gráficas. Quando terminou os seus estudos, Escher decide viajar, conhecer o mundo! Passou por Espanha, Itália e fixou-se em Roma, onde se dedicou ao trabalho Gráfico. Mais tarde, por razões políticas muda-se para a Suíça, posteriormente para a Bélgica e em 1941 regressa ao seu país natal. Estas passagens por diferentes sítios, por diferentes culturas, inspiraram a mente de Escher, nomeadamente a passagem por Alhambra, em Granada, onde conheceu os azulejos mouros. Este contacto com a arte árabe está na base do interesse e da paixão de Escher pela divisão regular do plano em figuras geométricas que se transfiguram, se repetem e reflectem, pelas pavimentações. Porém, no preenchimento de superfícies, Escher substituía as figuras abstracto-geométricas, usadas pelos árabes, por figuras concretas, perceptíveis e existentes na natureza, como pássaros, peixes, pessoas, répteis, etc. Escher, sem conhecimento matemático prévio mas através do estudo sistemático e da experimentação, descobre todos os diferentes grupos de combinações isométricas que deixam um determinado ornamento invariante. A reflexão é brilhantemente utilizada na xilografia "Day and Night", uma das gravuras mais emblemáticas da carreira de Escher.
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Maurits Cornelis Escher (1898-1972) is one of the world's most famous graphic artists. His art is enjoyed by millions of people all over the world. He created visual riddles, playing with the pictorially logical and the visually impossible.
He is most famous for his so-called "impossible structures", such as Ascending and Descending, Relativity, his Transformation Prints, such as Metamorphosis I, Metamorphosis II and Metamorphosis III, Sky & Water I or Reptiles. M.C. Escher, during his lifetime, made 448 lithographs, woodcuts and wood engravings and over 2000 drawings and sketches. Like some of his famous predecessors, - Michelangelo, Leonardo da Vinci, Dürer and Holbein-, M.C. Escher was left-handed. Apart from being a graphic artist, M.C. Escher illustrated books, designed tapestries, postage stamps and murals. He was born in Leeuwarden, the Netherlands, as the fourth and youngest son of a civil engineer. After 5 years the family moved to Arnhem where Escher spent most of his youth. After failing his highschool exams, Maurits ultimately was enrolled in the School for Architecture and Decorative Arts in Haarlem. After only one week, he informed his father that he would rather study graphic art then architecture, as he had shown his drawings and linoleum cuts to his graphic teacher Samuel Jessurun de Mesquita, who encouraged him to continue with graphic arts. After finishing school, he traveled extensively through Italy, where he met his wife Jetta Umiker, whom he married in 1924. They settled in Rome, where they stayed until 1935. During these 11 years, Escher would travel each year throughout Italy, drawing and sketching for the various prints he would make when he returned home. Many of these sketches he would later use for various other lithographs and/or woodcuts and wood engravings, for example the background in the lithograph Waterfall stems from his Italian period, or the trees reflecting in the woodcut Puddle, which are the same trees Escher used in his woodcut "Pineta of Calvi", which he made in 1932. He played with architecture, perspective and impossible spaces. His art continues to amaze and wonder millions of people all over the world. In his work we recognize his keen observation of the world around us and the expressions of his own fantasies. M.C. Escher shows us that reality is wondrous, comprehensible and fascinating.
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Doisneau, Robert - Fotografia

Segunda-feira, Fevereiro 19, 2007


Autoportrait



Les Freres, 1934



L'Aeroplane de Papa, 1934



The Fallen Horse, Paris, 1942



La Musique des Puces, 1944



"Amour et barbelés", l'amour sous l'Occupation, jardin des tuileries, Paris, 1944



Bistro at Arcueil, 1945



Sunday morning in Arcueil, 1945



Down to the Factory, 1946



Cyclo-cross in Gentilly, 1947



Children in Costume with Mirror, 1948



Sidelong glance, 1948



Le velo du Printemps, 1948



Fromage (Cheese), 1950



Les Quatre Sergents de la Rochelle, rue Mouffetard, 1950



Square du Vert-Galant, 1950



Kiss by the Hotel de Ville, 1950



L'Accordeoniste, rue Mouffetard, Paris, 1951



Danse à Saint Germain des Prés, Paris, 1951



Man Handing Chair into Woman in Newsstand on Champs-Elysees, Paris, 1951



The Fortune Teller, 1951



Le ruban de la mariée, 1951



Coco, Paris, 1952



Hell, 1952



Picasso and the loaves, 1952



Georges Braque a Varengeville, Normandy, 1953



Les Tueurs Melomanes (The Accordionist), Paris, 1953



La Baguette Parisienne, 1953



Wanda wiggles her hips, 1953



Angels and Leeks, 1953



Ladies of the Bois de Boulogne, 1953



Rue Guerin-Boisseau, 1953



Fox terrier on the Pont des Arts, 1953



By the railings around the Luxembourg Gardens,1953



Fernand Leger Dans Ses Ouevres, 1954



The Robinson Moulin Rouge Music Hall, Paris, 1955



Cesar Baldaccini (The Sculptor Cesar in his Workshop), Paris, 1955



Jacques Prevert, Paris, 1955



Women with the Same Hat, 1956



Les écoliers de la rue Damesme, 1956



The Cellist, 1957



Les Enfants de la Place Hebert, 1957



Les Halles, Paris, 1960



Barbarian prisoner and Callipygian Venus, Versailles, 1966



Le Meute, 1969



The Helicopters, 1972

.......................................................................................................
Originalmente formado em litografia, Robert Doisneau abraçou em 1929 um novo interesse como fotógrafo autodidacta. Via a fotografia como o meio ideal de registar a vida durante os seus passeios por Paris. A sua carreira como fotógrafo começou em 1934 na fábrica da Renault em Billancourt, onde esteve empregado como fotógrafo industrial e de publicidade. Ainda em 19369, decidiu tornar-se fotojornalista independente, mas a guerra forçou-o a desistir do sonho de vir a trabalhar por conta própria. Serviu o exército francês em 1940 e daí até ao fim da guerra trabalhou para a Resistência. Mas mesmo assim não desistiu de trabalhar como fotógrafo, fazendo postais para ganhar a vida. Em 1949, Doisneau assinou contrato com a revista Vogue, para a qual trabalhou como fotógrafo a tempo inteiro até 1952 e, desde então, como independente. Mas não entrou para os anais da fotografia como fotógrafo de moda. O que o tornou famoso foi a "fotografia de rua". Em inúmeros instantâneos, documentou com humor e empatia a vida nos subúrbios de Paris. A sua fotografia mais famosa é "Beijo em frente ao Palácio da Câmara Municipal", que se tornou um ícone do amor jovem e violento numa grande cidade. Robert Doisneau nasceu em Gentilly, perto de Paris, em 1912 e morreu em Paris em 1994.
.......................................................................................................
Robert Doisneau is one the most famous French photographers. Doisneau lived in France from 1912 to 1994, where he specialized in people photography, taking shots of common people as he wanders through the streets of Paris and its suburbs. His life: Robert Doisneau was born on April 14, 1912 in Gentilly, in the suburbs of Paris. Having a not-so-good experience at school, he entered a craft school at the age of 13. This is where he had his first contacts with arts. The school gave a very limited art training, which he complemented with evening classes in life-drawing and still-life. Doisneau's interest in photography started in 1929 and he started as a professional in 1934. He worked for Renault until he was fired in 1939. In 1939, he decided to become an independant photojournalist, but was called by the French army, where he served until 1940. He then worked for the "Resistance" until the end of the war. In parallel, he produced postcards to earn a little money. In 1949, Doisneau signed a contract with Vogue, for him he worked until 1952. As of 1952, he started working as a freelance photographer. Doisneau died in April, 1994 in Paris. His art: Robert Doisneau's photographs were ones of common people, in common situations. He liked to wander in the streets of Paris suburbs, and to take his photographs as he went. His most famous photograph, Kiss by the Hotel de Ville, is a good representation of his style. Doisneau liked to practice photography with intuition, rather than with science. (in ProFotos.com)
...................................................................................................

Rouault, Georges - Fauvismo / Expressionismo

Domingo, Fevereiro 18, 2007


Riders in the Twilight, 1904
Oil on canvas
71 x 107 cm.
E.G. Bührle Collection, Zurich



A Tabarin, 1905
Watercolour and pastel on canvas
71 x 55 cm
Musée d´Art Moderne de la Ville de Paris



Circus Performer, 1906
Watercolor, ink and pastel on heavy white wove paper
28 1/8 x 22 in. (71.44 x 55.88 cm)
Minneapolis Institute of Arts, Minnesota



Odalisque, 1906
Watercolour anda pastel on canvas
54 x 61 cm
Museum of Copenhagen, Denmark



Nude with Raised Armm, 1906
Watercolour, gouache and white, partially pastel on paper pasted on cardboard
70.4x53.2 cm
Hermitage Museum, Saint Petersburg, Russia



Les Filles, 1907
Tempera with touches of pastel
97x65 cm
Hermitage Museum, Saint Petersburg, Russia



Clown and Monkey, 1910
Monotype, printed in color
57.5 x 38.7 cm
The Museum of Modern Art, New York



Spring, 1911
Watercolour with touches of pastel
72x57.4 cm
Hermitage Museum, Saint Petersburg, Russia



White Pierrot, 1911.
Watercolour and pastel on canvas
78 x 65 cm
Private Collection



Three Peasants, 1911
Watercolor and gouache on paper
22 1/8 x 18 in (56.2 x 45.7cm)
Norton Museum of Art, West Palm Beach, Florida



Christ on the Cross, 1914
Gouache and oil on paper
48 x 35 cm
Private collection



Circus Trainer. 1915
Gouache and crayon on paper
15 5/8 x 10 3/8" (39.7 x 26.3 cm)
Museum of Modern Art, New York City



The Old Clown, 1917-1920
Oil on canvas
102 x 75,5 cm
Private collection



Three Clowns, 1917/20
Oil on canvas
105 x 75 cm
Private collection



Saint John the Baptist, circa 1919
Gouache on paper
31.5 x 20 cm
Courtauld Institute of Art, London, UK



Tree landscape, circa 1919
Gouache on paper
19 x 31 cm
Courtauld Institute of Art, London, UK



Two Clowns, 1928
Oil and ink on paper, mounted on wood cradle
7 3/4 x 8 3/8" (19.7 x 21.3 cm)
Museum of Modern Art, New York City



A balding negro from Les Reincarnations du Père Ubu, 1928
Etching, aquatint, mezzotint
27.0 x 17.5cm platemark; 44.0 x 32.0cm sheet
Art Gallery of New South Wales, Sydney, Australia



Les Trois Clowns, 1928
Oil on Canvas
76 cm x 106.5 cm
Tehran Museum of Contemporary Art, Iran



Christ Mocked by Soldiers. 1932
Oil on canvas
36 1/4 x 28 1/2" (92.1 x 72.4 cm)
Museum of Modern Art, New York City



A Jugde, 1935
Etching
12 3/4x8 1/2 in
Hyde Collection Art Museum, Glens Falls, New York



The Abandoned, ca. 1935-1939
Oil paint over intaglio print on paper
25 5/16 in. x 19 3/8 in. (64.29 cm x 49.21 cm)
Art Gallery of the University of Rochester, New York



The Three Judges, circa 1936
Oil on board laid on canvas
812 x 666 x 37 mm
Tate Gallery, London



Clown, 1937
Oil on cardboard
34 x 50 cm
E.G. Bührle Collection, Zurich



Head, about 1935 - 1940
Oil on paper laid on canvas
61.90 x 48.40 cm
National Galleries of Scotland, Edinburgh



The Old King, 1937
Oil on canvas
30 1/4 x 21 1/4 in
Carnegie Institute Museum of Art, Pittsburgh



El divino rostro, 1937
Oil on canvas
104 x 75 cm
Art Collection of the Biblioteca Luis Ángel Arango, Colombia



Pierrot, abaout 1937-38
Oil on canvas
118.1 x 89.5cm (46 1/2 x 35 1/4in.)
Oil on canvas
Museum of Fine Arts, Boston



Christ, 1938
Oil on canvas
67 x 48 cm
Private collection



Head of Christ, c. 1939
Oil on paper pasted on canvas
65x50 cm
Hermitage Museum, Saint Petersburg, Russia



The Loge, 1940
Oil on canvas
81 x 64 cm
Private collection



Profile of a Clown, about 1940–48
Oil on paperboard mounted on panel
66 x 48 cm (26 x 18 7/8 in.)
Museum of Fine Arts, Boston



A Thousand and one nights, 1942
Oil on canvas
57 x 47, 3 cm
Musée des Beaux- Art. La Chaux-de- Fonds



Pierrots bleus, 1943
Oil on paper
59 x 45 cm
Private collection



The Dreamer, 1946
Oil on paper on canvas
34,3 x 26,7 cm
Centre Georges Pompidou. Paris. France



Homo homini lupus, 1944 - 1948
OIl on paper mounted on canvas
64 x 46 cm
Centre Georges Pompidou, Paris, France

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Em "Three Clowns, 1917/20", três palhaços melancólicos estão perfeitamenre delineados a preto. As cores vivas dos seus fatos contrastam com a sua disposição triste. Um "lirismo ultrajante" foi como Rouault descreveu convenientemente esta característica da sua obra. A combinação do nontorno escuro com a cor luminosa faz lembrar o aparecimento do vitral, técnica domonada por Rouault, enquanto que o esquema dram+atico de cores se relaciona com o Expressionismo, movimento que se interessava pelo valor emotivo da cor. Rouault pintou uma série de palhaços, usando otema para sugerir os aspectos tragicómicos da vida do actor - as lágrimas por detrás da máscara. Picasso também tinha explorado esta ideia na sua obra "Os Saltimbancos" - uma série de quadros que representam acrobatas e actores. No entanto, nas obras de Rouault sobre esta temática existe um elemento forte de auto-identificação. Ele faz de nós testemunhas da fragilidade humana e do sofrimento, escolhendo deliberadamente personagens que evocam uma poderosa resposta emocional. Georges Rouault nasceu em Paris (FR) em 1871 e morreu na mesma cidade em 1958.
............................................................................................................
Georges Rouault was born during a bombardment of his Quarter at the time of the Paris Commune of 1871; an appropriate beginning for one of the most powerful artists of the century. Rouault was preoccupied throughout his life with man's inhumanity to fellow man. However, his art does not pass judgment on the human condition; rather it offers hope for a new beginning. A French expressionist artist, Rouault first apprenticed to a stained-glass maker. More than any other 20th century artist, one associates Rouault with the extremes of human emotions and actions. He portrayed absolutes: the outcast and the saint, the sufferer and the redeemer. Yet these extremes merge into one. After 1891 Rouault studied under Gustave Moreau. He exhibited several paintings with the Fauves in 1905. His sorrowful and bitter delineations of judges, clowns, and prostitutes caused a great stir in Paris. The suffering of Christ was his frequent subject. His thickly encrusted, powerfully colored images, outlined heavily in black, have the effect of icons and a pattern suggestive of stained glass. Rouault's search for absolute values has its counterpart in his highly individual graphic techniques. Around 1916, Rouault began more than a decade of work for the publisher Vollard. Using a variety of graphic processes, he executed a series of about 60 prints called Miserere. The metaphysical quality of his monchrome lithographs and the magnificent blacks of his monochrome intaglios were achieved through highly unorthodox techniques. For his color aquatints, Rouault employed the sugar-lift process to realize colors which are at once, rich, subtle and luminous. He continued to paint the themes he had used earlier, but in a more tranquil style. Rouault's works are unequaled in the religious art of our time. Examples of his art can be found in many European and American collections. The Museum of Modern Art, New York City, owns his Three Judges and Christ Mocked by Soldiers. Georges Rouault died in 1958 at age 87. During his long career he was able to translate a profound moral vision into an equally intense aesthetic experience.
......................................................................................................


Haring, Keith - Arte Pop

Sexta-feira, Fevereiro 16, 2007


Keith Haring drawing in the New York City subway in 1981



Untitled, 1978
Felt-tip Pen and Watercolor on Paper
7 1/8 x 9 7/8 inches
18.1 x 25.1 cm
Collection The Estate of Keith Haring



Untitled, 1980
Sumi ink and spraypaint on poster board
48 x 63 1/2 in
Collection The Estate of Keith Haring



Glory Hole, 1980
Acrylic, Spray Enamel, and Ink on Paper
48 x 35 1/2 inches
121.9 x 90.2
Collection The Estate of Keith Haring



Untitled, 1981
Sumi ink on vellum
42 x 46 3/4 in
Private collection



Untitled, 1981
Acrylic on Vinyl
96 x 96 inches
244 x 244 cm
Collection The Estate of Keith Haring



Untitled, 1981
Acrylic on Vinyl
96 x 96 inches
244 x 244 cm
Collection The Estate of Keith Haring



Untitled, 1982
Vinyl paint on vinyl tarpaulin
144 x 144 in
Private collection



Untitled, 1982
vinyl paint on vinyl tarp
73 x 69 inches
185.42 x 175.26 cm
Collection The Estate of Keith Haring



Untitled, 1982
Vinyl Ink on Vinyl Tarp
72 x 72 inches
182.88 x 182.88 centimeters
Collection The Estate of Keith Haring



Untitled, 1983
Vinyl Ink on Vinyl Tarpaulin
72 x 72 inches
183 x 183 cm
Collection The Estate of Keith Haring



Untitled, 1983
Vinyl Ink on Vinyl Tarpaulin
120 x 120 inches
305 x 305 cm
Collection The Estate of Keith Haring



Untitled, 1984
Acrycli on muslin tarpaulin
120 x 180 in
Private collection



Cruella De Vil, 1984
Acrylic on Canvas
60 x 60 inches
152.4 x 152.4 cm
Collection The Estate of Keith Haring



St. Sebastian, 1984
Acrylic on Canvas
60 x 60 inches
152.4 x 152.4 cm
Collection The Estate of Keith Haring



Untitled, 1985
Acrylic on canvas
48 x 48 in
Private collection



Micheal Stewart - USA for Africa, 1985
Enamel and Acrylic on Canvas
116 x 144 1/2 inches
295 x 367 cm
Collection The Estate of Keith Haring



The Ten Commandments 1, 1985
Acrylic, oil on canvas
17.5 x 25 feet



Untitled, 1986
acrylic and oil canvas
96 x 96 inches
243.84 x 243.84 cm
Collection The Estate of Keith Haring



Untitled, 1986
acrylic and oil canvas
96 x 144 inches
243.84 x 365.76
Collection The Estate of Keith Haring



Untitled, 1986
Oil, Acrylic on Canvas
96 x 96 inches
243.84 x 243.84 cm
Collection The Estate of Keith Haring



Untitled, 1986
Oil and Acrylic on Canvas
96 x 192 inches
243.8 x 487.7 cm
Collection The Estate of Keith Haring



Knokke, 1987
Acrylic on Canvas
39 1/2 x 39 1/2 inches
100 x 100 cm
Collection The Estate of Keith Haring



Red, Yellow, and Blue, 1987
Acrylic on Canvas
72 x 72 inches
182.9 x 182.9 cm
Collection The Estate of Keith Haring



Untitled (for Cy Twombly), 1988
Acrylic on canvas
36x 36 in
Collection The Estate of Keith Haring



Self Portrait with Juan, 1988
Acrylic on canvas
48 x 36 inches
Collection The Estate of Keith Haring



Untitled, 1988
acrylic on canvas
120 x 120 inches
304.8 x 304.8 cm
Collection The Estate of Keith Haring



Monkey Puzzle, 1988
acrylic on canvas
120 inch diameter
304.8 centimeter diameter
Collection The Estate of Keith Haring



Untitled, 1989
Acrylic on canvas
39 1/2 x 39 1/2 in
Private collection



Mom, 1989
acrylic on canvas
60 x 60 inches
152.4 x 152.4 cm
Collection The Estate of Keith Haring



Silence = Death, 1989
acrylic on canvas
40 x 40 inches
101.6 x 101.6 cm
Collection The Estate of Keith Haring



Untitled, 1989
Acrylic on Canvas
70 3/4 x 94 1/2 inches
180 x 240 cm
Collection The Estate of Keith Haring



Untitled, 1990
Paint on BMW
Collection The Estate of Keith Haring

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Em "Monkey Puzzle, 1988", figuras encaixadas com a forma de macacos e de cores berrantes assemelham-se ao tipo de imagens encontradas nas gravuras primitivas. Plenos de energia e alegria, os macacos estão envolvidos numa dança ritual de prazer comum. Trabalhando em Nova Iorque, Haring inspirou-se na agitação e confusão da vida na grande cidade. Embora com formação em Arte, ele abnegou às técnicas tradicionais e optou pela arte dos grafitti cada vez mais sofisticada, dirigindo-se directamente ao público na linguagem de rua. Começando por preencher os espaços negros vazios dos placares publicitários do metro com as suas originais personagens animais e humanas, acabou por atrair a atenção das galerias de arte comerciais e dos museus. Contudo, Haring continuou a criar obras para espaços públicos, bem como trabalhos com fins que não a exposição em galerias, como por exemplo as ilustrações para livros de crianças, T-shirts e crachás. Nos seus Body-paitings (quadros corporais) também experimentou o próprio corpo como suporte de criação. Keith Haring nasceu em Kutztown, PA (EUA) em 1958 e morreu em Nova Iorque (EUA) em 1990.
.....................................................................................................
Born in Philadelphia, Keith Haring studied at both the Ivy School of Art in Pittsburgh and the New York School of Visual Arts. Under the encouragement of Keith Sonnler and Joseph Kossuth, Haring began to experiment in Conceptualism. Even more of his inspiration came from comic strips, cartoons, and the graffiti that he saw in the New York streets. Haring spent sometime actually contributing to the graffiti, covering advertisements with chalk and markers. In the 1980’s, he expanded to commercial art, printing his primitive figures and forms on t-shirts, badges, posters, and murals.
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Aguiar, Armando - Arte Portuguesa Contemporânea

Quinta-feira, Fevereiro 15, 2007


Estação de S. Bento, Porto - 1999
Óleo sobre tela
50x61 cm



Carlton Hotel - 2001
Óleo sobre tela
81x100 cm



Torre dos Clérigos, Porto - 2002
Óleo sobre tela
73x60 cm



Montra, Porto - 2002
Óleo sobre tela
61x50 cm



Docas, Porto - 2002
Óleo sobre tela
81x100 cm



Drugstore, Porto - 2002
Óleo sobre tela
50x65 cm



Cor, Tempo, humor e movimento - 2002
Óleo sobre tela
65x81 cm



Lordelo do Ouro - 2003
Óleo sobre tela
123x100 cm



Porto e a sua arte - 2005
Óleo sobre tela
54x65 cm



Panorãmica Ribeirinha, Porto - 2006
Óleo sobre tela
80x100 cm



Varanda, Casario da Sé, Porto, 2006
Óleo sobre tela
61x50 cm

.................................................................................................
Armando Aguiar nasceu no Porto em 1964. Estudou na Escola de Artes Decorativas Soares dos Reis. Iniciou-se na pintura a óleo em 1980, tendo sido seu Mestre Moreira Aguiar. Tem feito diversas exposições individuais por todo o país e tem recebido diversos prémios que distinguem a qualidade da sua pintura. Em 2002 realizou iniciou a execução de diversos trabalhos de pintura em que mostra a sua cidade natal reflectida em montras. Os contactos com o artista podem ser feitos para armandoaguiar@net.sapo.pt ou através de Art Portugal.com.
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Ray, Man - Fotografia Dadaísta-Surrealista

Domingo, Fevereiro 11, 2007


Self-Portrait Assemblage, 1916
Gelatin silver print
3 3/4 x 2 3/4 in.
J. Paul Getty Museum, Los Angeles



Compass, 1920
Gelatin silver print
11.7 x 8.6 cm (4 5/8 x 3 3/8 in.)
The Metropolitan Museum of Art, New York City



Woman Smoking a Cigarette, 1920
Gelatin silver print
3 3/8 x 2 11/16 in.
J. Paul Getty Museum, Los Angeles



Anxiety, 1920
Gelatin silver print
3 11/16 x 4 3/4 in.
J. Paul Getty Museum, Los Angeles



Belle Haleine, 1921
Gelatin silver print
8 13/16 x 7 in.
J. Paul Getty Museum, Los Angeles



Rayograph, 1921 print ca. 1963
Gelatin silver print
28.9 x 21.8 cm.
Eastman House Museum of Photography & Film, Rochester, New York



The Marquise Casati, 1922
Gelatin silver print
4 11/16 x 3 1/2 in.
J. Paul Getty Museum, Los Angeles



Marcel Proust on His Deathbed, 1922
Gelatin silver print
5 15/16 x 7 13/16 in.
J. Paul Getty Museum, Los Angeles



Untitled Rayograph: From the Portfolio "Les Champs Délicieux", 1922
Gelatin silver print
8 9/16 x 6 3/4 in.
J. Paul Getty Museum, Los Angeles



Untitled Rayograph (Net and Shavings), 1924
Gelatin silver print
15 11/16 x 11 3/4 in.
J. Paul Getty Museum, Los Angeles



Le Violon d'Ingres, 1924
Gelatin silver print
11 5/8 x 8 15/16 in.
J. Paul Getty Museum, Los Angeles



Clock Wheels, 1925
Rayograph
11 1/8 x 9 in. (28.3 x 22.9 cm)
Yale University Art Gallery, New Haven, Connecticut



Barbette Applying Makeup, 1926
Gelatin silver print
8 5/8 x 6 7/16 in.
J. Paul Getty Museum, Los Angeles



Noire et Blanche, 1926
Gelatin silver print
4 3/8 x 3 1/16 in.
J. Paul Getty Museum, Los Angeles



Noir et Blanche, 1926
Gelatin silver print
6 3/4 x 8 7/8" (17.1 x 22.5 cm).
The Museum of Modern Art, New York



Gertrude Stein and Jo Davidson with Portrait Sculpture, 1926
Gelatin silver print
11 1/2 x 9 1/4 in.
J. Paul Getty Museum, Los Angeles



Rayograph, 1926 print ca. 1963
Gelatin silver print
26.7 x 21.5 cm.
Eastman House Museum of Photography & Film, Rochester, New York






Rayograph, 1927 print ca. 1963
gelatin silver print
29.1 x 23.2 cm.
Eastman House Museum of Photography & Film, Rochester, New York



Sleeping Woman, 1929
Gelatin silver print (solarized)
6 1/2 x 8 1/2" (16.5 x 21.6 cm).
The Museum of Modern Art, New York



Calla Lilies 1930
Gelatin silver print, solarized
11 7/16 x 8 15/16 in.
J. Paul Getty Museum, Los Angeles



Georges Braque, 1930
Gelatin silver print
11 3/4 x 9 1/16 in.
J. Paul Getty Museum, Los Angeles



La Priére (Prayer), 1930
Gelatin silver print
9 7/16 x 7 1/8 in.
J. Paul Getty Museum, Los Angeles



Electricity - Bathroom (Electricite - Salle de Bain), 1931
Photogravure
10 1/4 x 8 1/16 in.
J. Paul Getty Museum, Los Angeles



La Tête, 1931
Gelatin silver print
11-1/8 x 7-7/8 in.
Corcoran Gallery of Art, Washington D.C.



Tears, 1930 - 1932
Gelatin silver print
9 x 11 3/4 in.
J. Paul Getty Museum, Los Angeles



Gisèle Prassinos Reading her Poems to the Surrealists, 1934
Silver gelatine print
17.70 x 22.70 cm
National Galleries of Scotland, Edinburgh



Butterflies, 1930 - 1935
Three-color carbon transfer print
9 1/4 x 11 1/4 in.
J. Paul Getty Museum, Los Angeles



Profile and Hands, 1932
Gelatin silver print
7 1/16 x 9 in.
J. Paul Getty Museum, Los Angeles



Self-Portrait with Camera, 1932
Gelatin silver print (solarized)
11 1/2 x 9 in.
J. Paul Getty Museum, Los Angeles



Interior, 1932
Gelatin silver print
11 3/4 x 8 13/16 in.
J. Paul Getty Museum, Los Angeles



Female Head, 1932 - 1935
Two-color carbon print, applied pigment, pencil
7 13/16 x 5 3/8 in.
J. Paul Getty Museum, Los Angeles



Still Life, 1933
Three-color carbon transfer print
12 1/16 x 9 3/8 in.
J. Paul Getty Museum, Los Angeles



Mathematical Object, 1934
Gelatin silver print
9 1/8 x 11 5/8 in.
J. Paul Getty Museum, Los Angeles



Collage, print 1935, collage later
Gelatin silver print
5 7/8 x 4 5/16 in.
J. Paul Getty Museum, Los Angeles



Juliet with Headdress, 1940 - 1941
Gelatin silver print
6 1/2 x 4 5/8 in.
J. Paul Getty Museum, Los Angeles



A Day and Night, 1941
Gelatin silver print with ink
9 5/8 x 7 3/4 in.
J. Paul Getty Museum, Los Angeles



Dead Leaf, 1942
Gelatin silver print
9 1/2 x 7 13/16 in.
J. Paul Getty Museum, Los Angeles



Optical Exercise I, 1942
Gelatin silver print
11 x 13 15/16 in.
J. Paul Getty Museum, Los Angeles



Juliet in Mud Mask, 1945
Gelatin silver print
14 x 10 11/16 in.
J. Paul Getty Museum, Los Angeles



Masks, 1946
Gelatin silver print
6 11/16 x 4 11/16 in.
J. Paul Getty Museum, Los Angeles



Juliet in a Blonde Wig, 1950 - 1951
Gelatin silver print
5 5/8 x 4 1/8 in.
J. Paul Getty Museum, Los Angeles

.....................................................................................................
Man Ray começou a trabalhar em 1911 como pintor e escultor e teve contactos íntimos com a arte vanguardista da Europa. Em 1915, começou a voltar-se para a fotografia, trabalhando como fotógrafo independente, realizador de cinema e pintor. Em 1917, foi co-fundador do Grupo Dada de Nova Iorque. Em 1921, foi para Paris, onde trabalhou de perto com os surrealistas. Para além das suas actividades artísticas, aceitou projectos comerciais, especialmente nas áreas do retrato e na fotografia de moda. Regressou aos Estados Unidos em 1940, onde viveu 10 anos em Hollywood e onde deu aulas de pintura e fotografia. Em 1951, voltou a Paris, permanecendo aí até à sua morte. Man Ray é considerado um dos pioneiros mais importantes da fotografia contemporânea. Juntamente com Lee Miller, desenvolveu o processo de solarização, que usou sobretudo em retrato, mas também em fotografias de nus. Com as suas "radiografias", proporcionou um importante ímpeto à fotografia sem máquina. A amizade com artistas de vanguarda do seu tempo abriu as portas para o reconhecimento da fotografia no contexto artístico. Man Ray, de nome verdadeiro Emmanuel Rudnitzky, Nasceu em Filadélfia (EUA) em 1890 e morreu em Paris (FR) em 1976.
........................................................................................................
Born Emmanuel Radnitzky, Man Ray grew up in America but spent the greater part of his life as an migr in Paris. Working in several media, Man Ray's art includes painting, sculpture, collage, constructed objects and photography. Beginning in 1921, he received hundreds of commissions for portraits and commercial work which were featured in publications such as Vogue, Vu, Bazaar and Vanity Fair. He was an American, but worked in Paris from 1921 to 1940. His assistants included Berenice Abbott and Lee Miller, and Duchamp, Stieglitz, Picasso and Dali were among his colleagues. A member of the Dada art movement and the only American member of the Paris Surrealist movement, Man Ray considered himself an artist and thought of photography as a medium of artistic expression when used for more than reproduction. In describing his work, Man Ray once said, "I paint what can not be photographed. I photograph what I do not wish to paint."
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Barr, George - Ilustração

Sexta-feira, Fevereiro 09, 2007
Fantasy



"Beauty and the Beast"
Exhibited at WesterCon, it won Judge's Choice,
"Best Fantasy Illustration" and "Popular Vote Award"
Published in Upon the Winds of Yesterday



"Christmas Eve at Elf Hall"
study for a Christmas card...it was judged too dark and ominous...
so a second version was done, much lighter...
and considerably cuter.
Published in Upon the Winds of Yesterday



"Winter Walk"
Study for a greeting card design.
In the collection of Mr.& Mrs. O.C. Thomas
Published in Upon the Winds of Yesterday




"The M***** E**** Songbook"
Drawn for an amateur publication of songs and music
inspired by "Lord of the Rings"
In the Argonaut Studios Collection.
Published in Upon the Winds of Yesterday



"Empress Wu"



"The Hundred Acre Wood"
Childhood dreams, imaginings, solitary pretendings...
In the collection of James Bearcloud.
Published in Upon the Winds of Yesterday




"How Do I Love You?"
Who has not, at one time or another,
in a moment when dignity was of utmost importance,
felt it slipping away...
Because for me it's an all-to-familiar feling,
the painting is pretty much a self-portrait
First published in "The Hannes Bok Memorial Showcase of Fantasy Art".
Published in Upon the Winds of Yesterday



"The Racconteur"
In the collection of Terrance Adamski
Published in Upon the Winds of Yesterday



"Impossible Dream"
Quasimodo's love for Esmeralda, Eric the Phantom's love for Christina,
the little Mermaid's love for the prince....
and other hopeless longings.
Published in Upon the Winds of Yesterday

Dragons



"Conadian Cover"



"Conadian Back Cover"



"Fire Breather"



"Storytime"



"Cookout"
Published in Upon the Winds of Yesterday

Science Fiction



"Autogondola"



"Flesh Gordon"
Preliminary study for movie poster.
A number of alterations were insisted upon by the producers....
though smaller and less slickly finished,
I feel this is a far better work that the final poster.
In the Argonaut Studios Collection.
Published in Upon the Winds of Yesterday




"The Metallic Muse"
Cover for book by Lloyd Biggle Jr.
In the Argonaut Studios Collection.
Published in Upon the Winds of Yesterday



"Vigil by the Violet Sea"
Previously published in B&W in
"The Exilian Crossection Art Folio"
In the collection of Fredrick Patten.
Published in Upon the Winds of Yesterday



"Lemuria"



"Friends"



"Raygun"



"On the Trail"
In the collection of Frederick Patten.
Published in Upon the Winds of Yesterday

Others



"The Tyrant That I Serve "



"Aliens"



On Tour in Lemuria (Travel Poster)



Chimey Sweeps Nightmare



"Gryphon Garden"

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Born in Tucson (1937), Arizona and raised in Salt Lake City, Utah, George Barr has lived the last thirty five years in California: Los Angeles, San Jose, and - currently - Livermore. He discovered science fiction (AMAZING STORIES Magazine) at age thirteen and has declared, "It was like finding my way home." He lists as influences the artists of the golden age of storybook illustrating, principally Arthur Rackham, Edmund Dulac, and Maxfield Parrish, plus a number of the pulp era illustrators: Virgil Finlay, J. Alan St.John, Hannes Bok, and Kelly Freas. George did the poster for the X-rated classic cult film, FLESH GORDON, and designed a couple of the animated creatures in it. Uncredited, he did some body paint makeup for one episode of the original Star Trek: "The Way to Eden." First published professionally in FANTASTIC STORIES in 1960, he has worked for Ballantine Books, Ace Books, DAW Books, Donald M. Grant Publications, Leisure Books, Dell, Dell-Yearling, Pyramid Books, Mirage Press, Arbor House, Cheap Street, Underwood-Miller, Pulphouse Publications, Alyson Press, Fedogan & Bremmer, Strawberry Hill, Ganley Publications, Phantasia Press, Starblaze, Owlswick Press, Newcastle Books, Borgo Press, TSR Inc., IF, FAMOUS MONSTERS OF FILMLAND, VERTEX,GALILEO, AZIMOV'S SCIENCE FICTION, AMAZING STORIES, FANTASY BOOK, EXPANSE, STARDATE, FORGOTTEN FANTASY, MARION ZIMMER BRADLEY'S FANTASY Magazine, WIERD TALES, WORLDS OF FANTASY & HORROR, DRAGON, DUNGEON, ADVENTURES OF SWORD & SORCERY, and others, as well as producing artwork for computor games such as Star Control II, Archon Ultra, The Horde, and Alien Logic.
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Van Dongen, Kees - Fauvismo

Quarta-feira, Fevereiro 07, 2007


Self-portrait - 1895
Oil on canvas
92,5 x 59,8 cm
Musée d' Orsay, Paris, France



Zandstraat - 1895
Mixed media/paper



Portrait of a Woman - ca. 1903
Oil on canvas
39 3/8 x 27 ¾"
Art Gallery of the University of Rochester, New York



Princess of Babylon - 1904-1910
Oil on canvas
Hermitage Museum, Saint Petersburg, Russia



Anita - 1905
Oil on canvas
195 x 114 cm
Private collection



Woman in a Green Hat - 1905
Oil on cardboard
New Orleans Museum of Art



Antonia la Coquinera - 1906
Oil on canvas
100x81 cm
Hermitage Museum, Saint Petersburg, Russia



The Red Dancer - 1907
Oil on canvas
99.7x81 cm
Hermitage Museum, Saint Petersburg, Russia



Trinidad Fernandez -1907
Oil on Canvas
82 cm x 100 cm
Tehran Museum of Contemporary Art, Iran



Spring - 1908
Oil on canvas
81x100.5 cm
Hermitage Museum, Saint Petersburg, Russia



Modjesko, Soprano Singer - 1908
Oil on canvas
39 3/8 x 32" (100 x 81.3 cm)
Museum of Modern Art, New York City



Woman in a Black Hat - 1908
Oil on canvas
100x81.5 cm
Hermitage Museum, Saint Petersburg, Russia



Souvenir of the Russian Opera Season - 1909
Oil on canvas
54.2 x 65 cm
National Gallery of Canada, Ottawa



Portrait of Guus Preitinger, the Artist’s Wife - 1910
Oil on Canvas
146 x 114 cm
Van Gogh Museum, Amsterdam



Lucie and Her Partner - 1911
Oil on canvas
130x96.5 cm
Hermitage Museum, Saint Petersburg, Russia



Vins Café - 1912
Watercolor



Amusement - 1914
Oil on canvas
100 x 82 cm
Musee de Grenoble, France



La vasque fleurie - 1915/17
Oil on canvas
Modern Art Museum of the City of Paris



The Corn Poppy - c.1919
Oil on canvas
21 1/2 x 18
Museum of Fine Arts, Houston



Donna con levriere blu - 1919
Oil on canvas
Palazzo Ruspoli, Rome



Femme à l´Éventail - 1920
Oil on canvas
162 x 130 cm
Musée de Grenoble, France



Mademoiselle Geneviève Vix dans le rôle de Salomé - 1920
Oil on canvas
Palazzo Ruspoli, Rome



Portrait of Lily Damita - c. 1925/26
Oil on canvas
195x130 cm
Private collection



La baronesa D. con ramo de flores - 1925-1930
Oil on canvas
100 x 81 cm
Art Collection of the Biblioteca Luis Ángel Arango, Colombia



Portrait of Paul Guillaume - c.1930
Oil on canvas
Musée de l'Orangerie, Paris



Blue Grass Races Kentucky - 1935
Oil on canvas
38 x 55 cm
Private Collection



Maxime D'Esparrieux - 1949
Watercolor
This work is the original design for the book
"La Revolte des Anges" d'Anatole France edition 1951.

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Em "Portrait of Lily Damita - c. 1925/26", vestida com um manto de pelese um vestido curto, a actriz Lily Damita sorri-nos sedutoramente - a epítome da estrela elegante dos anos 20. Jogando com o nome da actis (lily, Lilás), o autor introduziu uma série de extravagantes lilazes brancos neste quadro. O estilo desta obra remete para o Expressionismo, mas Van Dongen não aplica pinceladas exageradamente expressivas ou cores dramáticas no encanto misterioso da personagem. Associado aos fauves e expressionistas, as primeiras obras de Van Dongen caracterizam-se por cores luminosas e pinceladas dramáticas e lineares. No entanto, pelos anos 20, este pintor, escultor, ceramiosta e artista gráfico tinha abandonado este estilo, tendo-se tornado um retratista da alta sociedade e um cronista do beau-monde. Van Dongen iniciou-se como decorador, antes de se tornar exclusivamente pintor. O seu talento revelou-se precocemente e levou uma vida exuberante, apoiada no seu sucesso artístico. Kees Van Dongen nasceu em Delfshaven (HOL) em 1877 e morreu em Monte Carlo (MON) em 1968.
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Moore, Henry - Escultura

Domingo, Fevereiro 04, 2007


Head of a Serpent - 1927
Stone
180 x 114 x 114 mm
Tate Gallery, London



Head of a girl - c.1928
Plaster, alabaster base
Overall 9.8 (h) x 7.9 (w) x 9.0 (d) cm
Not signed, not dated
National Gallery of Australia, Canberra



Mask - 1929
Cast concrete
200 x 180 x 130 mm
Tate Gallery, London



Four-Piece Composition: Reclining Figure - 1934
Cumberland alabaster
6 7/8 x 18 x 8 in. (17.5 x 45.7 x 20.3 cm)
Tate Gallery, London



The Helmet - 1939/40
Lead
29.10 x 18.00 x 16.50 cm (excluding base)
National Galleries of Scotland, Edinburgh



Sketch-Model for Reclining Figure - 1946
Terracotta
8.3 x 16.8 x 7.2 cm (3 1/4 x 6 5/8 x 2 13/16 in.)
The National Gallery of Art, Washington D.C.



Family Group - 1948/9
Bronze
Henry Moore Foundation



Reclining Figure - 1951
Bronze
106.00 x 228.60 x 73.70 cm
National Galleries of Scotland, Edinburgh



Draped Reclining Figure - 1952-53
Bronze
102 x 152 cm
Museum Ludwig, Cologne



King and Queen - 1952-53
Bronze
Keswick, Dumfrieshire, Henri Moore Foundation



Three Standing Figures - 1953
Bronze
73.2 x 68 x 29 cm, including base
Guggenheim Museum, New York



Reclining Figure, No. 4 - 1954–55
Bronze
15 1/2 x 23 1/2 x 12 1/2 in. (39.4 x 59.7 x 31.8 cm)
The Metropolitan Museum of Art, New York City



Helmet head no. 2 - 1955
Bronze
34.0 x 24.7 x 24.0cm; 4.2 x 26.0 x 31.7cm base
Art Gallery of New South Wales, Sydney, Australia



Mother and Child: Uncrossed Feet - 1956
Bronze
Overall 8.5 x 4 x 5 inches
Unsigned
Walker Art Center, Minnesota



Falling Warrior - 1956/57
Bronze
63.5 x 147.5 x 78.5cm
National Museums Liverpool, UK



Woman (Seated Torse-Parze) - 1957
Bronze
Portland Art Museum, Oregon



Draped seated woman - 1957/58
Bronze
188 x 145 x 220 cm
Von der Heydt-Museum, Wuppertal, Germany



Large Standing Figure: Knife Edge - 1961 (cast 1976)
Bronze
H. 137 1/2 in. (349.3 cm)
North Carolina Museum of Art



Maquette for "Atom Piece" - 1964, cast 1970
Bronze
14.7 x 9.8 cm (5 13/16 x 3 7/8 in.)
base: 2.22 x 13.34 cm (7/8 x 5 1/4 in.)
The National Gallery of Art, Washington D.C.




The Archer - 1965
Marble
78 cm
Didrichsen Art Museum, Helsinki, Finland



Vertebrae - 1968
Bronze
7.1 m (23 ft 4 in)
The Israel Museum, Jerusalem



Oval with Points -1968/69
Bronze
H. with base : 120 cm
Tehran Museum of Contemporary Art, Iran



Hill arches 1973
Bronze
Nº.4 from an edition of 4
247.0 (h) x 548.0 (w) x 247.0 (d) cm
not signed, not dated
National Gallery of Australia, Canberra



Hill Arches - 1973
Bronze
Yorkshire Sculpture Park, Bretton Hall



Two Piece Mirror Knife Edge - 1976-1977
Bronze
47.6 x 68.5 x 35.9 cm (18 3/4 x 27 x 14 1/8 in.)
The National Gallery of Art, Washington D.C.



Knife Edge Mirror Two Piece - 1976/78
Bronze
534.5 x 721.1 x 363.1 cm (210 1/2 x 284 x 143 in.)
The National Gallery of Art, Washington D.C.



Reclining Figure: Angles - 1979
Bronze
over-life-sized
Henry Moore Foundation



Reclining Figure: Angles - 1979
Bronze
Over-life-sized
Henry Moore Foundation



Large Standing Figure: Knife Edge - 1961 (cast 1976)
Bronze
H. 137 1/2 in. (349.3 cm)
North Carolina Museum of Art



Three-Piece Reclining Figure - nd
Bronze
264x427 cm.
Tehran Museum of Contemporary Art, Iran

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No "Grupo de Família - 1948/49", com os braços entrelaçados, uma mãe e um pai seguram o seu filho. Sentados num simples banco, estas figurasparentam estar desgastadas - as suas feições parcialmente apagadaspelos efeitos das forças da natureza durante um longo período de tempo. Ao vesti-los com trajes clássicos, que fazem lembrar as estátuas gregas e romanas, Moore dá às figuras uma qualidade eterna. A família é a unidade mais básica da sociedade e é um tema tradicional que tem sido pintado e esculpido desde os tempos medievais, sob a forma de Sagrada Família. Antes desta obra, os temas de Moore eram exclusivamente mulheres sentadas e reclinadas. O Grupo Familiar deu-lhe a oportunidade de representar uma figura masculina pela primeira vez. Esta escultura monumental, que se encontra no jardim de Moore, data de um período em que ele se afastou das experiências extremas sobre abstracção, que caracterizava as suas obras dos anos 30., para dar expressão à necessidade de uma nova arte humanista destinada à devastada Grã-Bretanha do pós-guerra. Moore recebeu numerosos prémios, incluindo a Ordem de Mérito. Henry Moore nasceu em Castleford (GB) em 1898 e morreu em Much Mhadham (BG) em 1986.
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