O SÉCULO PRODIGIOSO

A arte no século XX

Karsh, Yousuf - Fotografia

Quarta-feira, Março 28, 2007
Retratos / Portraits



E. Scotch & Son (Canadian tourism advertising), n.d.



Winston Churchill, 1941



Georg Bernard Shaw, 1943



Jean Sibelius, ca. 1945



Jean Sibelius, ca. 1945



Leopold Stowkowski, ca. 1945



Jascha Heifetz, ca. 1945



H. R. H. Faisal Ibn Abdul Aziz, 1945



Edward Steichen, ca. 1945



Bernard Baruch, ca. 1945



General Dwight Eisenhower, 1946



Boris Karloff, 1946



Humphrey Bogart, 1946



Martha Graham, 1948



Albert Einstein, 1948



Albert Einstein, 1948



Francois Mauriac, 1949



Jean Cocteau, 1949



Henry Moore, Sculptor, 1949



Lord Beaverbrook, 1949



Prime Minister Jawaharlal Nehru, ca. 1950



Yukio Ozaki, 1950



Queen Elizabeth II, 1951




Frank E. Gannett, 1953



Frank Lloyd Wright, 1954



Pablo Picasso, 1954



Albert Schweizer, 1954



Kynie Gannett, ca. 1955



Georgia O'Keeffe, 1956



Ernest Hemingway, 1957



Vannevar Bush, 1958



Nikita Kruschev, 1963



Alberto Giocometti, 1965



Man Ray, 1965



Artur Rubinstein, 1967



Fidel Castro, 1971



Marshall McLuhan at the Royal Ontario Museum, Toronto, 1974



Ansel Adams, 1977



Andy Warhol, 1979

Mãos / Hands



Hands: "Fridolin" Gratien Galinas, 1945



Hands: Thomas Mann, 1946



Hands: Helen Keller, 1948

Outros / Others



Spring Song (Solange Gauthier), 1938



Men working in steel factory, ca. 1945



Ingot Pouring Atlas Steel, ca. 1945



"Tiny" Stirtzinger of Atlas Steel, ca. 1945



"Humanity" (Chartres Cathedral), ca. 1945



Paint Spraying Operation - Ford of Canada, 1951



Farmer by His House, c. 1952

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«O fascínio interminável pelas pessoas que fotografo está naquilo a que chamo a sua força interna. Faz parte do segredo de difícil descrição que se esconde dentro de cada um e a tentativa de captá-lo em filme tem sido o trabalho da minha vida.»

Foi assim que o fotógrafo de retratos Yousuf Karsh descreveu o actrativo do seu trabalho. Adquiriu rapidamente a reputação de fotógrafo de retratos excepcionalmente talentoso, cuja clientela incluía indivíduos distintos da política, da ciência e das artes. Em 1941, Karsh alcançou o reconhecimento internacional com o famoso retrato de Winston Churchill. Esta imagem de um Churchill enfadado e crítico surgiu no frontispício da revista Life e é até hoje um dos retratos mais difundifos. Yuousuf Karsh nasceu em Mardin, na Arménia, em 1908, emigrou para o Canadá onde se tornou cidadão desse país e onde morreu em 13 de Julho de 2002.
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Undoubtedly the premiere portrait photographer of the twentieth century, Yousuf Karsh began his career as an Armenian refugee in Canada, studying the trade under his uncle. In 1928, a twenty year-old Karsh went to Boston to apprentice under John Garo, one of the most famous studio-portraitists of his time. In 1932, Karsh returned to Ottawa to open his own atelier and attempt a career in photography. Karsh also joined the Ottawa Little Theatre as an extra-curricular social activity – which, coincidentally, made a lasting impact on his artistic vision. Working within the confines of theatrical and incandescent lighting opened new windows of expression for Karsh and his subjects. In 1941, Karsh took the photograph that was to change his life and launch his photographic career. A casual friendship with the Canadian Prime Minister led to the opportunity to photograph Winston Churchill on the occasion of his post-Pearl Harbor speech to the Canadian Parliament. This iconic photograph, which was to become one of the most reproduced photographic images of all time, established Karsh as the great celebrity photographer of his time. He continued his portrait work until his death in 2002.

“The search for greatness of spirit has compelled me to work harder – to strive for perfection, knowing it to be unattainable… It has kept me young in heart, adventurous, forever seeking, and always aware that the heart and the mind are the true lens of the camera.”
-Yousuf Karsh, 1983
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Rothko, Mark - Expressionismo Abstracto

Segunda-feira, Março 26, 2007
Abstracto / Abstract



Sacrifice of iphigenia, 1942
Oil on canvas
127 x 93,7 cm
Collection of Christopher Rothko



Untitled, 1942
Oil on canvas
71,3 x 92,1 cm
Guggenheim Museum. New York City



Aubade, 1944
Gouache
25 1/4 x 19 in
The Phillips Collection, Washington D.C.



Slow Swirl at the Edge of the Sea, 1944
Oil on canvas
191,1 x 215,9 cm
The Museum of Modern Art. New York City



Fantasy, 1945
Oil on canvas
134,9 x 98,7 cm
Private Collection



Tentacles of Memory, 1945-1946
Watercolor and ink on paper
55,3 x 76,2 cm
San Francisco Museum of Modern Art, San Francisco

Expressionismo Figurativo / Figurative Expressionism



Underground Fantasy, 1940
Oil on canvas
87,3 x 118,2 cm
National Gallery of Art. Washington D.C.



Untitled, 1941-1942
Oil on canvas
90,9 x 60,6 cm
National Gallery of Art. Washington D.C.



Untitled, 1941-1942
Oil on canvas
76 x 91,3 cm
National Gallery of Art. Washington D.C.

Expressionismo Abstracto / Abstract Expressionism



Untitled, 1946
Watercolor on paper
98,8 x 64,8 cm
Private collection



Untitled (# 17), 1947
Oil on canvas
47 3/4 x 35 1/2 inches
Guggenheim Museum, New York City



No. 1 (Untitled), 1948
Oil on canvas
8' 10 3/8" x 9' 9 1/4" (270.2 x 297.8 cm)
The Museum of Moder Art, New York City



Number 9, 1948
Oil on canvas
134,6 x 118,4 cm
National Gallery of Art. Washington D.C.



Untitled, 1948
Oil on canvas
127,6 x 109,9 cm
Collection of Kate Rothko Prizel



Number. 5/Number. 24, 1948
Oil on canvas
34 x 50 1/4" (86.1 x 127.6 cm)
Museum of Modern Art, New York City



Multiform, 1948
Oil on canvas
155.0 (h) x 118.7 (w) cm
National Gallery of Australia, Camberra



Number 1, 1948-1949
Oil on canvas
171,8 x 142,6 cm
The Frances Lehman Loeb Art Center Vassar College. Poughleepsie. NY.

Abstracto Contemplativo / Contemplative Abstract



Magenta, black, green and orange, 1949
Oil on canvas
216.5 x 164.8 cm
The Museum of Modern Art, New York City



Untitled, 1949
Oil on canvas
207 x 167,6 cm
Guggenheim Museum. New York City



Untitled, 1949
Oil on canvas
204,2 x 168,3 cm
National Gallery of Art. Washigton D.C.



Number 61, 1953
Oil on canvas
294 x 232.4 cm
The Museum of Contemporary Art, Los Angeles



Green over Blue, 1956
Oil on canvas
228 x 161 cm
University of Arizona Museum, Tucson. USA



Green and Maroon, 1953
Oil on canvas
91 1/8 x 54 7/8 in
The Phillips Collection, Washington D.C.



Black over Reds, 1957
Oil on canvas
241,3 x 207 cm
The Baltimore Museum of Art, USA



Number 13, 1957
Oil on canvas
242,3 x 206,7 cm
The Metropolitan Museum of Art. New York City



1957 # 20 [Black,brown on maroon' or 'Deep red and black' are alternative titles'], 1957
Oil on canvas
233.0 (h) x 193.0 (w) cm
National Gallery of Australia, Camberra



Untitled, 1959
Mixed media on canvas
265,5 x 288.3 cm
National Gallery of Art. Washington D.C.



Untitled, 1959
Oil on paper mounted on wood fiberboard panel
60,6 x 47,9 cm
Ealan Wingate. New York



Untitled, 1961
Pen and ink on paper
28,1 x 21,8 cm
National Gallery of Art. Washigton D.C.



Number 207, 1961
Oil on canvas
235,6 x 206,6 cm
Berkeley Art Museum. University of California



Untitled, 1968
Acrylic on paper on hardboard
23 3/16 x 18 3/4 in
The Phillips Collection, Washington D.C.



Black on Grey, 1969/1970
Acrylic on canvas
80 1/4 x 69 1/8 inches
Guggenheim Museum, New York City

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Em "Untitled, 1959", uma enorme tela de 265,5 x 288.3 cm, a composição vermelha, grande e indefinida, paree flutuar sobre um fundo castanho-avermelhado. As cores luminosas e lisas e a grande dimensão desta tela dramática competem entre si com uma subtileza serena, mergulhando-nos num sentimento de paixão, tragédia e sublimidade. Com as suas cores, Rothko quis atrair-nos para o plano da imagem, induzindo uma reacção de proximidade emocional. Na sua obra estava mais interessado em expressar as emoções humanas básicas, do que explorar a abstracção e a relação entre a cor e a forma. Considerava as formas dos seus quadros, normalmente rectângulos, como «coisas» e até mesmo como retratos. Os quadros deste autor exibem a expontaneidade de expressão típica do grupo nova-iorquino de pintores conhecidos como expressionistas abstractos. Dentro deste movimento, Rothko está mais ligado aos pintores da vertente Colour Field que se exprimiam através do uso da cor e não pelas marcas gestuais sobre a tela. Rothko suicidou-se em 1970. Mark Rothko nasceu em Dvisnsk (RUS) em 1903 e morreu em Nova Iorque (EUA) em 1970.
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Mark Rothko was born Marcus Rothkowitz on September 25, 1903, in Dvinsk, Russia. In 1913, he left Russia and settled with the rest of his family in Portland, Oregon. Rothko attended Yale University, New Haven, on a scholarship from 1921 to 1923. That year, he left Yale without receiving a degree and moved to New York. In 1925, he studied under Max Weber at the Art Students League. He participated in his first group exhibition at the Opportunity Galleries, New York, in 1928. During the early 1930s, Rothko became a close friend of Milton Avery and Adolph Gottlieb. His first solo show took place at the Portland Art Museum in 1933. Rothko’s first solo exhibition in New York was held at the Contemporary Arts Gallery in 1933. In 1935, he was a founding member of the Ten, a group of artists sympathetic to abstraction and Expressionism [more]. He executed easel paintings for the WPA Federal Art Project from 1936 to 1937. By 1936, Rothko knew Barnett Newman. In the early 1940s, he worked closely with Gottlieb, developing a painting style with mythological content, simple flat shapes, and imagery inspired by primitive art. By mid-decade, his work incorporated Surrealist techniques and images. Peggy Guggenheim gave Rothko a solo show at Art of This Century in New York in 1945. In 1947 and 1949, Rothko taught at the California School of Fine Arts, San Francisco, where Clyfford Still was a fellow instructor. With William Baziotes, David Hare, and Robert Motherwell, Rothko founded the short-lived Subjects of the Artist school in New York in 1948. The late 1940s and early 1950s saw the emergence of Rothko’s mature style, in which frontal, luminous rectangles seem to hover on the canvas surface. In 1958, the artist began his first commission, monumental paintings for the Four Seasons Restaurant in New York. The Museum of Modern Art, New York, gave Rothko an important solo exhibition in 1961. He completed murals for Harvard University in 1962 and in 1964 accepted a mural commission for an interdenominational chapel in Houston. Rothko took his own life February 25, 1970, in his New York studio. A year later, the Rothko Chapel in Houston was dedicated.

Guggenheim Collection - Rothko Biography
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