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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Gorky, Arshile - Abstracto-Expressionismo

Terça-feira, Março 20, 2007


Self-portrait, 1926
Pastel and graphite on paper
36,2 x 28,6 cm
Private collection



Portrait of the Artist and His Mother, 1926/1936
Graphite on squared paper
61 x 48.3 cm (24 x 19 in.)
The National Gallery of Art, Washington D.C.



The Artist and His Mother, c. 1926-c. 1942
Oil on canvas
152.3 x 127 cm (60 x 50 in.)
The National Gallery of Art, Washington D.C.



The Artist and his Mother, c. 1926-36
Oil on canvas
152 x 127 cm
Whitney Museum of American Art, New York



Landscape, 1927-28
Oil on canvas
76,2 x 96,5 cm
Private collection



Still Live, 1928
Oil on ´canvas
51,1 x 61 cm
Private Collection



Study for Nighttime, Enigma and Nostalgia, c. 1930-34
Ink on paper
19x24"



Painter and Model (The Creation Chamber), 1931
Lithograph on paper
11 1/4 x 9 7/8 in. (28.6 x 25.1 cm) irregular
Smithsonian American Art Museum, Washington D.C.



Untitled (Ecorché), c. 1932
Pencil on paper
24 3/4 x 19 1/8" (62.9 x 48.7 cm)
Museum of Modern Art, New York City



Nighttime, Enigma, and Nostalgia, c. 1932/1934
Pen and black and brown inks over graphite on wove paper
55.9 x 72 cm (22 x 28 3/8 in.)
The National Gallery of Art, Washington D.C.



Organization, 1933-1936
Oil on canvas
127 x 152 cm (50 x 59 13/16 in.)
The National Gallery of Art, Washington D.C.



Leonora Portnoff, 1935
Pencil on paper
12 1/2 x 9 1/2" (32 x 24.3 cm)
Museum of Modern Art, New York City



Woman with Necklace (Studio version), 1936
Oil on canvas
20 x 16 1/8”
University of Kentucky Art Museum



Still Live on Table, 1936-37
Oil on canvas
137,2 x 162,6 cm
Private collection



Composition, 1936-39
Oil on canvas
29-3/4 x 35-3/4 in. (75.6 x 90.8 cm)
Minneapolis Institute of Arts, Minnesota



Self-portrait, 1937
Oil on canvas
141 x 86,4 cm
Private collection



Portrait, 1938
Oil on canvas
101,6 x 132,1 cm
Private collection



Garden in Sochi, 1941
Oil on canvas
44 1/4 x 62 1/4" (112.4 x 158.1 cm)
Museum of Modern Art, New York City



Garden in Sochi, 1941
Gouache



Flowers, 1942
Oil on canvas
40,6 x 30,5 cm
Private collection



Garden in Sochi, 1943
Oil on canvas
78.7 x 99 cm
Museum of Modern Art, New York City



Study for The Liver is the Cock's Comb, 1943
Crayon and pencil on paper
19 x 24 3/4 in. (48.3 x 62.9 cm)
The Museum of Contemporary Art, Los Angeles



Waterfall, 1943
Oil on canvas
1537 x 1130 mm frame: 1713 x 1308 x 87 mm
Tate Gallery, London



Untitled, summer, 1944
Oil on canvas
167 x 178.2 cm
Guggenheim Museum, New York City



The Leaf of the Artichoke Is an Owl, 1944
Oil on canvas
28 x 35 7/8" (71.1 x 91.2 cm)
Museum of Modern Art, New York City



Water of the Flowery Mill, 1944
Oil on canvas
42 1/4 x 48 3/4 in. (107.3 x 123.8 cm)
The Metropolitan Museum of Art, New York City



Virginia Landscape, 1944
Graphite and wax crayon on wove paper
55.8 x 76.2 cm (22 x 30 in.)
The National Gallery of Art, Washington D.C.



One Year the Milkweed, 1944
Oil on canvas
94.2 x 119.3 cm (37 x 47 in.)
The National Gallery of Art, Washington D.C.



Good Hope Road, 1945
Oil on canvas
86.68 x 111.76 cm (34 1/8 x 44 in.)
Museum of Fine Arts, Boston



Good hope II (Pastoral), 1945
Oil on canvas
64,7 x 82,8 cm
Thyssen-Bornemisza Museum, Madrid, Spain



Diary of a Seducer, 1945
Oil on canvas
50 x 62" (126.7 x 157.5 cm)
Museum of Modern Art, New York City



Pastoral, 1945
Oil on canvas
64,7 x 82,8 cm
Foundation Tyssen-Bornemisza, Lugano, Switzerland



The Plow and the Song, 1946
Graphite, charcoal, crayon, pastel and oil on wove paper
122 x 150.3 cm (47 7/8 x 59 3/8 in.)
The National Gallery of Art, Washington D.C.



Charred Beloved II 1946
Oil on canvas
137 x 101.6 cm
National Gallery of Canada, Ottawa



Study for Agony, 1947
Oil on canvas
91,4 x 121,9 cm
Private collection



Agony. 1947
Oil on canvas
40 x 50 1/2" (101.6 x 128.3 cm)
Museum of Modern Art, New York City



Betrothal I, 1947
Oil on paper
51 x 40 in. (129.5 x 101.6 cm)
The Museum of Contemporary Art, Los Angeles




Betrothal II, 1947
Oil on canvas
128,9 x 96,5 cm
The Whitney Museum of American Art. Nueva York City



The Betrothal II, 1947
Oil on canvas
129 x 96.7 cm
Whitney Museum of American Art, New York



Year after Year, 1947
Oil on canvas
86,4 x 99,1 cm
Private collection



The Last Painting, 1948
Oil on canvas
78,1 x 101 cm
Foundation Thyssen-Bornemisza, Lugano, Switzerland

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Em "One Year the Milkweed, 1944", pintura intensa e emocional, a tinta parece assumir vida própria, escorrendo e espalhando-se pela tela em camadas de cor púrpura, cinzenta e castanha. Estas cores formam um véu abstracto, através do qual se podem discernir contornos de formas orgânicas: flores, plantas leitosas e casulos. As imagens estendem-se através de toda a superfície da tela, atraíndo-nos para o quadro. A utilização de formas orgânicas abstractas nesta composição relaciona-se com o Surrealismo e a linguagem abstracta de Miró e Kandinsky, ao passo que a forma gestual de pintar lançaria as bases para o Expressionismo Abstracto americano. Forçado a abandonar a Arménia, Gorky chegou aos Estados Unidos em 1920. Os mitos e arte popular da Arménia iriam influenciar a sua obra até ao fim. Os seus últimos tempos de vida foram marcados por uma série de tragédias: um incêndio no seu estúdio que lhe destruiu a maior parte do seu trabalho, um acidente de carro em que partiu o pescoço. Como consequência, suicidou-se em 1948. Arshile Gorky nasceu em Kornkom Vari (ARM) em 1905 e morreu em Sherman, CT (EUA) em 1948.
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Arshile Gorky was born Vosdanik Adoian in the village of Khorkom, province of Van, Armenia, on April 15, 1904. The Adoians became refugees from the Turkish invasion; Gorky himself left Van in 1915 and arrived in the United States about March 1, 1920. He stayed with relatives in Watertown, Massachusetts, and with his father, who had settled in Providence, Rhode Island. By 1922 he lived in Watertown and taught at the New School of Design in Boston. In 1925 he moved to New York and changed his name to Arshile Gorky. He entered the Grand Central School of Art in New York as a student but soon became an instructor of drawing; from 1926 to 1931 he was a member of the faculty. Throughout the 1920s Gorky�s painting was influenced by Georges Braque, Paul Cézanne, and, above all, Pablo Picasso. In 1930 Gorky's work was included in a group show at the Museum of Modern Art in New York. During the thirties he associated closely with Stuart Davis, Willem de Kooning, and John Graham; he shared a studio with de Kooning late in the decade. Gorky's first solo show took place at the Mellon Galleries in Philadelphia in 1931. From 1935 to 1937 he worked under the WPA Federal Art Project on murals for Newark Airport. His involvement with the WPA continued into 1941. Gorky's first solo show in New York was held at the Boyer Galleries in 1938. The San Francisco Museum of Art exhibited his work in 1941. In the 1940s he was profoundly affected by the work of European Surrealists, particularly Joan Miró, André Masson, and Matta. By 1944 he met André Breton and became a friend of other Surrealist emigrés in this country. Gorky's first exhibition at the Julien Levy Gallery in New York took place in 1945. From 1942 to 1948 he worked for part of each year in the countryside of Connecticut or Virginia. A succession of personal tragedies, including a fire in his studio that destroyed much of his work, a serious operation, and an automobile accident, preceded Gorky's death by suicide on July 21, 1948, in Sherman, Connecticut.

Guggenheim Collection Biography
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Ferrão, António - Arte Portuguesa Contemporânea



S/ Título
Acrílico s/ tela
97 cm x 130 cm



S/ Título
òleo s/ tela
89 cm x 130 cm



Banco de Jardim
Óleo s/ tela
114 cm x 146 cm
2006



Town
Óleo s/ tela
89 cm x 130 cm
2006



Town look
Óleo s/ tela
89 cm x 130 cm
2006



S/Título (cavalo polo)
Óleo s/ tela
114 cm x 146 cm
2006



S/ Título (natureza morta)
Óleo s/ tela
60 cm x 91 cm
2006

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Uniforme na sua diversidade, a pintura de António Ferrão tem tanto de encanto imediato como de imposição para uma posterior mastigação inteligente das realidades que nos propõe. E estas, realidades quase sempre pertencentes a uma paisagem sentimental, são paisagens de alma, estados de espírito que tornaram forma, que vestiram corpos diferenciados todos eles personificando situações que são nossas, que são de todos, gestos, poses e atitudes que muitas vezes vemos e poucas vezes reparamos. E esse é um dos segredos do pintor: olhar não com os olhos de ver, mas com os olhos de reparar.
O outro segredo importante de Ferrão é o olhar da própria obra, como se existisse um movimento contrário ao olhar do pintor e, também, ao olhar de quem quer fruir a obra.
Muitos raros são os quadros onde, explícito ou implícito, esse olhar não existe. Umas vezes traduzindo inquietação ou ansiedade, outras vezes concentração, desespero ou abandono, outras ainda, ternura, mágoa, orgulho ou serenidade, os olhares dos quadros de Ferrão são o elo de uniformização da sua obra.
A diversidade existe particularmente na forma, e na forma de procurar coisas diferentes, atitude sempre louvável de quem não assenta naquilo que já fez e obteve sucesso, afinal o que seria, de todos nós, o caminho mais fácil.
Não é facilidade o tom maior deste pintor. A sua pintura atinge um elevado grau de simplicidade, aquilo que, quer na arte, quer na vida, é muito difícil de conseguir. E quando um produtor de arte começa a ser simples, é porque encontrou a porta de entrada para o que é verdadeiro.
Veja-se e pense-se esta pintura. Deixemo-nos interrogar por ela depois de a termos interrogado. Há nela um mundo que é o nosso concreto, definido, pertinente. Somos, dela, habitantes inconclusivos. Personagens que, nela, se reconhecem como quem se vê ao espelho. Cúmplices, através dela, do pintor que a cumpre como se de uma missão mágica se tratasse: a de dar aos outros instantâneos que nenhuma fotografia poderia revelar. A pintura é uma missão superior. E António Ferrão desempenha muito bem a missão que Deus, o artista supremo, lhe quis confiar.

Joaquim Pessoa, Janeiro de 2000

António Ferrão nasceu em Lisboa, em 1950. Em 1969 vai para Moçambique e é em Lourenço Marques que recebe a sua primeira aprendizagem na Pintura com os pintores José Pádua e António Quadros. De regresso a Lisboa tira o Curso de Medicina na Faculdade de Medicina de Lisboa. Em 1986 e 1987 frequenta o Curso de Desenho e Pintura na Sociedade Nacional de Belas Artes. Desde 1985 dedica-se exclusivamente à pintura, partilhando o atelier com o pintor Hélder Fernandes.
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Kupka, František - Futurismo / Abstraccionismo

Quinta-feira, Março 15, 2007


Admiration, c. 1899
Gouache, charcoal, watercolor, crayon, and pastel on paper
15 1/2 x 15" (39.4 x 37.8 cm)
Museum of Modern Art, New York City



The Beginnings of Life, 1900-1903
Color aquatint
New York Public Library



The Way of Silence, 1900 - 1903
Oil on canvas
Public collection



View from a Carriage Window, c. 1901
Gouache and watercolor on paper with cardboard overlay, with cut out overlay
19 7/8 x 23 5/8" (50.6 x 60 cm)
Museum of Modern Art, New York City



Bather, 1906
Pastel and charcoal on gray paper
11 1/2 x 15 3/4" (29.1 x 39.8 cm)
Museum of Modern Art, New York City



Girl with a Ball, c. 1908
Pastel on paper
24 1/2 x 18 3/4" (62.2 x 47.5 cm)
Museum of Modern Art, New York City



Carmine nº 1, 1908
Oil on canvas
63.5 x 63.5 cm
Museé National d'Art Moderne, París



Planes by Colors, Large Nude, 1909–10
Oil on canvas
59 1/8 x 71 1/8 inches
Guggenheim Museum, New York City



L'archaïque, 1910
Oil on canvas
90 x 110 cm
Pompidou Center, Paris



Study for Amorpha, Warm Chromatic and for Fugue in Two Colors, ca. 1910–11
Pastel on paper
46.8 x 48.3 cm
Guggenheim Museum, New York City



Mme Kupka Among Verticals, 1910-11
Oil on canvas
53 3/8 x 33 5/8” (135.5 x 85.3 cm)
The Museum of Modern Art, New York City



Red and Blue Disks, 1911? (dated on painting 1911-12)
Oil on canvas
39 3/8 x 28 3/4" (100 x 73 cm)
Museum of Modern Art, New York City



Creation, 1911-1920
Oil on canvas
115 x 125 cm
Národní Galerie, Prague



Study with Green, c. 1912
Chalk and gouache on paper
7 5/8 x 9 3/4" (19.1 x 24.5 cm)
Museum of Modern Art, New York City



Compliment, 1912
Oil on canvas
89 x 108 cm
Pompidou Center, Paris



Amorpha: Fugue in Two Colors, 1912
Gouache and ink on paper
14 1/8 x 14 7/8" (35.9 x 37.8 cm)
Museum of Modern Art, New York City



Amorpha: Fugue in Two Colors, 1912
Gouache and ink on paper
12 7/8 x 14 1/2" (32.7 x 36.8 cm)
Museum of Modern Art, New York City



Amorpha: Fugue in Two Colors, 1912
Gouache and ink on paper
11 1/8 x 11 5/8" (28.3 x 29.5 cm)
Museum of Modern Art, New York City



Positioning of Mobile Graphic Elements I, 1912-1913
Oil on canvas
200 x 194 cm
Museo Thyssen-Bornemisza, Madrid



Organization of Graphic Motifs II, 1912-13
Oil on canvas
200 x 194 cm
National Gallery of Art, Washington D.C.



Vertical Plains Blue and Red, 1913
Oil on canvas
72 cm (28.35 in.) x 80 cm (31.5 in.)
Private collection



Vertical and Diagonal Planes, ca. 1913–14
Oil on canvas
24 1/8 x 19 3/4 in. (61.3 x 50.2 cm)
The Metropolitan Museum of Art, New York City



The Cathedral, 1913-1914
Oil on canvas
180 x 150 cm
Private collection



Blue, 1913-1914
Oil on canvas
73 x 60 cm
Národní Galerie, Prague



The Colored One, ca. 1919–20
Oil on canvas
25 5/8 x 21 1/4 inches
Guggenheim Museum, New York City



Around a Point, ca. 1920-25
Watercolor, gouache, and graphite on paper
20.1 x 23.8 cm
Guggenheim Museum, New York City



Lignes animées, between 1920 and 1933
Gouache and ink on paper
2,00 x 1,93 m
Pompidou Center, Paris



Composition in blue, 1925
OIl on canvas
46 x 61 cm
Národní Galerie. Prague



Untitled, 1928
Gouache, watercolor and pencil on paper
7 3/4 x 12 1/4" (19.5 x 31 cm)
Museum of Modern Art, New York City



Machine comique, 1928
Oil on canvas
74 x 84 cm
Pompidou Center, Paris



Syncopated Accompaniment (staccato), c. 1928-1930
Oil on canvas
73 x 100,4 cm
Museo Thyssen-Bornemisza, Madrid



Musique, 1936
Oil on canvas
93 x 85 cm
Pompidou Center, Paris



Replica of Fugue in Two Colors: Amorpha, 1912 (1946)
Gouache, ink and pencil on paper
9 x 9 5/8" (22.9 x 24.3 cm)
Museum of Modern Art, New York City

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Pintor checo, Frantisek Kupka nasceu em 1871 em Opocno, na Checoslováquia. Estudou na Escola de Artes Aplicadas de Jaromer e interessa-se pelo desenho ornamental. Mais tarde ingressou na Academia de Belas Artes de Praga, onde recebeu uma formação académica que desenvolveu, após 1892, na Academia de Viena, realizando então algumas composições alegóricas. Mudou-se mais tarde para Paris, onde trabalhou como ilustrador. Desde 1906 começou a aprofundar os estudos sobre a cor e as teorias de Newton e de Goethe e produziu obras de intenso colorido. Formulou teorias sobre a possibilidade de uma arte não imitativa, autónoma relativamente à realidade e portadora de intensa emotividade. Tinha uma grande inclinação pelo espiritualismo e pelo oculto, assumindo e propondo uma força espiritual para as diferentes cores e formas abstractas. A Kupka deve-se a paternidade de um das primeiras obras abstracta, sendo a primeira delas tradicionalmente atribuída a Kandinsky . Este trabalho, uma aguarela datada de 1910, apresenta uma gramática de formas geométricas puras, recusando elementos descritivos ou qualquer apoio na realidade física, e tendo como elementos básicos as verticais, símbolo de crescimento, e as horizontais, significando a invariabilidade. O seu percurso foi marcado pelo individualismo, embora houvesse tentativas para o integrar no movimento cubista. Era, no entanto, mais evidente uma filiação no movimento futurista, pelo seu interesse na representação do movimento. Depois da guerra iniciou uma série de pinturas que constituem o "ciclo orgânico" e realizou a primeira exposição individual em Paris, em 1921. Dez anos mais tarde foi convidado a integrar a associação artística "Abstraction-Création", continuando com as suas experiências no campo da abstracção e aprofundando o estudo dos aspectos puramente plásticos. Morreu em Puteaux em 1957. Só desde os anos 60, após a sua morte, é reconhecido no papel que teve no desenvolvimento da arte abstracta.
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Frantisek Kupka 1871-1957 - School of Paris painter and wood-engraver; a pioneer of abstract art. Born in Opocno in Eastern Bohemia. Apprenticed as a youth to a master saddler, who initiated him in spiritualism; became a medium. Began to paint and received his first instruction from Studnicka at Jaromer. Afterwards studied at Prague Academy 1889-92 under the Nazarene painter Sequens and at the Vienna Academy 1892-3 under Eisenmenger, also a Nazarene. Influenced by Czech folk art, abstract ornamental patterning and Theosophy. Settled in 1896 in Paris, where he worked first primarily as satirical draughtsman for magazines such as L'Assiette au Beurre and as book illustrator. A friend and neighbour of Jacques Villon from 1901, first in Montmartre, then from 1906 in Puteaux on the outskirts of Paris. His paintings influenced by Symbolism, then Fauvism; experimented from 1909 with ways of rendering figures in motion inspired by high-speed photography. From 1911 his work became abstract with cosmic themes and rhythms, intersecting arabesques, rectilinear vertical planes, etc. First Paris one-man exhibition at the Galerie Povolozky 1921. Wrote a book on his theories, La Cr-23ation dans les Arts Plastiques (first published 1923). Appointed professor by Prague Academy in 1922, to introduce Czech students in Paris to French culture. Co-founder of Abstraction-Cr-23ation 1931, and adopted a more geometrical and classical abstract style. Died in Puteaux.

Tate Gallery Catalogue
.....................................................................................................



Arbus, Diane - Fotografia

Quarta-feira, Março 14, 2007


Lady on a bus, N.Y.C. 1956
Gelatin silver print
The Metropolitan Museum of Art, New York City



Screaming Woman with Blood on Her Hands, ca. 1958
Gelatin silver print
18 x 26.6 cm (7 1/16 x 10 1/2 in.)
The Metropolitan Museum of Art, New York City



Child with a Toy Hand Grenade in Central Park, N.Y.C., 1962
Gelatin silver print on Agfa
14 7/8 in. x 14 11/16 in
Addison Gallery of American Art, Andover, Massachusetts



Teenager with a baseball bat, NYC, 1962
Gelatin Silver Print
11 x 14 in / 27.9 x 35.6 cm



A Husband and Wife in the Woods at a Nudist Camp, NJ, 1963
Vintage gelatin silver print
15 1/4 x 14 3/4 inches



Xmas tree in a living room in Levittown, L.I., 1963
Gelatin silver print
20 x 16 in / 50.8 x 40.6 cm



Puerto Rican woman with beauty mark, 1965



Young Girl Nudist, 1965



Waitress Nude, 1965



Girl with a Watch Cap, New York City, 1965
Silver gelatin print
14 x 11 in / 35.6 x 27.9 cm



Two ladies at the automat, N.Y.C. 1966
Gelatin silver print
The Metropolitan Museum of Art, New York City



Woman at Masked Ball, 1967



A Child Crying, 1967



Boy with a straw hat waiting to march in a pro-war parade, N.Y.C. 1967
Gelatin silver print
The Metropolitan Museum of Art, New York City



A Woman in a Bird Mask, 1967



Two Girls in Matching Bathing Suits, 1967
Gelatin silver print
Birmingham Museum of Art, Alabama



Identical Twins, Roselle, N.Y.,1967



Triplets in their Bedroom, 1967



Their numbers were picked out of a hat. They were just chosen King and Queen of a Senior Citizens dance in NYC. Yetta Granaf is 72 and Charles Fahrer is 79. They have never met before. 1970
Silver print
15 1/8 x 14 1/2 inches
Spencer Museum of Art at the University of Kansas



Albino Sword Swallower at a carnival, Md. 1970



Hermaphrodite and Dog in Carnival, 1970



Jewish Giant at Home with his Parents, 1970



Untitled, c. 1970
Collection Groninger Museum



Untitled, 1970/71

.....................................................................................................
Ninguém passa impunemente diante de uma fotografia feita por Diane Arbus. A imagem desconcerta o nosso olhar e permanecemos capturados pela estranha sensação que ela provoca. Suas fotos tocam no fundo da alma deixando na memória um traço, marcado como um arranhão.
Nas décadas de cinquenta e sessenta, Diane Arbus, munida de uma Rolleiflex, mudou os rumos da fotografia ao buscar nas pessoas comuns das ruas de Nova York os seus modelos.
Apesar de pertencer a uma família da alta burguesia e de ser fotógrafa de moda, Arbus optou por fazer de sua arte fotos despojadas de qualquer glamour. Os retratos são sempre em preto e branco. Percebe-se que seus modelos posam extáticos para ela, o olhar fixo na câmera. O que vê-se são pessoas cruamente expostas em sua precária condição humana, fortemente marcadas por um traço, ou vários, que as insere num grupo específico, uma comunidade ou o que hoje modernamente chamamos de uma “tribo”: imigrantes, travestis, velhos, nudistas, mascarados, atores, “freeks”, etc. Com isso Arbus abre um curioso diálogo entre aparencia e identidade, ilusão e crença, teatro e realidade. Uma pessoa é o que ela parece ser? Sua imagem funciona como um carimbo de identidade? Ou existe um “para além” da forma ? Apesar de profundamente inseridos num contexto social, para Arbus seus modelos são pessoas únicas que representam metáforas delas mesmas. Procuram, ao acentuar um aspecto físico, um detalhe qualquer na roupa, a diferenciação possível dentro do grupo a que pertencem. Numa tradução livre de suas palavras ela diz que seus modelos “inventados por suas próprias crenças são autores e heróis de um sonho que se faz real na medida em que nós, espectadores, nos permitimos deixar abismar” . Com seus retratos, ao evocar a cumplicidade de quem olha, Arbus permite que surja nesta relação tridimensional (artista, modelo e espectador) o espaço da criação. Seria este o “mais além” ? O lugar da fantasia de cada um? Susan Sontag, no prefácio do livro Women (Ed. Random House, New York) de Annie Leibovitz, propõe uma questão interessante: “A fotografia não é uma opinião. Ou é?” Para Arbus um retrato é “um segredo sobre um segredo”. Quanto mais ele revela, menos sabemos, mais ficamos intrigados. Num certo sentido o retrato convida a uma opinião, pede uma reação, reação esta calcada nas representações que brotam do imaginário de quem olha.
Diane Arbus gostava de fotografar casamentos e outros rituais que para ela representam momentos marcantes de emoção compartilhada. Procurava mostrar que o contágio de sentimentos, o caráter repetitivo dos rituais inserem as pessoas nas suas comunidades dando sentido à vida, tecendo a identidade de cada um pela identificação com o outro. Ao exprimir o retorno do mesmo, o ritual parece querer “driblar” a morte. Se pensarmos que a fotografia congela um instante no tempo, Arbus imortalizou seus modelos, imortalizou Nova York como o território livre que abriga todo tipo de gente.
A sensação de estranhamento diante das fotografias de Diane Arbus remetem a um artigo escrito por Freud em 1919 “Das Umheimliche” , cujo título original foi traduzido como “O Estranho” , que pode ser também o inquietante, o macabro. A palavra alemã “umheimliche” curiosamente traz uma ambiguidade que oscila entre num extremo o “familiar” e no outro o “desconhecido” . Então tudo que para nós é estranho é ao mesmo tempo familiar. Duas faces da mesma moeda. Nossa inquietação diante do estranho só é possível porque ele nos leva de encontro a um familiar que ficou esquecido, dormindo calado no inconsciente. Não raro diante de uma fotografia de Arbus surge o primeiro impulso de afastar o olhar, desconcertados “não queremos ver” para em seguida, querermos “ver” no sentido pleno de “olhar” (sentir o que se passa no nosso interior).
Diane Nemerov nasceu em Nova York no dia 14 de março de 1923. Aos quatorze anos conheceu Allan Arbus com quem se casaria quatro anos depois. Foi com ele que Diane aprendeu a fotografar. Em 1959 foi procurar seu próprio caminho. Nesta altura já começou a se interessar por fotografar os freeks que ela adorava e pelos quais afirmava sentir ao mesmo tempo fascinação e vergonha: “como um personagem de um conto de fadas o freek aparece para nos obrigar a decifrar um puzzle”. E ela continua dizendo que “a maioria das pessoas passam a vida temendo uma experiencia traumática. Os freeks nasceram banhados pelo trauma. Com isso passaram no teste da vida. São aristocratas”.
Em 1963 Diane Arbus ganhou uma bolsa da Fundação Guggenheim e no ano seguinte teve sua primeira exposição no Museu de Arte Moderna. Depois ela se dedica a ensinar fotografia na Parsons School of Design em Nova York e no Hampshire College em Amherst, Massachusetts.
No fim dos anos sessenta Arbus entrou nos asilos e hospitais e fez dos velhos, doentes e anormais seus modelos. Nos retratos “untitled” vê-se todo tipo de tragédia humana que nos chocam enquanto seduzem o mórbido que habita em cada ser humano. É desta época os perturbadores retratos com máscaras grotescas.
Se como afirma outra fotógrafa famosa, Dorothea Lange “cada retrato de outra pessoa é um auto-retrato” as fotos de Diane Arbus são o seu duplo, o reflexo de uma alma atormentada à beira do horror.
Em julho de 1971, a fotógrafa se suicidou ingerindo barbitúricos e cortando os pulsos.
Em 1972 a Bienal de Veneza consagrou a artista expondo seus trabalhos.

Maria Helena Mossé
Julho de 2004
........................................................................................................
Born in New York City in March of 1923, Diane Arbus grew up in Central Park West. Supporting the family was her father, who owned a 5th Avenue department store. At the age of 14, Arbus met her future husband Allan Arbus, who she would marry in four years. Both Allan and Diane worked in the fashion industry as photographers. A great deal of Arbus' most memorable images comes from her innovative work in magazines. As profit was a primary pursuit for an unestablished photographer, Arbus' work in magazines was both artistically striking and economically productive. Her commercial photography is highlighted in the Apeture book entitled, Diane Arbus: Magazine Work

Arbus' artistic carrer initiated in 1959 when she began studying photography with Lissete Model. With her new and innovative style, Diane recieved the Guggenheim felowship in 1963 as well as in '66. A year after her first fellowship, her work was recognized by John Szarkowski who formed Arbus' first exhibit at the Museum of Modern Art. As Arbus' career progressed, a portfolio of 10 photographs was made in 1970 that created her first series of limited editions. While at the top of Diane's progression in the art world and her ongoing exploration of the limits of photographic art, her carrer was smashed to an immediate end by her suicide on July 26th, 1971.

Arbus' work impacts the photography world with a sharp attack on the boundaries of what is considered to be "proper" or "tasteful" art. In 1972, Diane Arbus was the first American photographer to be exhibited at the Venice Biennale.
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Mondrian, Piet - Neo-Plasticismo

Segunda-feira, Março 12, 2007


Self-portrait, 1900
Oil on canvas
49 x 38 cm
The Phillips Collection. Washington D.C.



Pollard Willows on the Gein, 1902-04
Oil on canvas
53.5 x 63 cm
Collection Gemeentemuseum Den Haag. The Hague.



Windmill, 1904
Watercolour on paper mounted on canvas board
77 x 53.5 cm
MacKenzie Art Gallery, Saskatchewan



Red Amaryllis with Blue Background, c. 1907
Watercolor on paper
18 3/8 x 13" (46.5 x 33 cm)
The Museum of Modern Art, New York



Molen (Mill); Mill in Sunlight, 1908
Oil on canvas
114 x 87 cm (44 7/8 x 30 1/4 in)
Haags Gemeentemuseum, The Hague



Avond (Evening); Red Tree, 1908
Oil on canvas
70 x 99 cm (27 1/2 x 39 in)
Haags Gemeentemuseum, The Hag



View from the Dunes with Beach and Piers, Domburg, 1909
Oil and pencil on cardboard
11 1/4 x 15 1/8" (28.5 x 38.5 cm)
Museum of Modern Art, New York City



Amaryllis, 1910
Watercolor on paper
39 x 49 cm (15 3/8 x 19 3/8 in)
Private collection



Gray Tree, 1911
Oil on canvas
78.5 x 107.5 cm (30 7/8 x 42 3/8 in)
Haags Gemeentemuseum, The Hague



Still Life with Gingerpot I, 1911
Oil on canvas
25 3/4 x 29 1/2 inches
Guggenheim Museum, New York City



Still Life with Gingerpot II, 1912
Oil on canvas
37 1/2 x 47 1/8 inches
Guggenheim Museum, New York City



Trees, c. 1912
Oil on canvas
37 X 27 7/8 in. (94 X 70.8 cm)
Carnegie Museum of Art, Pittsburgh, Pennsylvania



Alberi in fiore, 1912
Oil on canvas
65 x 75 cm
G. J. Nieuwenhuizen. Seagar. L'Aia. Holland



Composition No. XI, c. 1912
Oil on canvas
Kröller-Müller Museum, Otterlo, Netherlands



Tableau No. 2/Composition No. VII, 1913
Oil on canvas
41 1/8 x 43 3/4 inches
Guggenheim Museum, New York City



Composition XIII, 1913
Oil on canvas
79,5 x 63,5 cm
Museo Thyssen-Bornemisza, Madrid



Composition in Oval with Color Planes 1, 1914
Oil on canvas
42 3/8 x 31" (107.6 x 78.8 cm)
Museum of Modern Art, New York City



Tableau no. 2 / Composition no. V. 1914
Oil on canvas
21 5/8 x 33 5/8" (54.8 x 85.3 cm)
Museum of Modern Art, New York City



Ocean 5, 1915. [Previously published as The Sea, 1914.]
Charcoal and gouache on paper, mounted on panel, paper
87.6 x 120.3 cm; panel 90.2 x 123 x 1.3 cm
Guggenheim Museum, New York City



Composition, 1916
Oil on canvas with wood strip nailed to the bottom
46 7/8 x 29 5/8 inches
Guggenheim Museum, New York City



Composition with Color Planes and Gray Lines 1, 1918
Oil on canvas
49 x 60.5 cm (19 1/4 x 23 7/8 in)
Private collection



Composition with Gray and Light Brown, 1918
Oil on canvas
31 9/16 x 19 5/8 in. (80.2 x 49.9 cm)
Museum of Fine Arts, Houston, Texas



Composition with grid 5: lozenge, composition with colours, 1919
Oil on canvas
Kröller-Müller Museum, Otterlo, Netherlands



Composition with Grid 7, 1919
Oil on canvas
49 x 49 cm
Kunstmuseum Basel, Switzerland



Composition A: Composition with Black, Red, Gray, Yellow, and Blue, 1920
Oil on canvas
91.5 x 92 cm (36 x 36 1/4 in)
Galleria Nazionale d'Arte Moderna e Contemporanea, Rome



Composition with Red, Blue and Yellow-Green, 1920
Oil on canvas
Wilhelm-Hack-Museum. Ludwigshafen/Rehin



Lozenge Composition with Yellow, Black, Blue, Red, and Gray, 1921
Oil on canvas
60.1 x 60.1 cm (23 5/8 x 23 5/8 in)
Vertical axis 84.5 cm (33 1/4 in)
The Art Institute of Chicago



Composition with Red, Blue, Black, Yellow, and Gray, 1921
Oil on canvas
29 7/8 x 20 5/8" (76 x 52.4 cm)
Museum of Modern Art, New York City



Composition with Large Blue Plane, Red, Black, Yellow, and Gray, 1921
Oil on canvas
60.5 x 50 cm (23 3/4 x 19 5/8 in)
Dallas Museum of Art



Composition with Blue, Yellow, Black, and Red, 1922
Oil on canvas
53 x 54 cm (20 7/8 x 21 1/4 in)
Staatsgalerie, Stuttgart



Tableau 2, with Yellow, Black, Blue, Red, and Gray, 1922
Oil on canvas
21 7/8 x 21 1/8 inches
Guggenheim Museum, New York City



Composition with Blue, Black, Yellow, and Red, 1922
Oil on canvas
39 cm x 34.7 cm
Harvard University Art Museums, Massachusetts



Lozenge Composition with Red, Black, Blue, and Yellow, 1925
Oil on canvas
77 x 77 cm (30 3/8 x 30 3/8 in.)
vertical axis 108 cm (42 1/2 in.)
Private collection



Fox Trot; Lozenge Composition with Three Black Lines, 1929
Oil on canvas
78.2 x 78.2 cm (30 3/4 x 30 3/4 in)
Vertical axis 110 cm (43 1/4 in)
Yale University Art Gallery



Composition nº III/Fox-trot B, with Black, Red, Blue, and Yellow, 1929
Oil on canvas
17 7/8 x 17 7/8 in. (45.4 x 45.4 cm)
Yale University Art Gallery, New Haven, Connecticut



Composition with Blue and Yellow, 1929
OIl on canvas
52 x 52 cm
Museum Boymans, Rotterdam. Holland




Composition with Yellow, 1930
Oil on canvas
46 x 46.5 cm (18 1/8 x 18 1/4 in)
Kunstsammlung Nordrhein-Westfalen, Duesseldorf



Composition with Double Line and Yellow, 1932
Oil on canvas
45.30 x 45.30 cm
National Galleries of Scotland, Edinburgh



Composition with Blue and Yellow (Composition Bleu-Jaune), 1935
Oil on canvas.
28 3/4 x 27 1/4 in. (73.0 x 69.6 cm.)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Rhythm of Black Lines, c. 1935/42
Oil on canvas
72.2 x 69.5 cm
Kunstsammlung Nordrhein-Westfalen, Dusseldorf



Composition blanc, rouge et jaune,1936
Oil on canvas
80 x 62.2 cm (31 1/2 x 24 1/2 in)
Los Angeles County Museum of Art



Vertical Composition with Blue and White, 1936
Oil on canvas
121.3 x 59 cm
Kunstsammlung Nordrhein-Westfalen, Dusseldorf



Composition No. 12 with Blue, 1936-1942
oil on canvas
62 x 60.3 cm
National Gallery of Canada, Ottawa



Composition with Yellow, Blue and Red, 1937-42
Oil on canvas
72.5 x 69 cm (28 1/2 x 27 1/8 in.)
Tate Gallery, London



Composition No. 8, 1939-42
Oil on canvas
75 x 68 cm (29 1/2 x 26 3/4 in)
Kimbell Art Museum, Fort Worth



Composition No. 10, 1939-1942
Oil on canvas
31 1/2 x 28 3/4 in. (80 x 73 cm)
Private collection



Trafalgar Square. 1939–43
Oil on canvas
57 1/4 x 47 1/4" (145.2 x 120 cm)
The Museum of Modern Art, New York City



New York City, 3 (unfinished), 1941
Oil on canvas
117 x 110 cm
Museo Thyssen-Bornemisza, Madrid



New York City, 1941-42
Oil on canvas
119 x 114 cm (46 7/8 x 44 7/8 in)
Musée National d'Art Moderne, Centre Georges Pompidou, Paris






Broadway Boogie Woogie, 1942-1943
Oil on canvas
50 x 50 in. (127 x 127 cm)
The Museum of Modern Art, New York

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Na obra "Composition with Blue and Yellow, 1929", o canto superior esquerdo de uma grelha assimétrica, pintada em amarelo simples, é elegantemente equilibrado por uma área mais pequena em azul. As linhas fortes a preto e os rectângulos a branco separam as duas cores primárias, criando uma composição harmoniosa. Esta obra, ilusoriamente simples, coloca as formas e as cores num perfeito equilíbrio. Mondrian, aparentemente, movia as cores pela grelha até que elas ficassem perfeitas, como se a natureza as tivesse colocado ali. A redução da forma a figuras puramente geométricas e a limitação da cor ao amarelo e ao azul sobre o branco e o preto são típicas de Mondrian. Em 1917, em conjunto com Van Doesburg, aplicou as suas ideias no movimento conhecido como De Stijl, que defendia o quadrado, o cubo e o ângulo recto como símbolos da natureza. Na última parte da sua vida, pouco antes do início da Segunda Guerra Mundial, Mondrian foi para Londres e depois para Nova Iorque, onde executou trabalhos influenciados pelos ritmos do jazz. Piet Mondrian nasceu em Amersfoort (HOL) em 1872 de morreu em Nova Iorque (EUA) em 1944.
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Piet Mondrian was born Pieter Cornelis Mondriaan, Jr., on March 7, 1872, in Amersfoort, the Netherlands. He studied at the Rijksakademie van Beeldende Kunsten, Amsterdam, from 1892 to 1897. Until 1908, when he began to take annual trips to Domburg in Zeeland, Mondrian’s work was naturalistic—incorporating successive influences of academic landscape and still-life painting, Dutch Impressionism [more], and Symbolism [more]. In 1909, a major exhibition of his work (with that of Jan Sluyters and Cornelis Spoor) was held at the Stedelijk Museum, Amsterdam, and that same year he joined the Theosophic Society. In 1909 and 1910, he experimented with Pointillism and by 1911 had begun to work in a Cubist mode. After seeing original Cubist works by Georges Braque and Pablo Picasso at the first Moderne Kunstkring exhibition in 1911 in Amsterdam, Mondrian decided to move to Paris. There, from 1912 to 1914, he began to develop an independent abstract style. Mondrian was visiting the Netherlands when World War I broke out and prevented his return to Paris. During the war years in Holland, he further reduced his colors and geometric shapes and formulated his non-objective Neo-Plastic style. In 1917, Mondrian became one of the founders of De Stijl [more]. This group, which included Theo van Doesburg, Bart van der Leck, and Georges Vantongerloo, extended its principles of abstraction and simplification beyond painting and sculpture to architecture and graphic and industrial design. Mondrian’s essays on abstract art were published in the periodical De Stijl. In July 1919, he returned to Paris; there he exhibited with De Stijl in 1923, but withdrew from the group after van Doesburg reintroduced diagonal elements into his work around 1925. In 1930, Mondrian showed with Cercle et Carré and in 1931 joined Abstraction-Création. World War II forced Mondrian to move to London in 1938 and then to settle in New York in October 1940. In New York, he joined American Abstract Artists and continued to publish texts on Neo-Plasticism. His late style evolved significantly in response to the city. In 1942, his first solo show took place at the Valentine Dudensing Gallery, New York. Mondrian died February 1, 1944, in New York.

Guggenheim Museum
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Dali, Salvador - Surrealismo

Quinta-feira, Março 08, 2007


Desnudo en un paisaje, 1922-1923
Oil on board
51.6 x 50.1 cm
Fondación Gala-Salvador Dalí



Composición satírica, 1923
Watercolor on board
138 x 105 cm
Museo Nacional Centro de Arte Reina Sofia. Madrid



Still Life, 1924
Oil on canvas
52 x 40 cm
Private collection



Muchacha en la ventana (la hermana del artista), 1925
Oil on board
105 x 74,5 cm
Reina Sofía National Museum, Madrid



Woman's Head, 1926
Oil on canvas
100 x 100 cm
Fundación Gala-Salvador Dalí



The Dream, 1926
Oil on canvas
100 x 100 cm.
Félix Labisse Collection, New York



Bird-Fish, 1926
Oil and sand on wood
61 x 49 cm
Private collection



Arlequín, 1927
il on canvas
196,5 x 150 cm
Reina Sofía National Museum, Madrid



Tres figuras, 1927
Oil on canvas
148 x 198 cm
Museo Nacional Centro de Arte Reina Sofia, Madrid



Oiseau (Bird), 1928
Oil, sand, pebbles and shingle on board
49.70 x 61.00 cm
National Galleries of Scotland, Edinburgh



The Accommodations of Desire, 1929
Oil and cut-and-pasted printed paper on cardboard
8 3/4 x 13 3/4 in. (22.2 x 34.9 cm)
Metropolitan Museum of Art, New York City



Illumined Pleasures, 1929
Oil and collage on composition board
9 3/8 x 13 3/4" (23.8 x 34.7 cm)
Museum of Modern Art, New York City



Vértigo, 1930
Oil on canvas
60 x 50 cm
Private collection



The Persistence of Memory, 1931
Oil on canvas
9 1/2 x 13" (24.1 x 33 cm)
Museum of Modern Art, New York City



Birth of Liquid Desires (La Naissance des désirs liquides), 1931–32
Oil and collage on canvas
96.1 x 112.3 cm
Guggenheim Museum, New York City



Retrospective Bust of a Woman, 1933 (some elements reconstructed 1970)
Painted porcelain, bread, corn, feathers, paint on paper, beads, ink stand, sand, and two pens
29 x 27 1/4 x 12 5/8" (73.9 x 69.2 x 32 cm)
Museum of Modern Art, New York City



The Little Theater, 1934
Wood and glass, painted
12 3/4 x 16 3/4 x 12 1/4" (32.3 x 42.5 x 31.1 cm)
Museum of Modern Art, New York City



Portrait of Gala, 1935
Oil on wood
12 3/4 x 10 1/2" (32.4 x 26.7 cm)
Museum of Modern Art, New York City



Femme à tête de roses, 1935
Oil on wood
35 x 27 cm
Kunsthaus Zurich



Le Signal de l'angoisse (The Signal of Anguish), 1936
Oil on wood
21.80 x 16.20 cm
National Galleries of Scotland, Edinburgh



Lobster telephone (Aphrodisiac telephone), 1936
Painted plaster, telephone
18.0 (h) x 30.5 (w) x 12.5 (d) cm
National Gallery of Australia, Canberra



Forgotten Horizon, 1936
Oil on wood
222 x 267 mm
Tate Gallery, London



Autumnal Cannibalism, 1936
Oil on canvas
651 x 651 mm
Tate Gallery, London



Perspectives (Prénomination des perspectives paranoïques par les structures molles), 1936/37
Oil on canvas
65 x 65.5 cm
Kunstmuseum Basel, Switzerland



Metamorphosis of Narcissus 1937
Métamorphose de Narcisse
Oil on canvas
511 x 781 mm
Tate Gallery, London



Aphrodisiac Telephone, 1938
Plastic, metal
8 1/4 x 12 1/4 x 6 1/2 in. (20.96 x 31.12 x 16.51 cm)
Minneapolis Institute of Arts, Minnesota



Mountain Lake 1938
Oil on canvas
730 x 921 mm
Tate Gallery, London



El momento sublime, 1938
Oil on canvas
38 x 47 cm
Staatsgallerie Stuttgart. Stuttgart



Apparition of Face and Fruit Dish on a Beach, 1938/39
Oil on canvas
45 x 56 5/8 in.
Wadsworth Atheneum Museum of Art, Connecticut



Honey is Sweeter than Blood, 1941
Oil on canvas
20 x 24" (50.8 x 60.9cm)
Santa Barbara Museum of Art, California



Dream Caused by the Flight of a Bee around a Pomegranate a Second before Waking up, 1944
Oil on panel
51 x 41 cm
Museo Thyssen-Bornemisza, Madrid



La tentation de saint Antoine, 1946
Oil on canvas
89,5 x 119,5
Royal Museums of Fine Arts of Belgium



Tête Raphaëlesque éclatée (Exploding Raphaelesque Head), 1951
Oil on canvas
43.20 x 33.10 cm (framed: 67.60 x 57.80 x 8.90 cm)
National Galleries of Scotland, Edinburgh



"Corpus hypercubicus", 1954
Oil on canvas
194.5 x 124 cm
The Metropolitan Museum of Art, New York City



Madonna, 1958
Oil on canvas
88 7/8 x 75 1/4 in. (225.7 x 191.1 cm)
Metropolitan Museum of Art, New York City



Rosa meditativa, 1958
Oil on canvas
36 x 28 cm
Arnold Grand Colecction. New York



Portrait of Juan de Pareja, the Assistant to Velázquez, 1960
Oil on canvas
29 1/4 x 34 3/4 in. (74.3 x 88.27 cm)
Minneapolis Institute of Arts, Minnesota



The Milky Way, 1964
Print colour etching
39.5 x 49.7cm platemark; 56.2 x 76.3cm sheet
Art Gallery of New South Wales, Sydney, Australia



Don Quichotte á la Gidoulle (étude), 1964
Mixed media
16¾" x 12¼"
Oglethorpe University Museum, Georgia



Untitled, 1969
Oil on canvas
57 x 44 cm
Private collection



King of Aragon, 1973
Intaglio print on paper
483 x 356 mm
Tate Gallery, London



Charles (Red) Grooms
Brooke Alexander and Marlborough Graphics, 1980
Three-dimensional color lithograph and screenprint on Arches Cover paper (white and black), Rives BFK Journal paper, Japanese paper, and vinyl, cut out, glued, and mounted on white painted backing board; framed and covered with a Plexiglas dome
26 1/4 x 27 1/2 x 13 in. (66.68 x 69.85 x 33.02 cm)
Minneapolis Institute of Arts, Minnesota



The Pearl, 1981
Oil on canvas
140 x 100 cm
Fundación Gala-Salvador Dalí



Olé, 1982
Oil on canvas
60 x 73 cm
Fundación Gala-Salvador Dalí



Cama, silla y mesita de noche atacando ferozmente a un violoncelo, 1983
Oil on canvas
Private collection

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Em "A persistência da Memória, 1931", três relógios derretidos, todos marcando horas diferentes, encontram-se na paisagem misteriosa de Lligat, no Nordeste de Espanha, onde Dali passou a sua infância. Dali afirmou que os relógios derretidos se inspiravam num queijo camembert, para o qual ele estava aolhar numa noite em que trabalhava sobre o quadro. A sua maleabilidade pode ter também um significado sexual, sobretudo no caso do relógio do centro, a cobrir a rocha que se transformou no rosto do autor. A obra reflecte o interesse de Dali pela ciência moderna, especialmente pela teoria da realatividade de Einstein, que tinha destruído as noções do tempo e do espaço. O seu estilo exprime perfeitamente a experiência perturbadora dos sonhos e a sua obra, abrangendo desde a pintura à escultura e aos filmes, foi inicialmente bem recebida pelos surrealistas. Sempre provocativo, Dali impregnou a sua obra de referências ao sexo e à violência, obcecado por tudo o que era proibido pela sociedade convencional. Dali nasceu em Figueras (ESP) em 1904 e morreu na mesma cidade em 1989.
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Salvador Dalí was born Salvador Felipe Jacinto Dalí y Domenech in the Catalan town of Figueras, Spain, on May 11, 1904. In 1921 he enrolled in the Real Academia de Bellas Artes de San Fernando in Madrid, where he became a friend of Federico García Lorca and Luis Buñuel. His first solo show was held in 1925 at the Galeries Dalmau in Barcelona. In 1926 Dalí was expelled from the Academia and the following year he visited Paris and met Pablo Picasso. He collaborated with Buñuel on the film Un Chien andalou in 1928. At the end of the year he returned to Paris and met Tristan Tzara and Paul Eluard. About this time Dalí produced his first Surrealist publications and illustrated the works of Surrealist writers and poets. His first solo show in the United States took place at the Julien Levy Gallery in New York in 1933.

Dalí was censured by the Surrealists in 1934. Toward the end of the decade he made several trips to Italy to study the art of the sixteenth and seventeenth centuries. In 1940 Dalí fled to the United States, where he worked on theatrical productions, wrote, illustrated books, and painted. A major retrospective of his work opened in 1941 at the Museum of Modern Art in New York and traveled throughout the United States. In 1942 Dalí published his autobiography and began exhibiting at M. Knoedler and Co. in New York. He returned to Europe in 1948, settling in Port Lligat, Spain. His first paintings with religious subjects date from 1948–49. In 1954 a Dalí retrospective was held at the Palazzo Pallavicini in Rome and in 1964 an important retrospective of his work was shown in Tokyo, Nagoya, and Kyoto. He continued painting, writing, and illustrating during the 1960s. The Salvador Dalí Museum in Cleveland was inaugurated in 1971, and the Dalinian Holographic Room opened at M. Knoedler and Co., New York, in 1973. In 1980 a major Dalí retrospective was held at the Musée National d’Art Moderne, Centre Georges Pompidou, in Paris, and his work was exhibited at the Tate Gallery, London. The artist died on January 23, 1989, in Figueras.

Guggenheim Collection - Dalí Biography
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Mapplethorpe, Robert - Fotografia

Terça-feira, Março 06, 2007


Leatherman II, 1970



Rosie, 1976
Gelatin-silver print
edition 8/10, 20 x 16 inches
Guggenheim Museum, New York



Philip Glass and Robert Wilson, 1976
gelatin silverprint
51 x 41 cm



Jesse McBride, 1976
Gelatin-silver print
edition 3/5, 20 x 16 inches
Guggenheim Museum, New York



Patti Smith, 1978
gelatin silverprint
51 x 41 cm



Joe, 1978



Brian Ridley and Lyle Heeter, 1979



Self-Portrait, 1980



Alistair Butler, 1980



William Burroughs, 1981
gelatin silverprint
51 x 41 cm



Ajitto, 1981



Louise Bourgeois, 1982



Derrick Cross, 1982



Phillip Prioleau, 1982



Orchid and Leaf in White Vase, 1982



Melia Marden, 1983
Gelatin-silver print
edition 7/10, 20 x 16 inches
Guggenheim Museum, New York



Ken Moody, 1983



Robert, 1983
Gelatin silver photograph
38.7 x 38.7cm
Art Gallery of New South Wales, Sydney, Australia



Phillip Prioleau, 1983



White Gauze, 1984
gelatin silverprint
51 x 41 cm



Flower, 1984



Calla Lily, 1984



Lindsay Key, 1985
Gelatin-silver print
edition 2/10, 20 x 16 inches
Guggenheim Museum, New York



Ken and Tyler, 1985
Platinum print
edition 2/3, 25 7/8 x 22 1/4 inches
Guggenheim Museum, New York



Raymond, 1985



Portrait of Cindy Sherman, 1985



Untitled #1, 1985
color photogravure and screenprint
University of South Florida Contemporary Art Museum



Charles, 1985



Self-Portrait, 1985



Louise Nevelson, 1986
gelatin silverprint
61 x 51 cm



Calla Lily, 1986
Gelatin-silver print
edition 10/10, 23 7/8 x 19 3/4 inches
Guggenheim Museum, New York



Self-Portrait, 1986



Thomas, 1987



Carleton, 1987
gelatin silver print; edition 1/10
19 1/4 x 19 1/4 inches
Kemper Museum of Contemporary Art, Kansas City, Missouri



Hyacinth, 1987
photogravure with silk colle
University of South Florida Contemporary Art Museum



Baby's Breath, 1987



Leaf, 1987



Irises, 1987
photogravure with silk colle
University of South Florida Contemporary Art Museum



Orchid, 1987
photogravure with silk colle
University of South Florida Contemporary Art Museum



Eva Amurri, 1988
Gelatin-silver print
edition 1/10, 23 3/4 x 19 7/8 inches
Guggenheim Museum, New York



Self-Portrait, 1988
Gelatin-silver print
artist’s proof 1/1, 26 5/8 x 22 1/2 inches
Guggenheim Museum, New York



Irises, 1988
gelatin silver print; edition 5/10
23 x 19 inches
Kemper Museum of Contemporary Art, Kansas City, Missouri



Poppy, 1988



Apollo, 1988



Tulip, 1988



Jack-in-the-pulpit, 1988



Orchid, 1989



Nathaniel, 1989



Orchid, 1989

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Em "Thomas, 1987", a luz cai sobre as curvas e a textura da pele de Thomas, em contraste com o vazio negra por detrás. Limitado por um círculo, ele torna-se foco de uma energia intensa e contida. As ftografias de Mapplethorne foram objecto de uma controvérsia sem precedentes. A sua obra é conflituosa, não apenas por apresentar frequentemente um conteúdo erótico homessexual e sado-masoquista, mas também por implicar o duplo papel do autor como observador e como participante. A controvérsia atingiu o auge em 1990, quando a polícia invadiu uma exposição póstuma em Cincinnati - o primeiro caso de um museu americano processado criminalmente por uma exposição. Em contraste com este tipo de trabalho, Mapplethorpe elaborou também retratos de sociedade, fotografias de moda e uma maravilhosa série de estudos de flores. No entanto, o tema que o trouxe para a ribalta foi o da identidade sexual que, apesar da emergência da SIDA e do movimento gay, poucos artistas têm tratado com a mesma intensidade. Robert Mapplathorne nasceu em Long Island, NY (EUA) em 1946 e morreu em Nova Iorque (EUA) em 1989.
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Robert Mapplethorpe was born in 1946, the third of six children. He remembered a very secure childhood on Long Island, which he summed up by saying, “I come from suburban America. It was a very safe environment, and it was a good place to come from in that it was a good place to leave.” He received a B.F.A. from Pratt Institute in Brooklyn, where he produced artwork in a variety of media. He had not taken any of his own photographs yet, but he was making art that incorporated many photographic images appropriated from other sources, including pages torn from magazines and books. This early interest reflected the importance of the photographic image in the culture and art of our time, including the work of such notable artists as Andy Warhol, whom Mapplethorpe greatly admired. Mapplethorpe took his first photographs soon thereafter, using a Polaroid camera. He did not consider himself a photographer, but wished to use his own photographic images in his paintings, rather than pictures from magazines. “I never liked photography,” he is quoted as saying, “Not for the sake of photography. I like the object. I like the photographs when you hold them in your hand.”His first Polaroids were self-portraits and the first of a series of portraits of his close friend, the singer-artist-poet Patti Smith. These early photographic works were generally shown in groups or elaborately presented in shaped and painted frames that were as significant to the finished piece as the photograph itself. The shift to photography as Mapplethorpe’s sole means of expression happened gradually during the mid-seventies. He acquired a large format press camera and began taking photographs of a wide circle of friends and acquaintances. These included artists, composers, socialites, pornographic film stars and members of the S & M underground. Some of these photographs were shocking for their content but exquisite in their technical mastery. Mapplethorpe told ARTnews in late 1988, “I don’t like that particular word ‘shocking.’ I’m looking for the unexpected. I’m looking for things I’ve never seen before…I was in a position to take those pictures. I felt an obligation to do them.” During the early 1980s, Mapplethorpe’s photographs began a shift toward a phase of refinement of subject and an emphasis on classical formal beauty. During this period he concentrated on statuesque male and female nudes, delicate flower still lifes, and formal portraits of artists and celebrities. He continued to challenge the definition of photography by introducing new techniques and formats to his oeuvre: color Polaroids, photogravure, platinum prints on paper and linen, Cibachomes and dye transfer color prints, as well as his earlier black-and-white gelatin silver prints. Mapplethorpe produced a consistent body of work that strove for balance and perfection and established him in the top rank of twentieth-century artists. In 1987 he established the Robert Mapplethorpe Foundation to promote photography, support museums that exhibit photographic art, and to fund medical research and finance projects in the fight against AIDS and HIV-related infection.
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Close, Chuck - Foto-Realismo

Sábado, Março 03, 2007


Big Self-Portrait, 1967-1968
Acrylic on canvas
Walker Art Center, Minnesota



Study for Self-Portrait, 1968
Gelatin-silver print, ink, pencil, and pressure-sensitive tape on board
18 5/8 x 13 3/8" (47.2 x 33.9 cm)
Museum of Modern Art, New York City



Nancy, 1968
Acrylic on canvas
Milwaukee Art Museum, Wisconsin



Frank, 1969
Acrylic on canvas
108 x 84 x 3 in. (274.3 x 213.4 x 7.6 cm)
Minneapolis Institute of Arts, Minnesota



Phil, 1969
Synthetic polymer
9 ft x 7 ft
Whitney Museum of American Art, New York



Bob, 1970
Synthetic polymer paint on canvas
275.0 (h) x 213.5 (w) cm
National Gallery of Australia, Canberra



John, 1971-1972
Acrylic on gessoed canvas
100 x 90 inches
Private collectiom



Keith/Mezzotint, 1972
Mezzotint, plate
44 11/16 x 35 5/16" (113.5 x 89.7 cm)
Museum of Modern Art, New York City



Robert (maquette), 1973
Black and white photographs with masking tape, airbrush, pen, ink, pencil and blue ballpoint pen mounted on foamcore
50 3/4 x 40" (128.9 x 101.6 cm)
Museum of Modern Art, New York City



Robert/104,072, 1973-74
Synthetic polymer paint and ink with graphite on gessoed canvas
9' x 7' (274.4 x 213.4 cm)
Museum of Modern Art, New York City



Portrait, 1976
Oil on canvas
Centre Georges Pompidou. París



Robert/Fingerprint, 1978
Graphite and stamp pad ink
Ackland Art Museum at the University of North Carolina



Phil II, 1982
Handmade paper
Avampato Discovery Museum, Charleston, West Virginia



Phil III, 1982
Cast paper pulp
68 x 52 1/2 in. (172.7 x 133.3 cm)
Smithsonian American Art Museum, Washington D.C.



Fanny/Fingerpainting, 1985
Oil on canvas
259.1 x 213.4 x 6.3 cm (102 x 84 x 2 1/2 in.)
National Gallery of Art, Washington D.C.



Leslie, 1986
Color woodcut
Art Gallery of the University of Rochester, New York



Lucas, 1986-87
Oil & pencil on canvas
Metropolitan Museum of Art, New York



Maquette for April, 1990
Polaroid Polacolor ER print with tape, ink, and paint, mounted to foamcore
20 x 24 in
J. Paul Getty Museum, Los Angeles



Kiki, 1993
Oil on canvas
Walker Art Center, Minnesota



Lorna I, 1996
Digital ink jet print on kozo paper, edition 2/10
38 1/2 x 31 7/16 inches
Kemper Museum of Contemporary Art, Kansas City, Missouri



Self-Portrait, 1997
Oil on canvas
8' 6" x 7' (259.1 x 213.4 cm)
Museum of Modern Art, New York City



Self-Portrait, 1997
Color instant print (Polaroid) mounted on foam-core with tape, ink, felt-tipped pen, graphite and oil paint on board
36 x 24" (91.2 x 61 cm)
Museum of Modern Art, New York City



Cindy, 1998
Oil on canvas
102 x 84 in.; 259.1 x 213.4 cm
Museum of Contemporary Art, Chicago



John, 1998
Silkscreen
5 1/2 by 4 1/2 feet
Virginia Museum of Fine Arts



Self-Portrait/Pulp/Pochoir, 2000
Paper pulp and pochoir
25 3/16 x 19 5/16" (64 x 49 cm)
Museum of Modern Art, New York City



Untitled Torso (K.W.), 2000
Two daguerreotypes (diptych)
each 8 x 6 1/8 in. (20.3 x 15.6 cm)
Yale University Art Gallery, New Haven, Connecticut



Self-Portrait/Scribble/Etching, 2001
Soft-ground etching on paper
Walker Art Center, Minnesota



Lyle, 2002
Color silkscreen
58 x 48 in.
Boise Art Museum. EEUU



Inka, 2003
Oil on canvas
102 x 84 inches

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Em "John, 1971-1972", apesar de tratar um tema banal, este grande quadro torna-se inquietante. De aparente fácil interpretação, uma observação mais atenta descobre variações de focagem e de escala que nos confundem. A névoa em torno das orelhas e dos ombros aproxima o rosto do observador. Com grande virtuosismo técnico, close copiou e amplou uma fotografia, reproduzindo exactamente as distorsões criadas pela câmara. Simultaneamente lugar-comum e excepcional, a imagem existe algures entre o trompe l'oeil - uma técnica de pintura que cria a ilusão de a figura ser tangível e tridimensional - e a reprodução fotográfica, que embora fiel à realidade, é limitada pela profundidade das lentes da câmara. Um artista hiper-realista de proa, close continuou a pintar retratos colossais. Na sua obra mais recente, a imagem é feita de pontos multicoloridos, de forma a que a nossa atenção flutue entre o padrão da superfície e a visão global do quadro, que só pode obter-se à distância. Chuck Close nasceu em Monroe, WA (EUA) em 1940.
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Chuck Close, born 1940, american painter and printmaker. He studied (1960–65) at the University of Washington, Seattle, at Yale University and at the Akademie der Bildenden Künste in Vienna. During this period he painted biomorphic abstract works, influenced by the avant-garde American art of the previous two decades. After a brief experiment with figurative constructions, he began copying black-and-white photographs of a female nude in colour on to canvas. After abandoning this approach he used a black-and-white palette, which resulted in the 6.7 m long Big Nude (1967–8; artist's col., see Lyons and Storr, p. 14). Finding this subject too ‘interesting', he turned to neutral, black-and-white head-and-shoulder photographs as models, which he again reproduced in large scale on canvas, as in Self-portrait (1968; Minneapolis, MN, Walker A. Cent.). He incorporated every detail of the photograph and allowed himself no interpretative freedom. Working from photographs enabled him to realize the variations in focus due to changing depth of field, something impossible when working from life. He continued in the black-and-white style until 1970, when he began to use colour again. With a similarly limited range of model photographs, he experimented with various types of colour marking. The pencil and ink Robert/104,072 (1973–4; New York, MOMA), for example, is made from 104,072 separate colour squares. Other techniques included the use of fingerprint marks and pulp paper fragments. This concern with modes of representation links him to conceptual art as well as, more obviously, to Photorealism. For the colour paintings such as Linda (1975–6; Akron, OH, A. Mus.) he used acrylic, ink and watercolour among other media, and built the works up using only cyan, magenta and yellow, thus imitating mechanical reproduction techniques. Close also made occasional prints, such as the mezzotint Keith/Mezzotint (1972; see Lyons and Storr, p. 162). In the 1980s he worked with handmade papers and also produced images pieced together from huge polaroid photographs, such as Bertrand II (1984; artist's col., see Lyons and Storr, pp. 156–7).

Article provided by Grove Art Online www.groveart.com
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Magritte, René - Surrealismo

Quinta-feira, Março 01, 2007


Dangerous Liaisons, 1926
Oil on canvas
72 x 64 cm
Private collection.



The Difficult Crossing, 1926
Oil on canvas
Jean Krebs Collection, Brussels



The Forest, 1926
Oil on canvas
Musée de l'art wallon, Liège



The Menaced Assassin. 1927
Oil on canvas
59 1/4 x 6' 4 7/8" (150.4 x 195.2 cm)
Museum of Modern Art, New York City



The Empty Mask, 1928
Oil on canvas
81.2 x 116.2 cm
National Museums and Galleries of Wales



Attempting the Impossible, 1928
Oil on canvas
105.6 x 81 cm
Private collection



The False Mirror, 1928
Oil on canvas
21 1/4 x 31 7/8" (54 x 80.9 cm)
Museum of Modern Art, New York City



The Reckless Sleeper, 1928
Le Dormeur téméraire
Oil on canvas
support: 1160 x 810 x 20 mm
Tate Gallery, London



The Lovers, 1928
Oil on canvas
21 3/8 x 28 7/8" (54 x 73.4 cm)
Museum of Modern Art, New York City



Man with a Newspaper, 1928
L'Homme au journal
Oil on canvas
frame: 1279 x 940 x 75 mm support: 1156 x 813 mm
Tate Gallery, London



The Palace of Curtains, III, Paris, 1928-29
Oil on canvas
32 x 45 7/8" (81.2 x 116.4 cm)
Museum of Modern Art, New York City



Le Miroir magique [The Magic Mirror], 1929
Oil on canvas
73.00 x 54.50 cm (framed: 91.80 x 73.00 x 7.00 cm)
National Galleries of Scotland, Edinburgh



Le Temps Menaçant (Threatening Weather), 1929
Oil on canvas
54.00 x 73.00 cm (framed: 94.30 x 73.00 x 10.20 cm)
National Galleries of Scotland, Edinburgh



The Annunciation, 1930
L'Annonciation
Oil on canvas
support: 1137 x 1459 mm frame: 1270 x 1586 x 70 mm
Tate Gallery, London



Voice of Space (La Voix des airs), 1931
Oil on canvas
72.7 x 54.2 cm
Guggenheim Museum, New York City



Les merveilles de la nature (The Wonders of Nature), 1932
Oil on canvas
30-1/2 x 38-5/8 in. (77.5 x 98.1 cm)
Museum of Contemporary Art, Chicago



La condition humaine, 1933
Oil on canvas
100 x 81 x 1.6 cm (39 3/8 x 31 7/8 x 5/8 in.)
National Gallery of Art, Washington D.C.



The Portrait, Brussels 1935
Oil on canvas
28 7/8 x 19 7/8" (73.3 x 50.2 cm).
Museum of Modern Art, New York City



The Red Model, 1935
Oil on canvas
74 x 50 cm



The Human Condition, 1935
Oil on canvas
Simon Spierer Collection, Geneva



La clef des champs, 1936
Oil on canvas
80 x 60 cm
Museo Thyssen-Bornemisza, Madrid



Le Drapeau noir [The Black Flag], 1937
Medium Oil on canvas
54.20 x 73.70 cm
National Galleries of Scotland, Edinburgh



La Représentation [Representation], 1937
Oil on canvas laid on plywood
48.80 x 44.50 cm (frame 54.00 x 49.20 cm)
National Galleries of Scotland, Edinburgh



The Spirit of Geometry, 1937
L'Esprit de géométrie
Gouache on paper
support: 375 x 292 mm frame: 555 x 455 x 33 mm
Tate Gallery, London



The Future of Statues 1937
L'Avenir des statues
Painted plaster
object: 330 x 165 x 203 mm relief
Tate Gallery, London



La Durée poignardée, 1938
Oil on canvas
57 3/8 x 38 1/8 inches (146 x 97 cm)
Art Institute of Chicago, Chicago



The Domain of Arnheim, 1938
Oil on canvas
28 5/8 x 39 1/4 inches (73 x 100 cm)
Public collection



Le baiser, 1938
Oil on canvas
60 x 74
Royal Museums of Fine Arts of Belgium



La Thérapeute, 1941
Gouache
18 5/8 x 12 1/4 inches (47.6 x 31.3 cm)
Public collection



The Companions of Fear, 1942
Oil on canvas
27 5/8 x 36 1/8 inches (70.4 x 92 cm)
Public collection



Lola de Valence, 1948
Gouache on white wove paper
18 1/8 x 14 7/8 in. (46.04 x 37.78 cm) (sheet)
Minneapolis Institute of Arts, Minnesota



The Empire of Light, II, 1950
Oil on canvas
31 x 39" (78.8 x 99.1 cm)
Museum of Modern Art, New York City



Perspective: Madame Récamier by David, 1951
Oil on canvas
60.5 x 80.5 cm
National Gallery of Canada, Ottawa



Gonconda, 1953
Oil on canvas
31 7/8 x 39 1/4 inches (81 x 100 cm)
Menil Collection, Houston, Texas



Empire of Light (L’Empire des lumières), 1953–54
Oil on canvas
195.4 x 131.2 cm
Guggenheim Museum, New York City



Le 16 Septembre (Tree with Cresent Moon), c.1955
Gouache
14 x 10 7/8 in. (35.56 x 27.62 cm) (sheet)
Minneapolis Institute of Arts, Minnesota



The Promenades of Euclid, 1955
Oil on canvas
64 1/8 x 51 1/8 in. (162.88 x 129.86 cm) (canvas)
Minneapolis Institute of Arts, Minnesota



Memory of a Voyage, 1955
Oil on canvas
63 7/8 x 51 1/4" (162.2 x 130.2 cm)
Museum of Modern Art, New York City



Le Chemin du Ciel, 1957
Oil on Canvas
50 cm x 60 cm
Tehran Museum of Contemporary Art, Iran



The Glass Key, 1959
Oil on canvas
50 7/8 x 63 3/4 inches (129.5 x 162 cm)
Menil Collection, Houston



Castle in the Pyrenees, 1959
Oil on canvas
200 x 140 cm
The Israel Museum. Jerusalen



Beautiful World, 1962
Oil on canvas
100 x 81 cm
Private collection



The Large Family, 1963
Oil on canvas
100 x 81 cm
Private collection



The Son of Man, 1964
Oil on canvas
116 x 89 cm

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Em "La condition humaine, 1933", um quadro de uma paisagem foi colocado num tripé, frente a uma janela. O tema é exactamente igual ao exterior, criando uma confusão entre a representação e o original. Através desta obra, Magritte questiona a distinção entre a ilusão e a realidade. O estilo meticuloso e frio, derivado do mundo da publicidade e da ilustração, acrescenta uma convicção próxima da de um documentário a esta estranha imagem, desafiando as nossas certezas visuais. O carácter ilusionístico e a atmosfera de sonho são próprios da sua versão individual do Surrealismo. Magritte tornou-se um dos líderes deste movimento depois de ter abandonado a Bélgica, em 1927, para se instalar em Paris, onde permaneceu durante três anos. As suas obras são frequentemente enigmáticas, jogando com a ambiguidade e a verdade visual. Acerca da sua própria obra, afirmou: «As pessoas que procuram significados simbólicos não conseguem captar a poesia e o mistério da imagem... As imagens têm de ser vistas tal como são.» René Magritte nasceu em Lessines (BEL) em 1898 e morreu em Bruxelas (BEL) em 1967.
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René François Ghislain Magritte was born on November 21, 1898, in Lessines, Belgium. He studied intermittently between 1916 and 1918 at the Académie Royale des Beaux-Arts in Brussels. Magritte first exhibited at the Centre d Art in Brussels in 1920. After completing military service in 1921, he worked briefly as a designer in a wallpaper factory. In 1923 he participated with Lyonel Feininger, El Lissitzky, László Moholy-Nagy, and the Belgian Paul Joostens in an exhibition at the Cercle Royal Artistique in Antwerp. In 1924 he collaborated with E. L. T. Mesens on the review Oesophage. In 1927 Magritte was given his first solo exhibition at the Galerie le Centaure in Brussels. Later that year the artist left Brussels to establish himself in Le Perreux-sur-Marne, near Paris, where he frequented the Surrealist circle, which included Jean Arp, André Breton, Salvador Dalí, Paul Eluard, and Joan Miró. In 1928 Magritte took part in the Exposition surréaliste at the Galerie Goemans in Paris. He returned to Belgium in 1930, and three years later was given a solo show at the Palais des Beaux-Arts in Brussels. Magritte's first solo exhibition in the United States took place at the Julien Levy Gallery in New York in 1936 and the first in England at the London Gallery in 1938. He was represented as well in the 1936 Fantastic Art, Dada [more], Surrealism exhibition at the Museum of Modern Art in New York. Throughout the 1940s Magritte showed frequently at the Galerie Dietrich in Brussels. During the following two decades he executed various mural commissions in Belgium. From 1953 he exhibited frequently at the galleries of Alexander Iolas in New York, Paris, and Geneva. Magritte retrospectives were held in 1954 at the Palais des Beaux-Arts in Brussels and in 1960 at the Museum for Contemporary Arts, Dallas, and the Museum of Fine Arts in Houston. On the occasion of his retrospective at the Museum of Modern Art in New York in 1965, Magritte traveled to the United States for the first time, and the following year he visited Israel. Magritte died on August 15, 1967, in Brussels, shortly after the opening of a major exhibition of his work at the Museum Boymans-van Beuningen in Rotterdam.
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