Quarta-feira, Abril 25, 2007
Figures in a Garden, circa 1936
Oil on canvas
740 x 940 mm
Tate Gallery, London
Figure in a Landscape, 1945
Oil on canvas
1448 x 1283 mm
Tate Gallery, London
Figure Study I, 1945/46
Oil on canvas
123.00 x 105.50 cm
National Galleries of Scotland, Edinburgh
Untitled, 1945-46
Oil on canvas
47.75 x 40.75 in.
Painting, 1946
Oil on canvas
198.1 x 132.1 cm (78 x 52 in)
The Museum of Modern Art, New York City
Head VI, 1949
Oil on canvas
93.2 x 76.5 cm (36 5/8 x 30 1/8 in)
Arts Council of Great Britain, London
Portrait of Lucian Freud, 1951
Oil on canvas
1983 x 1371 mm
Whitworth Art Gallery, Manchester, UK
Study for Crouching Nude, 1952
Oil and sand on canvas
198.1 x 137.2 cm (78 x 54 in)
The Detroit Institute of Arts
Study of a Dog, 1952
Oil on canvas
1981 x 1372 mm
Tate Gallery, London
Study After Velazquez's Portrait of Pope Innocent X, 1953
Oil on canvas
153 x 118.1 cm (60 1/4 x 46 1/2 in)
Des Moines Art Center, Iowa
Man with Dog, 1953
Oil on canvas
152.1 x 116.8 cm (59 7/8 x 46 in)
Albright-Knox Art Gallery, Buffalo
Study for Portrait II (after the Life Mask of William Blake), 1955
Oil on canvas
610 x 508 mm
Tate Gallery, London
Study for Chimpanzee, 1957
Oil and pastel on canvas
152.4 x 117 cm
Guggenheim Museum, New York City
Study for a Portrait of Van Gogh IV, 1957
Oil on canvas
1524 x 1168 mm
Tate Gallery, London
Reclining Man with Sculpture, 1960-1961
Oil on Canvas
142 cm x 165 cm
Tehran Museum of Contemporary Art, Iran
Reclining Woman, 1961
Oil on canvas
1988 x 1416 mm
Tate Gallery, London
Seated Figure, 1961
Oil on canvas
1651 x 1422 mm
Tate Gallery, London
Crucifixion - 1
Crucifixion - 2
Crucifixion - 3
Three Studies for a Crucifixion, 1962
Oil and sand on canvas
Three panels, each 198.1 x 144.8 cm (78 x 57 in
Guggenheim Museum, New York City
Study for Self Portrait, 1963
Oil on canvas
165.2 x 142.6 cm
National Museums and Galleries of Wales
Man and Child, 1963
Oil on canvas
198 x 147 cm
Louisiana Museum of Modern Art, Denmark
Self-portrait, 1964
Oil on canvas
Marlborough Art Gallery, London
Portrait of Henrietta Moraes on a Blue Couch, 1965
Oil on canvas
198 x 147 cm
Manchester City Art Gallery, UK
Portrait of Isabel Rawsthorne, 1966
Oil on canvas
813 x 686 mm
Tate Gallery, London
Portrait of George Dyer in a Mirror, 1968
Oil on canvas
198 x 147 cm
Museo Thyssen-Bornemisza, Madrid
Self-Portrait, 1971
Oil on canvas
35.5 x 30.5 cm (14 x 12 in)
Musée National d'Art Moderne, Centre Georges Pompidou, Paris
Lying Figure in Mirror, c. 1971
Oil on canvas
198.5 x 147.5 cm
Bilbao Fine Arts Museum, Spain
August 1972, 1
August 1972, 2
August 1972, 3
Triptych - August 1972, 1972
Oil on canvas
each: 1981 x 1473 mm
Tate Gallery, London
Study for the Human Body: Man turning on the light, 1974
Oil and acrylic on canvas
2030 x 1520 mm
Royal College of Art
Three Figures and Portrait, 1975
Oil and pastel on canvas
1981 x 1473 mm
Tate Gallery, London
Study for self-portrait, 1976
Oil and pastel on canvas
198.0 x 147.5 cm
Art Gallery of New South Wales, Sydney, Australia
Oedipus and the Sphinx After Ingres, 1983
Oil on canvas
198 x 147,5 cm
Figure in Movement, 1985
Oil on canvas
1980 x 1475 mm
Tate Gallery, London
Triptych 1944 - 1
Triptych 1944 - 2
Triptych 1944 - 3
Second Version of Triptych 1944, 1988
Oil on canvas
Three panels, each 198.1 x 147.3 cm (78 x 58 in)
Collection of the artist
Study for a Portrait March 1991, 1991
Oil and pastel on canvas
198.00 x 147.50 cm
National Galleries of Scotland, Edinburgh
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No "Triptych - August 1972, 1972", cada uma das três figuras masculinas está isolada numa sala, com as suas formas retorcidas e viscerais salientadas pelo preto da entrada ao fundo. Violentamente distorcidos e isolados, eles falam de horror, repulsa e solidão, temas que Bacon tratou durante toda a sua carreira. Nesta obra, Bacon apresenta o formato tradicional do retrato para produzir imagens simultaneamente brutais e belas. Os seus quadros representando jaulas, salas vazias e imagens deformadas de cães e de homens baseiam-se frequentemente em imagens reais - quadros dos mestres clássicos, planos de filmes ou fotografias de jornais - que ocupavam o chão e as paredes do seu esúdio. Pintor autoditacta, Bacon desafia as categorizações, apesar das suas fantadsias-pesadelo apresentarem algumas semelhanças com a obra dos expressionistas. É considerado como um dos mais importantes artistas britânicos do pós-guerra, com a sua visão única e chocante da forma humana. Francis Bacon nasceu em Dublin (IRL) em 1909 e morreu em Madrid (ESP) em 1992.
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Francis Bacon was born October 28, 1909, in Dublin. At the age of 16, he moved to London and subsequently lived for about two years in Berlin and Paris. Although Bacon never attended art school, he began to draw and work in watercolor about 1926–27. Pablo Picasso’s work decisively influenced his painting until the mid-1940s. Upon his return to London in 1929, he established himself as a furniture designer and interior designer. He began to use oils in the fall of that year and exhibited a few paintings as well as furniture and rugs in his studio. His work was included in a group exhibition in London at the Mayor Gallery in 1933. In 1934, the artist organized his own first solo show at Sunderland House, London, which he called Transition Gallery for the occasion. He participated in a group show at Thomas Agnew and Sons, London, in 1937. Bacon painted relatively little after his solo show and in the 1930s and early 1940s destroyed many of his works. He began to paint intensively again in 1944. His first major solo show took place at the Hanover Gallery, London, in 1949. From the mid-1940s to the 1950s, Bacon’s work reflected the influence of Surrealism [more]. In the 1950s, Bacon drew on such sources as Velázquez’s Portrait of Pope Innocent X (1649–50), Vincent van Gogh’s The Painter on the Road to Tarascon (1888), and Eadweard Muybridge’s photographs. His first solo exhibition outside England was held in 1953 at Durlacher Brothers, New York. In 1950–51 and 1952, the artist traveled to South Africa. He visited Italy in 1954 when his work was featured in the British Pavilion at the Venice Biennale. His first retrospective was held at the Institute of Contemporary Arts, London, in 1955. Bacon was given a solo show at the São Paulo Bienal in 1959. In 1962, the Tate Gallery, London, organized a Bacon retrospective, a modified version of which traveled to Mannheim, Turin, Zurich, and Amsterdam. Other important exhibitions of his work were held at the Solomon R. Guggenheim Museum, New York, in 1963 and the Grand Palais in Paris in 1971; paintings from 1968 to 1974 were exhibited at the Metropolitan Museum of Art, New York, in 1975. Retrospectives of his work were held at the Hirshhorn Museum and Sculpture Garden, Washington, D.C., Los Angeles County Museum of Art, and the Museum of Modern Art, New York, in 1989–90 and at the Musée National d’Art Moderne, Paris, in 1996. The artist died April 28, 1992, in Madrid.
Guggenheim Collection - Bacon Biography
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Terça-feira, Abril 24, 2007
Euphemia Lamb, 1908
Bronze
375 x 400 x 203 mm
Tate Gallery, London
Nan, 1909
Bronze
445 x 381 x 229 mm
Tate Gallery, London
Mrs Mary McEvoy, 1909
Bronze
419 x 394 x 229 mm
Tate Gallery, London
Rom (Head of Romilly John), 1910
Limestone
85.0 cm
National Museums and Galleries of Wales
Maternity, 1910/11
Hopton-wood stone
208 cm
Leeds City Art Gallery, Leeds, West Yorkshire, UK
Female Figure in Flenite, 1913
Serpentine
457 x 95 x 121 mm
Tate Gallery, London
The Rock Drill. 1913-14
Bronze
28 x 26" (71 x 66 cm) on wooden base
Museum of Modern Art, New York City
Torso in Metal from `The Rock Drill', 1913-14
Bronze
705 x 584 x 445 mm
Tate Gallery, London
Rock Drill, 1913-1916
Bronze on stone base
70.5 x 53 x 50.8 cm without base
National Gallery of Canada, Ottawa
Doves, 1914-15
Greek marble
648 x 787 x 343 mm
Tate Galerry, London
Portrait of Iris Beerbohm Tree, 1915
Bronze
348 x 290 x 228 mm
Tate Collection, London
Meum (Meum Lindsell-Stewart), 1916
Bronze
32.3 x 18.0 x 29.5cm; 5.2cm base [height]
Art Gallery of New South Wales, Sydney, Australia
Augustus John, 1916
Bronze
34.9 cm
National Museums and Galleries of Wales
The Risen Christ, 1917 - 1919
Bronze (unique cast)
218.50 x 54.50 x 56.00 cm
National Galleries of Scotland, Edinburgh
Head of Noneen (Head of a Girl), 1919
Bronze
37 cm
Ashmolean Museum, Oxford, UK
Jacob Kramer, 1921
Bronze with brown patina
height: 64cm
Ben Uri Gallery, The London Jewish Museum of Art
Bust of Joseph Conrad, 1924
Bronze
49.5 x 57.2cm
Museum of Canterbury, UK
Genesis, 1929/30
Seravezza marble
162 cm
Whitworth Art Gallery, Manchester, UK
Albert Einstein, 1933
Bronze
Fitzwilliam Museum PHAROS Website, Cambridge, UK
Consummatum Est, 1936 - 1937
Alabaster
61.00 x 223.50 x 81.00 cm
National Galleries of Scotland, Edinburgh
Jacob and the Angel, 1940/41
Alabaster
214 x 110 x 92cm
Tate Gallery, London
Bust of Dr Hewlett Johnson, 1942
Bronze
51 cm
Tate Gallery, London
The Rt Hon. Ernest Bevin, 1943
Bronze
260 x 216 x 248 mm
Tate Gallery, London
Ann Freud, 1949-50
Bronze
280 x 190 x 203 mm
Tate Gallery, London
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Em "Torso in Metal from `The Rock Drill', 1913-14", uma criatura meio humana, meio máquina, um ser híbrido pressagia as fantasias da ficção científica das décadas que se seguiram. Representando a fase mais experimental de Epstein, as arestas duras e dinâmicas desta escultura de bronze refletem o interesse generalizado dos artistas deste período pelas formas progressivas da nova idade da mecânica. Originalmente, esta peça fazia parte de uma construção robótica maior, que fora recebida com enorme escárnio em 1915, data da sua primeira exibição. O próprio Epstein perdeu a fé naquela obra e retirou todos os apêndices do torso, quando o exibiu novamente em 1916. Em 1912 conheceu Picasso, Brancusi e Modigliani. Seria este encontro - a par da descoberta da escultura antiga e primitiva do Museu do Louvre - que o inspiraria ao longo de toda a sua carreira. Em 1913, Epstein formou o breve movimento vanguardista Vorticismo, em conjunto com Gaudier-Brzeska. Nascido em Nova Iorque de pais russo-judaicos, Epstein é também conhecido pelos seus penetrantes e psicológicos retratos esculturais. Jacob Epstein nasceu en Nova Iorque (EUA) em 1880 e morreu em Londres (GB) em 1959.
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Jacob Epstein 1880-1959 - Jacob Epstein made his name as a sculptor of monuments and portraits, and as an occasional painter and illustrator. In his lifetime he championed many of the concepts central to modernist sculpture, including 'truth to material', direct carving, and inspiration from so-called primitive art, all of which became central to twentieth-century practice. Epstein was born on 10 November 1880 in New York, of Polish-Jewish parentage. He attended art classes at the Art Students League c.1896 and then went to night school c.1899 where he began sculpting under George Grey Bernard. On the proceeds of illustrating Hutchins Hapgood's The Spirit of the Ghetto (1902) he was able to go to Paris and spent six months at the -55cole des Beaux-Arts, and afterwards studied at the Acad-23mie Julian. Epstein settled in London in 1905 and became a British citizen in 1907. He met Picasso, Brancusi, Modigliani in Paris in 1912-13. He then returned to England and worked near Hastings from 1913 to 1916. Epstein became a founding member of the London Group in 1913, and that same year had his first solo show at the Twenty-One Gallery, Adelphi, London. Thereafter he exhibited mainly at the Leicester Galleries. After 1916 he lived and worked in London for the rest of his life. He briefly visited New York in 1927, to attend his one-man show at the Ferragil Gallery. The Arts Council honoured him with a retrospective exhibition at the Tate Gallery in 1953. He was knighted in 1954 and died in London on 19 August 1959.
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Quarta-feira, Abril 18, 2007
Naked figures, 2003
Óleo sobre tela
60x70 cm
Angel, 2003
Óleo sobre tela
60x60 cm
Sabinas abduct, 2004
Óleo sobre tela
150x100 cm
Milet relativist angelus, 2004
Óleo sobre tela
100x100 cm
Estudo de árvore, 2005
Óleo sobre tela
25x25 cm
Palácio, 2005
Óledo sobre tela
80x130 cm
Figuras renascentistas, 2005
Óleo sobre tela
95x160 cm
Bather I, 2006
Óleo sobre tela
90 x 125 cm
Bather II, 2006
Óleo sobre tela
90 x 125 cm
Xadrez, 2006
Óleo sobre tela
90 x 125 cm
Trompete, 2007
Óleo sobre tela
90 x 125 cm
Figura I, 2007
Colagem e guache s/papel
33 x 41 cm
Figura II, 2007
Colagem e guache s/papel
33 x 41 cm
Figura III, 2007
Colagem e guache s/papel
33 x 41 cm
Figura IV, 2007
Colagem e guache s/papel
33 x 41 cm
Figura V, 2007
Colagem e guache s/papel
33 x 41 cm
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Carruço nasceu em Lisboa em 1976. Segue uma vida académica mais ligada às Ciências Exactas, pelas quais é apaixonado, até decidir unir esta paixão à Arte, mais concretamente à pintura. Pintando sempre desde cedo, experimentando e arriscando como autodidacta, aceita encarar a pintura como actividade organizada por volta do ano 2002. Em 2003, frequenta o Curso de Gravura da Cooperativa de Gravadores Portugueses e frequenta o atelier do artista plástico António Sem. Em 2004, inscreve-se e concluí o curso de Técnicas de Pintura Renascentistas da Angel Academy of Arts de Florença. Actualmente frequenta um curso de escultura em pedra pelo Centro Internacional De Escultura. A sua produção artística espraia-se por diferentes estilos, que foram orientado na busca de uma voz original no mundo da Arte. Essa voz está a chegar com uma nova corrente que designou de sinuosismo, inspirada nos saberes científicos do espaço curvo, do movimento perpétuo e outras inspirações da área da física.
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Segunda-feira, Abril 16, 2007
Saturday Evening Post: Rockwell's first cover
1916
Leslie's
1917
Collier's
1919
Red Cross Magazine
1920
Fleischmann's Yeast "Bread and Ambition"
1920
Lime-Crush,
1921
Edison Mazda Lamps
1922
Grandpa's Little Ballerina, Saturday Evening Post Cover
1923
Daydreaming Bookkeeper, Saturday Evening Post Cover
1924
Love Song
1926
Posts' first full-color cover
1926
Sunset, Saturday Evening Post Cover
1926
Treasures,
1927
Ticonderoga, "You're a lucky lad..."
1929
The Silhouette
1931
Saturday Evening Post "Summer Time"
1933
Beechnut, "Worth Stopping For!"
1937
Preliminary study for "Freedom of Speech"
1942
Rosie the Riveter, Saturday Evening Post Cover
1943
Freedom From Fear
1943
Freedom of Speech
1943
Freedom to Worship
1943
Freedom from Want
1943
Wilbur the Jeep
1944
Christmas ads: Plymouth
1950
Dumont Television
1950
Saying Grace, 1951
Oil on canvas
Private collection
The Watchmakers of Switzerland
1953
Christmas ads: Sheaffer's
1955
Rock of Ages
1955
Swift's Baby Food
1956
Triple self-portrait
1960
Oil on canvas
113x88,3 cm
Norman Rockwell Museum. Stockbridge
The Golden Rule, 1961
Oil on canvas
Norman Rockwell Museum, Massachusetts
The Connoisseur - Saturday Evening Post Cover
1962
Astronauts
1967
National Air and Space Museum
Man on the Moon
1967
Smithsonian Institution, Washington DC
Spring Flowers
1969
Óleo sobre lienzo.
20,3 x 25,4 cm.
Norman Rockwell Museum. Stockbridge
Ben Franklin's Sesquicentennial,
Frank Sinatra
1973
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Rockwell nasceu em Nova Iorque em 1894. Ele sempre quis ser artista e, por esse motivo, quando tinha 14 anos entrou para a New York School of Art. Aos 16 anos ingressou na National Academy of Design e também entrou para a Art Students League. Ainda aos 16 anos, dono de talento reconhecido, se tornou diretor da revista Boys’ Life (a revista dos escoteiros norte-americanos). Aos 21 anos, mudou-se para New Rochelle em Nova Iorque e abriu um estúdio em parceria com o cartunista Clyde Forsythe. Aos 22 anos fez, pela primeira vez uma capa para a revista The Saturday Evening Post, publicação que era descrita por Rockwell como “a maior janela de exposição da América”. Durante os 47 anos a seguir desse período, Norman Rockwell pintou 321 capas para essa revista. Entre seus principais trabalhos estão várias gravuras em que interpretou leis endereçadas ao congresso pelo presidente Franklin Delano Roosevelt que tinham a liberdade como tema central. Para sua infelicidade (e a de todos os seus admiradores), nos anos 1960, um incêndio destruiu seu estúdio e queimou grande parte de seus trabalhos. Em 1977, quando já estava estabelecido em Stockbridge, no estado norte-americano de Massachusetts, Rockwell publicou sua autobiografia e, foi agraciado com a medalha presidencial da liberdade (a maior comenda nacional concedida a civis) em virtude de seus “vívidos e carinhosos retratos de seus país”. Morreu, em 1978, aos 84 anos de idade. Suas pinturas, retratos do cotidiano, continuam vivas na memória dos norte-americanos. Por isso, ainda é muito comum que imagens como aquelas que vemos acima, sejam encontrados em consultórios médicos, quartos de crianças ou mesmo na sala de estar de muitas famílias. A suavidade com que seus trabalhos demonstram o esforço do médico para cativar sua pequena paciente ou a normalidade da situação de um exame médico feito por uma criança são demonstrações de uma vida tranqüila e feliz. Por sua vez, a menina que se vê no espelho e se compara com uma artista de cinema numa revista, nos apresenta toda a inocência e doçura da infância e da pré-adolescência. Em todas elas se percebe a alma do povo americano. Em cada uma delas, se vê um pouco do cotidiano dos Estados Unidos até a década de 1970. No conjunto desse enorme acervo de imagens, entende-se por que os americanos continuam a admirar Norman Rockwell. Ninguém lhes falou tão fundo e com tanta simplicidade usando apenas pincéis...
João Luís Almeida Machado in Planeta Educação
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The pictures of NORMAN ROCKWELL (1894-1978) were recognized and loved by almost everybody in America. The cover of The Saturday Evening Post was his showcase for over forty years, giving him an audience larger than that of any other artist in history. Over the years he depicted there a unique collection of Americana, a series of vignettes of remarkable warmth and humor. In addition, he painted a great number of pictures for story illustrations, advertising campaigns, posters, calendars, and books. As his personal contribution during World War II, Rockwell painted the famous "Four Freedoms" posters, symbolizing for millions the war aims as described by President Franklin Roosevelt. One version of his "Freedom of Speech" painting is in the collection of the Metropolitan Museum of Art. Rockwell left high school to attend classes at the National Academy of Design and later studied under Thomas Fogarty and George Bridgman at the Art Students League in New York. His early illustrations were done for St. Nicholas magazine and other juvenille publications. He sold his first cover painting to the Post in 1916 and ended up doing over 300 more. Presidents Eisenhower, Kennedy, and Johnson sat for him for portraits, and he painted other world figures, including Nassar of Egypt and Nehru of India. In 1957 the United States Chamber of Commerce in Washington cited him as a Great Living American, saying that..."Through the magic of your talent, the folks next door - their gentle sorrows, their modest joys - have enriched our own lives and given us new insight into our countrymen." The Norman Rockwell Museum in Stockbridge, Massachusetts has established a large collection of his paintings, and has preserved Rockwell's last studio as well.
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Sábado, Abril 14, 2007
Sex / Lure, 1979
Black & white photo with acrylic frame
h: 30 x w: 40 in / h: 76.2 x w: 101.6 cm
Untitled (Not Perfect), 1980
Photograph, tape, and paint, mounted on paper board
60 x 40 inches
Guggenheim Museum, New York City
Untitled (You Construct Intricate Rituals), 1981
Photograph, gelatin silver print
101.6 x 127.32 cm (40 x 50 1/8 in.)
Museum of Fine Arts, Boston
Untitled (Your comfort is my silence), 1981
Photo work, unique piece
56 x 40 inches
Daros Exhibitions, Zurich, Switzerland
Untitled (You Invest in the Divinity of the Masterpiece), 1982
Photostat
71 3/4 x 45 5/8" (182.2 x 115.8 cm)
Museum of Modern Art, New York City
Untitled (You are not yourself), 1982
Black-and-white photograph
72 X 48 in. (182.9 X 121.9 cm)
Armand Hammer Museum of Art at UCLA, California
Untitled (We construct the chorus of missing persons), 1982
Gelatin silver prints and artist's frame
121-7/8 x 72-7/8 x 2 in. (309.6 x 185.1 x 5.1 cm)
Museum of Contemporary Art, Chicago
You Are The Perfect Crime, 1984
Black-and-white photograph
126 x 247 cm
Fonds Regional d'Art Contemporain (FRAC) Bourgogne, Dijon, France
Untitled (And), from the Untitled Portfolio, 1985
Photo-offset lithograph and serigraph on paper
20 1/2 x 20 1/2 in. (52.0 x 52.0 cm)
Smithsonian American Art Museum, Washington D.C.
Untitled (Be), from the Untitled Portfolio, 1985
Photo-offset lithograph and serigraph on paper
20 1/2 x 20 1/2 in. (52.0 x 52.0 cm)
Smithsonian American Art Museum, Washington D.C.
Untitled (Heard), from the Untitled Portfolio, 1985
Photo-offset lithograph and serigraph on paper
20 1/2 x 20 1/2 in. (52.0 x 52.0 cm)
Smithsonian American Art Museum, Washington D.C.
Untitled (Longer), from the Untitled Portfolio, 1985
Photo-offset lithograph and serigraph on paper
20 1/2 x 20 1/2 in. (52.0 x 52.0 cm)
Smithsonian American Art Museum, Washington D.C.
Untitled (No), from the Untitled Portfolio, 1985
Photo-offset lithograph and serigraph on paper
20 1/2 x 20 1/2 in. (52.0 x 52.0 cm)
Smithsonian American Art Museum, Washington D.C.
Untitled (Not), from the Untitled Portfolio, 1985
Photo-offset lithograph and serigraph on paper
20 1/2 x 20 1/2 in. (52.0 x 52.0 cm)
Smithsonian American Art Museum, Washington D.C.
Untitled (Seen), from the Untitled Portfolio, 1985
Photo-offset lithograph and serigraph on paper
20 1/2 x 20 1/2 in. (52.0 x 52.0 cm)
Smithsonian American Art Museum, Washington D.C.
Untitled (We), from the Untitled Portfolio, 1985
Photo-offset lithograph and serigraph on paper
20 1/2 x 20 1/2 in. (52.0 x 52.0 cm)
Smithsonian American Art Museum, Washington D.C.
Untitled (Will), from the Untitled Portfolio, 1985
Photo-offset lithograph and serigraph on paper
20 1/2 x 20 1/2 in. (52.0 x 52.0 cm)
Smithsonian American Art Museum, Washington D.C.
Repeat after me, 1985-94
Silkscreen on vinyl
h: 250 x w: 250 cm / h: 98.4 x w: 98.4 in
Untitled (I shop therefore I am), 1987
Photographic silkscreen/vinyl
111" by 113"
Untitled, We are not what we seem, 1988
Photographic silkscreen/vinyl
278,1x243,8 cm
Private collection
Knowledge is Power, 1989
Two-color aluminum plate lithograph
36” x 35 ½”
Wake Forest University Fine Arts Gallery, Winston-Salem, North Carolina
Untitled (your body is a battleground), 1989
Photographic silkscreen on vinyl
112 x 112 inches
Broad Art Foundation
Who Salutes Longest?, 1989
Photoengraving on magnesium in artist designed frame
25.5" x 21.5"
I shop therefore I am, 1990
Photolithograph on paper shopping bag, composition
12 3/8 x 9 13/16" (31.5 x 25 cm)
The Museum of Modern Art, New York City
Untitled (You can't drag your money into the grave with you), 1990
Photographic silkscreen/vinyl
109" x 153"
Untitled (It's a small world but not if you have to clean it), 1990
Photographic silkscreen on vinyl
143 x 103 in. (363.2 x 261.6 cm)
The Museum of Contemporary Art, Los Angeles
Untitled (It's our pleasure to disgust you), 1991
Photographic silkscreen on vinyl
90 x 126 in. (228.6 x 320 cm)
The Museum of Contemporary Art, Los Angeles
"Barbara Kruger" Installation, 1991
Mary Boone Gallery
Rage + Women = Power, cover for Ms. magazine. January/February 1992
Photolithograph, composition and sheet
10 3/4 x 8 3/8" (27.4 x 21.3 cm)
The Museum of Modern Art, New York City
Untitled (Not cruel enough), 1997
Photographic silkscreen on vinyl
109 x 109 in. (276.9 x 276.9 cm)
The Museum of Contemporary Art, Los Angeles
Super rich/Ultra gorgeous/ Extra skinny/ Forever young, 1997
Photographic silkscreen/vinyl
213.36 x 236.22 cm, 84 x 93 in
.jpg)
Untitled”(Failing Upward, 2000/2004
photograph
30” by 21”
Untitled (Seeing through you), 2004
Photolithograph, composition and sheet
h: 60 x w: 72 in / h: 152.4 x w: 182.9 cm
Untitled (Taste), 2005
Photograph
20 x 12 inches
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No trabalho "Untitled, We are not what we seem, 1988", de grandes dimensões, vista isoladamente, a secção do lado esquerdo desta obra assemelha-se a um retrato de uma modelo elegante dos anos 50. à medida que olhamos para a direita, somos surpreendidos pela imagem constratante da mesma mulher a inserir uma enorme lente de contacto no olho. A princípio, as palavras inseridas a intervalos iguais no centro da composição distraem a nossa atenção. A simples justaposição das palavras e da imagem lembra o design comercial, reflectindo o passado de Kruger como directora artística de uma revista feminina. Através da técnica da montagem, ela corta ou amplia imagens encontradas, que são sobrecarregadas de afirmações atacando a opressão, a hipocrisia e a estrutura do poder pela qual os homens assumem o controlo, Kruger exerceu forte influência sobre a arte e a teoria feministas. Ao trabalhar na "arena públuca" - placares, T-shirts e livros - e ao utilizar um estilo familiar, Kryger garante a fácil acessibilidade das suas mensagens, aumentando a sua eficácia como comentadora social e agitadora política. Barbara Kruger nasceu em Newark, NJ (EUA) em 1945.
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Barbara Kruger was born on January 26, 1945, in Newark, New Jersey. She spent a year at Syracuse University in 1964 and a semester at Parsons School of Design in New York in 1965, where she studied with Diane Arbus and graphic designer Marvin Israel. In 1966, she took a job with Condé Nast, working in the design department of Mademoiselle. She was named that magazine’s head designer a year later. For the next decade, Kruger supported herself doing graphic design for magazines, book jacket designs, and freelance picture editing. In the late 1960s, she also developed an interest in poetry, attending readings and writing. Kruger’s earliest artworks date to 1969. Large woven wall hangings of yarn, beads, sequins, feathers, and ribbons, they exemplify the feminist recuperation of craft during this period. Despite her inclusion in the Whitney Biennial in 1973 and solo exhibitions at Artists Space and Fischbach Gallery, both in New York, the following two years, she was dissatisfied with her output and its detachment from her growing social and political concerns. In the fall of 1976, Kruger abandoned art making and moved to Berkeley, California, where she taught at the University of California for four years and steeped herself in the writings of Walter Benjamin and Roland Barthes. She took up photography in 1977, producing a series of black-and-white details of architectural exteriors paired with her own textual ruminations on the lives of those living inside. Published as an artist’s book, Picture/Readings (1979) foreshadows the aesthetic vocabulary Kruger developed in her mature work. By 1979, Kruger stopped taking photographs and began to employ found images in her art, mostly from mid-century American print-media sources, with words collaged directly over them. Untitled (Perfect) (1980) portrays the torso of a woman, hands clasped in prayer, evoking the Virgin Mary, the embodiment of submissive femininity; the word “perfect” is emblazoned along the lower edge of the image. These early collages, in which Kruger deployed techniques she had perfected as a graphic designer, inaugurated the artist’s ongoing political, social, and especially feminist provocations and commentaries on religion, sexuality, racial and gender stereotypes, consumerism, corporate greed, and power. During the early 1980s, Kruger perfected a signature agitprop style, using cropped, large-scale, black-and-white photographic images juxtaposed with raucous, pithy, and often ironic aphorisms, printed in Futura Bold typeface against black, white, or deep red text bars. The inclusion of personal pronouns in works like Untitled (Your Gaze Hits the Side of My Face) (1981) and Untitled (I Shop Therefore I Am) (1987) implicates viewers by confounding any clear notion of who is speaking. These rigorously composed mature works function successfully on any scale. Their wide distribution—under the artist’s supervision—in the form of umbrellas, tote bags, postcards, mugs, T-shirts, posters, and so on, confuses the boundaries between art and commerce and calls attention to the role of the advertising in public debate. In recent years, Kruger has extended her aesthetic project, creating public installations of her work in galleries, museums, municipal buildings, train stations, and parks, as well as on buses and billboards around the world. Walls, floors, and ceilings are covered with images and texts, which engulf and even assault the viewer. Since the late 1990s, Kruger has incorporated sculpture into her ongoing critique of modern American culture. Justice (1997), in white-painted fiberglass, depicts J. Edgar Hoover and Roy Cohn—two right-wing public figures who hid their homosexuality—in partial drag, kissing one another. In this kitsch send-up of commemorative statuary, Kruger highlights the conspiracy of silence that enabled these two men to accrue social and political power. Major solo exhibitions of Kruger’s work have been organized by the Institute of Contemporary Arts in London (1983), Museum of Contemporary Art in Los Angeles (1999), and Palazzo delle Papesse Centro Arte Contemporanea in Siena (2002). She represented the United States at the Venice Biennale in 1982. Kruger lives and works in New York and Los Angeles.
Guggenheim Collection - Kruger Biography
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Segunda-feira, Abril 09, 2007
Étude vert, 1929
Mixed technique on canvas
39 x 29 cm
Private collection
Arlequin, 1935
Mixed technique on canvas
59 x 39 cm
Private collection
Étude-MC, 1936
Mixed technique on canvas
61 x 56 cm
Private collection
Tigers, 1938
Oil on canvas
82 x 122 cm
Private collection
Étude de mouvement, 1939
Mixed technique on canvas
58 x 63 cm
Private collection
Zebrák, 1939
Tempera on paper
57 x 61 cm
Vasarely Museum, Budapest, Hungary
Catch, 1945
Gouache on cardboard
45 x 33 cm
Private collection
Kerloo, 1947-57
Oil on canvas
108 x 100 cm
Private collection
Nives II, 1949-58
Oil on canvas
1949 x 1143 mm
Tate Gallery, London
Zèbres, 1950
Oil on canvas
92 x 116 cm
Private collection
Yapoura, 1951
Oil on canvas
162 x 130 cm
Private collection
Basilan II, 1951-1958
Acrylic
60 cm x 65 cm
Tehran Museum of Contemporary Art, Iran
Versant, 1952
Acrylic on canvas
150 x 190 cm
Vasarely Museum, Budapest, Hungary
166 Sirs-Kek, 1953
Oil on canvas
75 x 116 cm
Renault Collection
Tlinko 22, 1955
Oil on canvas
190 x 190 cm
Renault Collection
Boglar-Bleu, 1955-65
Collage
200 x 200 cm
J.P. & M. Vasarely Collection
Belatrix, 1957
Silkscreen
Taymir, 1958-59
Oil on canvas
164,8 x 133,1 x 4,5 cm
Museum Boijmans Van Beuningen, Rotterdam, Nederland
Supernovae, 1959-61
Oil on canvas
2419 x 1524 mm
Tate Gallery, London
Untitled, 1963
Screenprint on paper
220 x 144 mm
Tate Gallery, London
Untitled, 1963
Screenprint on paper
151 x 137 mm
Tate Gallery, London
Banya, 1964
Gouache on wood
597 x 597 mm
Tate Gallery, London
E.G., 1965
Acrylic on canvas
160 x 160 cm
Sabadell Bank Collection, Spain
Quasar-Fugue, 1966-1973
Oil on Canvas
150.5 cm x 150.5 cm
Tehran Museum of Contemporary Art, Iran
Yon, 1967-1969
Tempera on hardboard
59.1 x 59.2cm
Art Gallery of New South Wales, Sydney, Australia
Reytey-va, 1967-1969
Tempera on paper on plywood
78.9 x 78.9cm
Art Gallery of New South Wales, Sydney, Australia
Vonal SSZ, 1968
Oil on canvas
Centre Georges Pompidou, Paris, France
Hazay-A, 1968
Acrylic on canvas
170 x 110 cm
Private collection
Vega-Nor, 1969
Oil on canvas
78 3/4 x 78 3/4"
Albright-Knox Art Gallery, Buffalo, New York
Cheyt Pyr, 1970/71
Oil o canvas
Gaia VY-47, 1975
Serigraph
32 3/4 x 32 3/4 in
Homok, from the portfolio 5 Serigraphies, 1977
Serigraph
25 1/2 x 25 1/2 in
8-4, from the portfolio 5 Serigraphies, 1977
Serigraph
25 1/2 x 25 1/2 in
Relat-If, 1977
Acrylic on canvas
h: 180 x w: 180 cm
Boo, 1978
Acrylic on canvas
200 x 200 cm
Private collection
Inga, 1980-88
Acrylic on canvas
260 x 130 cm
André Vasarely Collection
Hyld, 1984-1986
Acrylic on canvas
h: 200 x w: 200 cm
Dyevat, 1987
Serigraph
40 x 40 in
Untitled, 1988
Silkscreen
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No quadro "Vega-Nor, 1969", um grande globo feito de figuras geométricas multicoloridas paira sobre uma imagem bidimensional do mesmo formato. O efeito visual imediato é a ilusão do espaço e da profundidade. Vasarely foi um fundador da Arte Op, movimento que se centrava nos efeitos ilusórios de linhas e formas manipuladas. Baseou o seu método nos princípios rígidos da influente escola alemã de arte Bauhaus, mas transformou o seu uso de contornos severos e extremidades rigorosas para produzir formas anónimas, geométricas e exactas que provocam ilusões de óptica. A sua arte é ferozmente anti-nostálgica e, tal como a obra dos futuristas da década de 20, celebra e abraça activamente a era da máquina e o progresso da tecnologia. Vasarely viu sempre a sua obra como desempenhando uma função social nas comunidades locais e a sua qualidade gráfica e ilustrativa é eficaz sob a forma de murais urbanos e estruturas arquitectónicas tridimensionais. Victor Vasarely nasceu em Pécs (HUN) em 1908 e morreu em Paris (FR) em 1997.
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Victor Vasarely was born on April 9, 1906, in Pécs, Hungary. In 1927, after studying medicine at Budapest University for two years, he left school to devote himself to art. In 1929 he enrolled at Mühely, a school founded by Alexandre Bortnyik and based on the principles of the Dessau Bauhaus. It was during this time that he first came into contact with Constructivism and Abstract Art. In 1930 he left Hungary and moved to Paris, where he started work as a graphic designer. During his first graphic period (1929-1946), Vasarely laid the foundations for his future artistic practice, experimenting with themes that he would later develop. Between 1935 and 1947 the artist rediscovered painting. Influenced by Cubism and Surrealism, he focused on portraiture, landscape, and still life. His works dating from the “Belle-Isle” period (1947-1958), so named because they were inspired by a visit to Belle-Isle, marked his passage into abstraction through the use of natural materials. The “Denfert” period (1951-1958) gave rise to strange designs inspired by the walls of the Denfert-Rochereau Métro station in Paris. Works from the “Cristal-Gordes” period (1948-1958) were characterized by a juxtaposition of contrasting, brightly colored shapes, while in his work from the “Black and White” period (1950-1965), Vasarely revisited his former graphic tendencies. In 1955 he exhibited with several other representatives of the Kinetic Art movement at the Denise René Gallery in Paris and the same year published his Manifeste Jaune. In 1965 he took part in Responsive Eye, an exhibition at The Museum of Modern Art, New York, dedicated to Optical Art. He continued to explore movement and perception, and in his so-called “Vonal” period (1964–1970) he went back to drawing, combining the linear and graphic themes of his “Black and White” period with a new exploration of color. His “Vega” period began in 1968, at which time he deformed the compositional elements in order to create the optical illusion of a bloated painting surface. In 1976 he founded the Vasarely Foundation in Aix-en-Provence, affirming his belief that art should be linked to its social context and environment. The artist died in Paris on March 15, 1997.
Peggy Guggenheim Collection - Vasarely Biography
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Sábado, Abril 07, 2007
Untitled, 1950s
Untitled, 1950s
Untitled, 1954
Untitled (Burlesque Series), 1954
Untitled (Burlesque Series), 1954
El Morocco, 1955
New Mexico, 1957
Las Vegas, 1957
Park Avenue, New York, 1959
Untitled [3 figures], 1960
Untitled, 1960
New York, 1961
New York, c. 1962
New York, 1963
Central Park Zoo, New York City, 1964
World's Fair, New York, 1964
Grand Central Station, New York, 1964
New York, 1964
Utah, 1964
Fort Worth, 1964
Texas Prison Rodeo, Huntsville, 1964
Dealey Plaza, Dallas, 1964
Dallas Love Field Airport, 1964
Los Angeles, 1964
American Legion Convention, Dallas, Texas, 1964
Salt Lake City Municipal Airport, Utah, 1964
Minneapolis, n.d.
New York City, 1965
Women are Beautiful, 1965/82
Women are Beautiful, 1965/82
Women are Beautiful, 1965/82
Women are Beautiful, 1965/82
Central Park Zoo, New York City, 1967
Los Angeles, California, 1969
Peace Demonstration, 1969
Peace Demonstration, Central Park, 1970
Statue of Liberty Ferry, New York, 1971
Fort Worth, 1974
Austin, Texas, 1974
Dog and Tree , n.d.
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Garry Winogrand fotógrafo americano nascido em Nova York no ano de 1928. Aos 19 anos já se encontrava estudando pintura e fotografia na Universidade de Columbia de sua cidade natal e em 1951 assistiu a exposições de fotoperiodismo de Alex Brodovitch na New School for Social Research e ficou impressionado pelo que era possível fazer com a fotografia. Anteriormente havia feito fotografias no período em que estava na força aérea de seu país entre os anos 1946 e 1947. Desde 1952 trabalhou como repórter da agência fotográfica Pix e Brackman Associados, publicando seu trabalho até 1969 em várias revistas como Colliers e Sports Illustrated, entre outras.
Recebeu influências de Walker Evans antes de iniciar uma viagem pelos Estados Unidos, financiado pela Guggenheim entre 1964 e 1965. Quatro anos mais tarde recebeu outra ajuda da Guggenheim, trabalhando em uma série sobre a influência que têm os meios nos acontecimentos diários, mostrando suas fotografias em 1977 no MOMA.
Seu ponto de vista estético, sua maneira de enquadrar – em ocasiões fazia sem mirar pelo visor - sua utilização do formato 24x35, o uso da grande angular, lhe colocaram entre um dos fotógrafos modernos mais radicais de sua geração. Foi um pioneiro e é considerado junto com Robert Frank e William Klein, um dos três fotógrafos seminais do pós-guerra. Garry Winogrand
Fonte
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Garry Winogrand, b. 1928 New York City, d. 1984 Tijuana, Mexico. Photographer. American. In 1948 a fellow student and photographer for Columbia University's student paper showed Garry Winogrand the darkroom, which was open twenty-four hours in the basement of the architecture building. Two weeks later, Winogrand abandoned painting for photography and "never looked back." Described as "an undisciplined mixture of energy, ego, curiosity, ignorance, and street-smart naiveté," the Bronx native photographed incessantly, mostly on the streets, working as a freelance photographer for a picture agency and eventually publishing journalistic images in numerous magazines throughout the fifties. Around 1960, after being shown a copy of Walker Evans's book American Photographs, Winogrand began to take a more artistic approach in his work. The first half of the decade, however, was a difficult time, including political disillusionment and the breakup of his first marriage. He persevered in his career and eventually published four books of photographs, including The Animals in 1969, images made in zoos, and Women Are Beautiful in 1975, candid shots of anonymous women on the street. Winogrand used a small-format, 35mm camera that enabled him to photograph quickly and freely, which he did to the extreme: at the time of his death in 1984, he left more than 2,500 undeveloped rolls of film.
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Terça-feira, Abril 03, 2007
Nedick's, 1970
Oil on canvas
121,9 x 167,6 cm
Museo Thyssen-Bornemisza, Madrid, Spain
People's Flowers, 1971
Oil on canvas
153 x 101,2 cm
Museo Thyssen-Bornemisza, Madrid, Spain
Circus Drive-In, 1971
Oil on canvas
43,2 x 61 cm
Hoffmann Collection, Chicago
Ten Doors, 1972
Color serigraph
14 1/2 x 21 3/8 in. (37.0 x 54.3 cm)
Smithsonian American Art Museum, Washington D.C.
Bus reflections, 1972
Oil on canvas
101,6 x 132,1cm,
Private collection
Urban Landscape 1, 1972
Oil on canvas
Museum of Fine Art, San Francisco
Façade, 1974
Oil on canvas
Private collection
Cafe Express, 1975
Oil on canvas
The Art Institute of Chicago
Central Savings, 1975
Oil on canvas
Nelson-Atkins Museum of Art, Kansas City, MO
Mayflower, 1994
Oil on canvas
101 x 138 cm
Lunch Specials, 2001
Oil on canvas
89 x 137 cm
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Será real ou será arte? As cenas de rua, cheias de palcares publicitários, celebram a cultura popular americana. O seu realismo espantoso surpreende-nos e encanta-nos. Estes não criou os temas - limitou-se a fotografá-los e depois reproduzi-los exactamente como apareciam na fotografia. O pintor quer retratar um mundo que é familiar a milhões de americanos. E foi assim que o quotidiano se transformou em arte. Richard Estes nasceu em Enanston (EUA) em 1936.
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"I think the popular concept of the artist is a person who has this great passion and enthusiasm and super emotion. He just throws himself into this great masterpiece and collapses from exhaustion when its finished. It’s really not that way at all. Usually it's a pretty calculated, sustained, and slow process by which you develop something. The effect can be one of spontaneity, but that’s part of the artistry. An actor can do a play on Broadway for three years. Every night he’s expressing the same emotion in exactly the same way. He has developed a technique to convey those feelings so that he can get the ideas across. Or a musician may not want to play that damn music at all, but he has a booking and has to do it. I think the real test is to plan something and be able to carry it out to the very end. Not that you’re always enthusiastic; it's just that you have to get this thing out. It's not done with one's emotions; it’s done with the head."
Richard Estes
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