Quarta-feira, Maio 30, 2007
Astoria, 1958
Enamel on canvas
8' 3/4" x 8' 3/4" (245.7 x 245.7 cm)
The Museum of Modern Art, New York City
Seward Park, 1958
Oil on canvas
215.5 x 278 cm
Kunstmuseum Basel, Switzerland
Pagosa Springs, 1960
Copper metallic (enamel?) and pencil on canvas
99 3/8 x 99 1/4 in. (252.3 x 252.1 cm.)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Fez (2), 1964
Fluorescent alkyd on canvas
6' 7 1/8" x 6' 7 1/8" (195.6 x 195.6 cm)
The Museum Of Modern Art, New York City
Empress of India, 1965
Metallic powder in polymer emulsion paint on canvas
6' 5" x 18' 8" (195.6 x 548.6 cm)
The Museum of Modern Art, New York City
Conway III, 1966
Fluorescent alkyd resin and epoxy paint on canvas
80-3/4 x 122-3/4 in. (205.1 x 311.8 cm)
Norton Simon Museum, Pasadena, California
Union I, 1966
Alkyd fluorescent and epoxy paints on canvas
104 1/2 x 173 3/4 x 4 1/8 in. (265.4 x 441.3 x 10.5 cm)
Detroit Institute of Arts, Michigan
Wolfeboro II, 1966
Fluorescent alkyd and epoxy on canvas
160 x 100 inches
Dayton Art Institute, Ohio
Harran II, 1967
Polymer and fluorescent polymer paint on canvas
120 x 240 inches
Guggenheim Museum, New York City
Marriage of Reason and Squalor, 1967
Lithograph
14 7/8 x 21 3/4 in
The Phillips Collection, Washington D.C.
Darabjerd III, 1967
Acrylic on canvas
120 1/8 x 180 1/4 in. (305.1 x 457.8 cm.)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Ctesiphon I, 1968
Polymer and polymer fluorescent paint on canvas
120 x 240 in. (304.8 x 609.6 cm)
The Museum of Contemporary Art, Los Angeles
Empress of India I, 1968
Color lithograph
11 1/8 x 32 3/8 in. (28.26 x 82.23 cm) (image) 16 1/8 x 35 3/8 in.
Minneapolis Institute of Arts, Minnesota
Gray Scramble (Single) VIII, 1968
Polymer and fluorescent polymer paint on canvas
175.2cm x 175.2cm x 7.5cm
Cleveland Museum of Art, Ohio
Tahkt-I-Sulayman Variation II, 1969
Acrylic on canvas
120 x 240 in. (304.8 x 609.6 cm)
Minneapolis Institute of Arts, Minnesota
The Metropolitan Museum of Art 1870-1970, 1970
Color offset lithograph poster
Fine Arts Museums of San Francisco
Raqqa II, 1970
Synthetic polymer and graphite on canvas
120 x 300 in. (304.8 x 762 cm)
North Carolina Museum of Art
Khurasan Gate variation II, 1970
Painting synthetic polymer paint on canvas
304.8 x 914.4 x 7.6cm stretcher
Art Gallery of New South Wales, Sydney, Australia
Flin Flon VI, 1970
Polymer and fluorescent polymer on canvas
Birmingham Museum of Art, Alabama
Michapol I (Polish Village Series), 1971
Mixed media on canvas
94 x 102 in. (238.8 x 259.1 cm)
The Museum of Contemporary Art, Los Angeles
Newfoundland Series, River of Ponds I, 1971
11-color lithograph
96.5 x 96.5 cm (38 x 38 in.)
The National Gallery of Art, Washington D.C.
Felsztyn I , 1971
Acrylic, felt and canvas on canvas
Max. h. 223 cm., max. w. 276 cm.
Princeton University Art Museum, New Jersey
Double Gray Scramble, 1973
Screenprint, composition
23 3/8 x 43 1/8" (59.4 x 109.5 cm); sheet: 29 x 50 3/4" (73 x 128.9 cm)
The Museum of Modern Art, New York City
Pilica II, 1973
Mixed media assemblage on wood
110 3/4 x 94 3/4 in
The Phillips Collection, Washington D.C.
Sunapee, 1974
14-color lithograph and screenprint
56.5 x 43.8 cm (22 1/4 x 17 1/4 in.)
The National Gallery of Art, Washington D.C.
Botafogo II, 1975
Paint on etched aluminum
84 x 121 in.
Corcoran Gallery of Art, Washington D.C.
Eskimo Curlew, 1976
Mixed media on aluminum
size (cm): 250(w) x 322(h) x 46(d)
size (inch): 97.5(w) x 125.625(h) x 18(d)
Portland Art Museum, Oregon
Sinjerli variation III, 1977
Print colour lithograph
81.1 x 107.3cm sheet
Art Gallery of New South Wales, Sydney, Australia
Sinjerli variation IV, 1977
Print colour lithograph
81.2 x 107.3cm sheet
Art Gallery of New South Wales, Sydney, Australia
Inaccessible Island Rail from the Exotic Bird Series, 1977
47 color lithograph/screenprint, edition 21/50
33 7/8 x 45 7/8 in. (86 x 116.5 cm)
The Museum of Contemporary Art, Los Angeles
Steller's Albatross, 1977
Color lithograph and serigraph on paper
32 15/16 x 44 15/16 in. (83.6 x 104.1 cm.)
Smithsonian American Art Museum, Washington D.C.
Sinjerli Variation Squared with Colored Ground II, from the series Sinjerli Variations Squared with Colored Grounds Series, 1980
Offset color lithograph and serigraph on paper
32 x 32 in. (81.3 x 81.3 cm)
Smithsonian American Art Museum, Washington D.C.
From Polar Co-ordinates for Ronnie Peterson (P07404-P07405; incomplete), I 1980
Screenprint and lithograph on paper
978 x 965 mm
Tate Gallery, London
From Polar Co-ordinates for Ronnie Peterson (P07404-P07405; incomplete), II 1980
Screenprint and lithograph on paper
978 x 965 mm
Tate Gallery, London
Jarama II, 1982
Mixed media on etched magnesium
319.9 x 253.9 x 62.8 cm (126 x 100 x 24 3/4 in.)
The National Gallery of Art, Washington D.C.
Stilfontein, 1982
Honeycomb aluminum
103 x 109 x 64 in. (261.6 x 276.9 x 162.6 cm)
The Museum of Contemporary Art, Los Angeles
Had Gadya: Back Cover, 1982-4
Lithograph, linocut, screenprint and hand colouring on paper
1450 x 1230 mm
Tate Gallery, London
Shards III, 1983
Mixed media on aluminum
136½ x 119 3/4 x 24½ in. 346.7 x 304.2 x 62.2 cm
Detroit Institute of Arts, Michigan
Pergusa Three from Circuits, 1983
Etching and woodcut
composition: 65 7/8 x 51 3/4" (167.4 x 131.5 cm); sheet: 68 x 52 1/4" (172.8 x 132.7 cm)
The Museum of Modern Art, New York City
Salta nel mio Sacco, 1984
Mixed media
3735 x 3250 x 390 mm
Tate Gallery, London
Quaqua! Attaccati La!, 1985
Oil, urethane enamel, flourescent alkyd, acrylic and printing ink on canvas, etched magnesium, aluminum and fiberglass
163 3/4 x 179 1/2 x 21 1/8 in. (415.9 x 455.9 x 53.6 cm.)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
The Spirit-Spout, 1988
Oil and enamel on aluminum, fiberglass, corrugated aluminum, wood, and metal fixtures
125 x 110 x 43 in. (317.5 x 279.4 x 109.22 cm)
Oklahoma City Art Museum, Oklahoma
Cetology (C29, 1X), 1990
Mixed media on aluminum and magnesium
60 x 82 x 32 inches
Kemper Museum of Contemporary Art, Kansas City, Missouri
The Prophet (D16, 2X), 1990
Mixed media on aluminum
161 1/2 x 109 3/4 x 68 inches
Kemper Museum of Contemporary Art, Kansas City, Missouri
Gattenom, 1996
Stainless steel
15 3/4 x 21 3/8 x 13 1/2 in. (40 x 54.3 x 34.3 cm) (without base)
Minneapolis Institute of Arts, Minnesota
Juam, 1997
Relief, etching, aquatint, lithograph, screenprint, woodcut and engraving on paper
2375 x 1545 mm
Tate Gallery, London
Roncador, 1998
Lithograph, screenprint, etching and relief on paper
542 x 554 mm
Tate Gallery, London
Iffish, 1998
Lithograph, screenprint, etching, aquatint, relief and engraving on paper
556 x 536 mm
Tate Gallery, London
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Na composição "Jarama II, 1982", curvas serpenteantes decoradas com padrões vistosos projectadas na parede. Sendo típico das obras de Stella dos anos 80, este relevo violentamente colorido obriga-nos a pensar no ponto em que um quadro se torna uma escultura ou uma forma curva e abstracta se torna uma cobra. Este brilhante quadro tridimensional está em contraste com as primeiras obras do autor nos anos 50 e 60, nas quais ele experimentou como poderia ser a pintura puramente abstracta e minimalista. Os resultados foram quadros monocromáticos cuja simetria total realçava a planura da tela. Importantes para o desenvolvimento do Minimalismo, estas obras foram seguidas por uma famosa série de telas grandes e com formas invulgares onde riscas monocromáticas imitavam a forma da tela. O que unifica as várias obras de Stella são as questões que ele levanta sobre a natureza da própria pintura e a sua tentativa de fazer com que esta deixe de ser uma alusão a uma realidade externa, fazendo do veradeiro objecto fisico o centro da sua atenção. Frank Stella nasceu em Malden, MA (EUA) em 1936.
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Frank Stella was born on May 12, 1936, in Malden, Massachusetts. After attending high school at Phillips Academy in Andover, Massachusetts, he went on to Princeton University, where he painted and majored in history. Early visits to New York art galleries would prove to be an influence upon his artistic development. Stella moved to New York in 1958 after his graduation. Stella’s art was recognized for its innovations before he was twenty-five. In 1959, several of his paintings were included in Three Young Americans at the Allen Memorial Art Museum at Oberlin College, as well as in Sixteen Americans at the Museum of Modern Art in New York (1959–60). Stella joined dealer Leo Castelli’s stable of artists in 1959. In his early series, including the Black Paintings (1958–60), Aluminum Paintings (1960), and Copper Paintings (1960–61), Stella cast aside illusionistic space for the physicality of the flat surface and deviated from the traditional rectangular-shaped canvas. Stella married Barbara Rose, later a well-known art critic, in 1961. Stella’s Irregular Polygon canvases (1965–67) and Protractor series (1967–71) further extended the concept of the shaped canvas. Stella began his extended engagement with printmaking in the mid-1960s, working first with master printer Kenneth Tyler at Gemini G.E.L. In 1967, Stella designed the set and costumes for Scramble, a dance piece by Merce Cunningham. The Museum of Modern Art in New York presented a retrospective of Stella’s work in 1970. During the following decade, Stella introduced relief into his art, which he came to call “maximalist” painting for its sculptural qualities. Ironically, the paintings that had brought him fame before 1960 had eliminated all such depth. After introducing wood and other materials in the Polish Village series (1970–73), created in high relief, he began to use aluminum as the primary support for his paintings. As the 1970s and 1980s progressed, these became more elaborate and exuberant. Indeed, his earlier Minimalism [more] became baroque, marked by curving forms, Day-Glo colors, and scrawled brushstrokes. Similarly, his prints of these decades combined various printmaking and drawing techniques. In 1973, he had a print studio installed in his New York house. From the mid-1980s to the mid-1990s, Stella created a large body of work that responded in a general way to Herman Melville’s Moby Dick. During this time, the increasingly deep relief of Stella’s paintings gave way to full three-dimensionality, with sculptural forms derived from cones, pillars, French curves, waves, and decorative architectural elements. To create these works, the artist used collages or maquettes that were then enlarged and re-created with the aid of assistants, industrial metal cutters, and digital technologies. In the 1990s, Stella began making free-standing sculpture for public spaces and developing architectural projects. In 1992–93, for example, he created the entire decorative scheme for Toronto’s Princess of Wales Theatre, which includes a 10,000-square-foot mural. His 1993 proposal for a kunsthalle and garden in Dresden did not come to fruition. His aluminum bandshell, inspired by a folding hat from Brazil, was built in downtown Miami in 1999. In 2001, a monumental Stella sculpture was installed outside the National Gallery of Art in Washington, D.C. Stella’s work was included in several important exhibitions that defined 1960s art, among them the Solomon R. Guggenheim Museum’s The Shaped Canvas (1964–65) and Systemic Painting (1966). His art has been the subject of several retrospectives in the United States, Europe, and Japan. Among the many honors he has received was an invitation from Harvard University to give the Charles Eliot Norton lectures in 1983–84. Calling for a rejuvenation of abstraction by achieving the depth of baroque painting, these six talks were published by Harvard University Press in 1986. The artist continues to live and work in New York.
Guggenheim Collection - Stella Biography
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Domingo, Maio 27, 2007
All my life I give you nothing and still you ask for more, 1970
Charcoal on paper, each panel
193 x 75 cm
Private collection
Postcard Sculpture 1974, 1974
Mixed media
support: 1270 x 947 mm frame: 1275 x 949 x 25 mm
Tate Gallery, London
Dark Shadow IV, 1974
211 x 153 cm
Private collection
Mental 12, 1976
122 x 102 cm
Private collection
Red Morning Trouble, 1977
Mixed media
displayed: 3025 x 2525 mm
Tate Gallery, London
Cunt Scum. 1977
Mixed media
unconfirmed: 2413 x 2007 mm
Tate Gallery, London
Crusade, 1980
16-part photopiece
242.00 x 202.00 cm
National Galleries of Scotland, Edinburgh
Exhausted, 1980
Sixteen-part photographic work (each part dyed and framed)
242.00 x 202.00 cm (assembled)
National Galleries of Scotland, Edinburgh
England, 1980
Mixed media
support: 3026 x 3026 mm
Tate Gallery, London
Happy, 1980
Mixed media
displayed: 2422 x 2014 mm
Tate Gallery, London
Autumn Faith, 1980
Four hand dyed photographs in artists' frames
h: 121 x w: 101 cm / h: 47.6 x w: 39.8 in
Aklis, 1980
181 x 250 cm
Private collection
Cabbage Worship, 1982
30 hand-colored gelatin silver prints
each 23 1/2 x 19 1/4 in. (59.7 x 48.9 cm)
overall 118 3/4 x 120 in. (302.0 x 305.0 cm)
North Carolina Museum of Art
Reaming, 1982
Photo-piece: ink transfer on paper (30 panels)
303.6 x 303.0cm overall
Art Gallery of New South Wales, Sydney, Australia
Winter Tongue Fuck, 1982
242 x 202 cm
Private collection
Deatho Knocko, 1982
Mixed media
displayed: 4235 x 4040 mm
Tate Gallery, London
Winter Pissing, 1983
Gelatin silver and chromogenic development prints
95 x 79 in. (242 x 201 cm)
Museum of Contemporary Art, Chicago
Dream, 1984
Photo-piece, 20 panels
95 1/2 x 99 1/16 inches overall
Guggenheim Museum, New York City
Death Hope Life Fear, 1984
Mixed media
object: 4220 x 2500 mm object: 4220 x 6520 mm object: 4220 x 2500 mm object: 4220 x 6520 mm
Tate Gallery, London
Here, 1987
Hand-dyed photographs, mounted and framed in 35 parts
119 x 139 in. (302.5 x 353.1 cm)
The Metropolitan Museum of Art, New York City
Dangling, 1991
Photopiece
226 x 190 cm
Art Fund for UK Museums
Thunbing, 1991
Mixed media
169x142 cm
Anthony d'Offay Gallery, London
City Fairies, 1991
one of the New Democratic Pictures
253 x 426 cm
Private collection
Bloody Mooning, 1996
Photograph
h: 133 x w: 233.6 in / h: 337.8 x w: 593.3 cm
Piss on Piss, 1996
Photographs
h: 83.9 x w: 133.1 in / h: 213.1 x w: 338.1 cm
Piss Mooning, 1996
C-print Unique
h: 226 x w: 191 cm / h: 89 x w: 75.2 in
Spit on piss, 1996
C-print Unique
h: 226 x w: 191 cm / h: 89 x w: 75.2 in
Shit and Piss, 1996
h: 89 x w: 175 in / h: 226.1 x w: 444.5 cm
Chichiman, 2004
Mixed Media
h: 111 x w: 132.3 in / h: 281.9 x w: 336 cm
Ethos, 2004
Mixed Media
h: 111 x w: 165.4 in / h: 281.9 x w: 420.1 cm
White Bastards, 2004
Mixed Media
h: 83.5 x w: 99.2 in / h: 212.1 x w: 252 cm
Names, 2005
Private Collection
Heterodoxy, 2005
318 x 453 cm
Private collection
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Em "Thunbing, 1991", duas figuras que se sucedem, vestidas de azul, vermelho e branco, parecem surgir numa janela. De ezpressão meia séria, meia de gozo, as duas figuras assumem uma pose deliberada de brincadeira. De polegar espetado sobre o nariz (gesto designado por thumbing em inglês), talvez revelem uma atitude de desafio e desprezo pelas regras da arte tradicional. Gilbert & George é a designação de autoria adoptada por dois artistas que vivem e trabalham juntos desde 1967. Como "esculturas" vivas de estilo próprio, eles retratam-se perante o público numa variedade de temas e materiais. O que quer que façam ou como quer que se utilizem, é sempre com humor e com um deliberado mau gosto subjacentes. Os seus trabalhos quase desafiam a categorização, embora as cores espalhafatosas das figuras em grande escala e o questionar da história da arte revelem afinidades com a Arte Pop. Gilbert and George (gilbert Proesch and George Pasmore) nasceram em Dolomites em 1943 (Gilbert) e Devon (GB) em 1942 (George).
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Gilbert was born Gilbert Proesch in 1943 in the Italian Dolomites. He studied at the Wolkenstein School of Art and Hallein School of Art, Austria and the Akademie der Kunst, Munich. George was born George Passmore in 1942 in Devon, England. He was schooled at the Dartington Adult Education Centre, Devon; Dartington Hall College of Art; and the Oxford School of Art. Gilbert and George met while students at the St. Martin’s School of Art, London in 1967, and have lived and worked together in London since 1968. Moving to the working-class neighborhood of Spitalfields in London, Gilbert and George revolted against art’s elitism, naming their house “Art for All” and declaring themselves “living sculptures.” Although their early work centered around Performance [more], the artists soon turned to video, photography, and drawing. As early as 1969, the artists were given an exhibition at the Stedelijk Museum, Amsterdam, and by 1972–73 were frequently showing with prestigious galleries like Anthony d’Offay Gallery, London, Sonnabend Gallery, New York, and Galerie Konrad Fischer, Düsseldorf. Their use of black-and-white photographic assemblages first surfaced in 1971 and by the late 1970s had developed into gridlike photo combinations. The duo was invited to participate in Documenta in Kassel in 1972, 1977, and 1982. In 1980, the Stedelijk Van Abbemuseum, Eindhoven, organized a mid-career retrospective of the artists’ work, which traveled to the Kunsthalle Düsseldorf, Kunsthalle Bern, Centre Georges Pompidou, Paris, and Whitechapel Art Gallery, London. In the first years of the 1980s, Gilbert and George added a range of bright colors to their photographs, emphasizing their slick, stylized, and cartoonlike appearance. The content of the work of this period centered around urban life and the hope and fear associated with modern society. In 1986, Gilbert and George were awarded the Turner Prize, and in 1987 had a major exhibition at the Hayward Gallery, London. In 1989, Gilbert and George exhibited 25 large pieces dealing with illness and destruction at Anthony d’Offay Gallery for an AIDS charity organization. The following year, the artists created The Cosmological Pictures, which toured ten different European museums from 1991 to 1993. Gilbert and George also exhibited in Moscow in 1990. In 1992, their largest production ever, New Democratic Pictures, was exhibited at Aarhus Kunstmuseum, Aarhus, Denmark. This was followed by a solo exhibition at the National Art Gallery, Beijing, and the Art Museum, Shanghai, in 1993. In 1994, the artists were given an exhibition at the Museo d’Arte Moderna, Lugano, Switzerland. Gilbert and George live in London.
Guggenheim Collection - Gilbert and George Biography
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Sexta-feira, Maio 25, 2007
Paisagens
Coimbra em Geometria e Cores, 1997
Óleo sobre tela
Coimbra em Geometria e Cores II, 1997
Óleo sobre tela
Coimbra, 1997
Óleo sobre tela
Coimbra em Azul, 1997
Óleo sobre tela
Saudade de Coimbra, 2003
Óleo sobre tela
60x50cm
Coimbra, 2004
Óleo sobre tela
Bragança, 2004
Óleo sobre tela
60x50cm
Coimbra, 2005
Óleo sobre tela
40x50cm
O Peer, Eastbourne, 2005
Óleo sobre tela
46cmx35cm
Coimbra (Outono), 2006
Óleo sobre tela
76x61 cm
Coimbra (dia frio), 2006
Óleo sobre tela
76 x61cm
Coimbra, 2006
Óleo sobre tela
50x40cm
Porto, 2006
Óleo sobre tela
45 x61cm
Porto-Impressão, 2007
Óleo sobre tela
76x51cm
Porto II, 2007
Óleo sobre tela
70 x50cm
Retratos
Tio António, 2003
Óleo sobre tela
60x50cm
Juliano F., 2004
Óleo sobre tela
Paco e Ingo, 2004
Óleo sobre tela
50x60cm
L. Ling, 2005
Óleo sobre tela
50x40cm
Mãe Joaquina, 2005
Óleo sobre tela
25X30cm
Francisco Andrade, 2006
Óleo sobre tela
60x50cm
Aníbal Andrade, 2006
Óleo sobre tela
50x60cm
João Andrade, 2006
Óleo sobre tela
76x61cm
Zé e Joana, 2007
Óleo sobre tela
35x48cm
Zé Luís, 2007
Óleo sobre tela
50X 61cm
Nus
Leda e o Cisne
Óleo sobre tela
61x76cm
Nú-esperando, 2003
Óleo sebre tela
Sonhando Acordada, 2005
Óleo sobre tela
76x61cm
As Três Graças, 2005
Óleo sobre tela
76x61cm
Acordar, 2006
Aguarela
31 X45cm
Danae, 2006
Óleo sobre tela
76x61cm
Mitologia e religião
A Senhora da Cadeira (Segundo Rafael), 2001
Óleo sobre tela
In Memoriam, 2003
Óleo sobre tela
110x160cm
Adão e Eva, 2005
Óleo sobre tela
O Julgamento de Paris, 2006
Óleo sobre tela
102x60cm
Perseu e Andrómeda, 2006
Óleo sobre tela
76x102cm
Apolo e Dafne, 2006
Óleo sobre tela
87x87cm
Orfeu chorando a morte de Euridice, 2006
Óleo sobre tela
76x61cm
Diversos
A corrida de cavalos, 2004
Óleo em tela
61x45cm
O carro de feno, 2006
Óleo sobre tela
50x40cm
Escultura
Torso feminino, 2006
Porcelana e óxido de cobre
Torso feminino, cerâmica (Blue stain /E3), 2007
20cm
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Rosario Andrade nasce em Carção, numa pequena aldeia do distrito de Bragança, em 1973. Aos onze anos de idade vai para Coimbra , onde permanece até completar a Licenciatura em Ciências Farmacêuticas, em 1999. Em 2000 inicia a actividade profissional em Castelo Branco, um ano depois muda-se para Londres e posteriormente vive e trabalha em Bruxelas. Finalmente, radica-se em Eastbourne, uma cidade do sul de Inglaterra. Inicia a actividade artística enquanto frequenta o curso de Farmácia, dividindo o tempo entre os laboratórios e o estúdio, entre os tubos de ensaio e os tubos de tinta. No início pinta naturezas mortas e paisagens incluindo Coimbra. Da frequência assídua do Museu do Louvre e mais tarde do National Gallery em Londres, desenvolve o gosto pela arte figurativa, pelo Classissismo e pelos grandes Mestres do Neo-Classissismo. Elege o Impressionismo como movimento artístico predilecto e o seu espírito experimental leva-a a combinar elementos do deste movimento com temas cássicos. Tendo como principais influências pintores como Cézanne, Modigliani, El Greco e outros, desenvolve-se autodidacticamente, copiando pacientemente os Grandes Mestres como treino, mas desenvolvendo ao mesmo tempo um estilo próprio em que as figuras muitas vezes se alongam e onde predominam azuis ricos e tons de terra. Nos retratos coloca as figuras em fundos ricos, muitas vezes idealizados, e contendo elementos simbólicos relativos ao retratado. Mais recentemente, inicia a produção de escultura figurative em cerâmica. Pintando mais por prazer do que por um sentido comercial, começa a expor por insistência das pessoas que desde cedo e avidamente vão adquirindo a sua pintura, tendo participado desde então em diversas exposições individuais e colectivas.
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Terça-feira, Maio 22, 2007
The Pyramids in the Sea, 1912
Ink and watercolour on paper
336 x 298 mTate Gallery, London
The Orchard - ?1914
Watercolour, ink and pencil on paper
575 x 482 mm
Tate Gallery, London
Beeches in the Wind, 1918
Pen ink and watercolour on paper
Height: 52.5 cm, Width: 40 cm
Aberdeen Art Gallery and Museums, Scotland
Behind the Inn, 1919-22
Oil on canvas
635 x 762 mm
Tate Gallery, London
Dymchurch - The Strange Coast, 1920
Lithographic crayon and ink on paper
Height: 31.3 cm, Width: 40.7 cm
Aberdeen Art Gallery and Museums, Scotland
Promenade II, 1920
Wood-engraving on paper
137 x 156 mm
Tate Gallery, LOndon
Palings, 1924-1925
Graphite, watercolour on paper
Height: 56.5 cm; Width: 38.8 cm
Courtauld Institute of Art, London, UK
Mimosa Wood, 1926
Oil on canvas
54.1 x 65.2cm
Art Gallery of New South Wales, Sydney, Australia
Beach, 1928
Oil on canvas
72.8 x 49.5 cm
National Museums and Galleries of Wales
Northern Adventure, 1929
Oil on canvas
Height: 92.7 cm, Width: 71.6 cm
Aberdeen Art Gallery and Museums, Scotland
Wood on the Downs, 1929
Oil on canvas
Height: 71.5 cm, Width: 92 cm
Aberdeen Art Gallery and Museums, Scotland
Landscape at Iden, 1929
Oil on canvas
698 x 908 mm
Tate Gallery, London
Kinetic Feature, 1931
Oil on canvas
660 x 508 mm
Tate Gallery, London
Whiteleaf Cross, 1931
Oil on canvas
54 x 76 cm
Whitworth Art Gallery
Mansions of the Dead, 1932
Pencil and watercolour on paper
578 x 394 mm
Tate Gallery, London
Harbour and Room, 1932-6
Oil on canvas
914 x 711 mm
Tate Gallery, London
Voyages of the Moon, 1934-7
Oil on canvas
711 x 540 mm
Tate Gallery, London
Landscape at Large, 1936
Paper collage, wood (pine) and shale on paper
470 x 578 x 43 mm
Tate Gallery, London
Landscape from a Dream - 1936-8
Oil on canvas
679 x 1016 mm
Tate Gallery, London
Only Egg, c. 1937
Mixed media
height 21.3 cm
Private Collection
Grotto in the Snow, 1939
Oil on canvas
718 x 489 mm
Tate Gallery, London
London: Winter Scene, No. 2, 1940
Pencil and watercolour on paper
289 x 394 mm
Tate Gallery, London
The Battle of Britian, 1940
Oil on canvas
Imperial War Museum, London
Bomber in the Corn, 1940
Pencil and watercolour on paper
394 x 578 mm
Tate Gallery, London
The Messerschmidt in Windsor Great Park, 1940
Pastel, pencil, and watercolour on paper
400 x 578 mm
Tate Gallery, London
Totes Meer (Dead Sea), 1940-1
Oil on canvas
1016 x 1524 mm
Tate Gallery, London
November Moon, 1942
Oil on canvas
Fitzwilliam Museum, Cambridge, UK
Sunflower and sun, 1942
Oil on canvas
51.1 x 76.5cm
Art Gallery of New South Wales, Sydney, Australia
Kimmerigian Ghost. The Turtle, 1942
Graphite, watercolour, wax-crayon on paper
Height: 40.1 cm; Width: 57.8 cm
Courtauld Institute of Art, London, UK
Landscape of the Brown Fungus, 1943
Oil on canvas
50.80 x 76.40 cm
National Galleries of Scotland, Edinburgh
Landscape of the Moon's last phase, 1943/44
Oil on canvas
63.5 x 75.8cm
National Museums Liverpool, UK
Wittenham Clumps, circa 1943-4
Oil and pencil on canvas
633 x 757 mm
Tate Gallery, London
Landscape of the Vernal Equinox (III), 1944
Oil on canvas
63.50 x 76.20 cm
National Galleries of Scotland, Edinburgh
Flight of the Magnolia, 1944
Oil on canvas
511 x 762 x 22 mm
Tate Gallery, London
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Em "Totes Meer (Dead Sea), 1940-1", uma imagem terrível de um vasto e estático mar de destroços metálicos é uma transformação imaginativa e visionária de uma série de fotografias tiradas pelo artista numa sucate de aviões alemães perto de Oxford. Asas, rodas e fuselagens são discerníveis nesta massa de peças de metal. Um luar sombrio envolve toda a cena e evoca uma estranha atmosfera de morte e destruição. Trata-se de um dos registos mais convincentes de Nash como artista oficial de guerra do Ministério do Ar durante a II Guerra Mundial, captando as tragédias e os triunfos daqueles anos amargamente vitoriosos. Embora influenciado pelo Surrealismo, Nash permaneceu essencialmente um artista de paisagens visionárias. O conteúdo dramático das suas obras é por vezes associado ao Neo-Romantismo, tendência com um estilo de pintura muito teatral e romântico. O seu trabalho inclui gravuras, ilustrações de livros, desenho industrial e fotografia. Paul Nash nasceu em Londres (GB) em 1889 e morreu em Boscombe em 1946.
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Paul Nash born May 11, 1889, London, England, died July 11, 1946, Boscombe, Hampshire - British painter, printmaker, illustrator, and photographer who achieved recognition for the war landscapes he painted during both world wars. Nash studied at the Slade School of Fine Art in London. In 1914 he enlisted in the Artists' Rifles to serve in World War I. Appointed an official war artist by the British government in 1917, he created scenes of war such as The Menin Road (1919), a shattered landscape painted in a semiabstract, Cubist-influenced style. After the war Nash lived in Kent, a county in southeastern England, where he painted seascapes and landscapes in cool yet vibrant colours. In the late 1920s he became interested in Italian artist Giorgio de Chirico's mysterious landscapes, and he subsequently experimented with Surrealist techniques as well as abstraction. In paintings such as Landscape at Iden (1929–30), Nash employed an exaggerated perspective common in Surrealist art, and his compositions became increasingly dreamlike and illogical, as in Harbour and Room (1932–36). He was largely responsible in 1933 for founding Unit One, a group of British artists—including abstract painter Ben Nicholson and the sculptors Barbara Hepworth and Henry Moore—who wanted to promote avant-garde art in England. Nash was one of the organizers of the International Surrealist Exhibition in London in 1936, and he also exhibited his work there. In 1940 Nash again served as an official war artist for England. One of his best-known paintings of World War II was Totes Meer (1940–41; “Dead Sea”), in which he depicted a field of wrecked warplanes as turbulent ocean waves. In his last paintings he turned to an imaginative poetic symbolism that included images of flowers and references to mythology and the seasons.
Encyclopedia Britannica
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Sexta-feira, Maio 18, 2007
Behind Gare St. Lazare, 1932
Gelatin silver print
24.7 x 15.8 cm
National Gallery of Canada, Ottawa
Hyères, France, 1932
Gelatin silver print
16.5 x 24.6 cm
National Gallery of Canada, Ottawa
Brussels, 1932
Gelatin silver print
15.9 x 24.1 cm
National Gallery of Canada, Ottawa
Taxi Drivers, Berlin, 1932
Printed on 11 x 14 inch paper
Barrio Chino, Barcelona, 1933
Gelatin silver print
13 5/8 x 9 1/4 in. (34.6 x 23.5 cm)
The Metropolitan Museum of Art, New York City
Valencia, Spain, 1933
Gelatin silver print
7 11/16 x 11 1/2 in. (19.6 x 29.2 cm)
The Metropolitan Museum of Art, New York City
Valencia, Spain, 1933
Gelatin silver print
16.3 x 24.2 cm
National Gallery of Canada, Ottawa
Cordova, Spain, 1933
Gelatin silver print
23.6 x 16.2 cm
National Gallery of Canada, Ottawa
Alicante, Spain, 1933
Gelatin silver print
16.6 x 24.5 cm
National Gallery of Canada, Ottawa
Madrid, Spain, 1933
Gelatin silver print
16.5 x 24.2 cm
National Gallery of Canada, Ottawa
Tivoli, Italy, 1933
Gelatin silver print
24.3 x 16.3 cm
National Gallery of Canada, Ottawa
Woman Asleep, Juahitan, Mexico, 1934
Gelatin silver print
16.3 x 23.7 cm
National Gallery of Canada, Ottawa
Mexico, 1934
Gelatin silver print
24.2 x 16.1 cm
National Gallery of Canada, Ottawa
Calle Cuauhtemocztin, Mexico, 1934
Gelatin silver print
Sleeping Woman, c. 1935
Gelatin silver print
21.2 x 23.1 cm sight
National Gallery of Canada, Ottawa
Sunday on the Banks of the Marne, 1938
Gelatin silver print
9 5/8 x 14 9/16 in. (24.5 x 37 cm)
The Metropolitan Museum of Art, New York City
Cardinal Pacelli, Paris, 1938
Gelatin silver print
18.9 x 24.4 cm
National Gallery of Canada, Ottawa
At the Coronation Parade of George VI, Trafalgar Square, London, 1938
Gelatin silver print
24.1 x 16.3 cm
National Gallery of Canada, Ottawa
At the Coronation Parade of George VI, Trafalgar Square, London, 1938
Ggelatin silver print
24.5 x 16.6 cm
National Gallery of Canada, Ottawa
Sunday on the Banks of the Marne, 1939
Gelatin silver print
16.5 x 24.5 cm
National Gallery of Canada, Ottawa
Braque, Paris, 1944
Gelatin silver print
17.1 x 24.2 cm
National Gallery of Canada, Ottawa
Matisse in his Studio, Vence, 1944
Gelatin silver print
24.5 x 15.7 cm
National Gallery of Canada, Ottawa
Picasso, Bedroom, 1944
Gelatin silver print
16.4 x 24.3 cm
National Gallery of Canada, Ottawa
Dessau, Germany, 1945
Gelatin silver print
16.3 x 24.7 cm
National Gallery of Canada, Ottawa
Stool-pigeon, Dessau, 1945
Gelatin silver print
16.5 x 24.4 cm
National Gallery of Canada, Ottawa
Russian Child, Halle, Germany, 1945
Gelatin silver print
16.8 x 24.2 cm
National Gallery of Canada, Ottawa
Jean-Paul Sartre, Paris, 1945
Gelatin silver print
24.1 x 16.5 cm
National Gallery of Canada, Ottawa
Beaumont Newhall, 1946
Gelatin silver photograph
14 x 9 1/4
Museum of Fine Arts, Santa Fe, New Mexico
Down Town, New York, 1947
Gelatin silver photograph
Cape Cod, Massachusetts, 1947
Gelatin silver print
35.4 x 24 cm
National Gallery of Canada, Ottawa
Arizona, 1947
Printed on 11 x 14 inch paper
Taos, New Mexico, USA, 1947
Printed on 11 x 14 inch paper
Pavement School, Jaipur, India, 1948
Gelatin silver print
13 7/16 x 8 7/8 in. (34.2 x 22.6 cm)
The Metropolitan Museum of Art, New York City
Srinagar, Kashmir, 1948
Gelatin silver print
Shanghai, 1948
Gelatin silver print
9 13/16 x 14 9/16 in. (25 x 37 cm)
The Metropolitan Museum of Art, New York City
Untitled (Group of Workers), c. 1950s
Gelatin silver print
25.1 x 16.8 x cm.
Smart Museum of Art at the University of Chicago
Untitled (Two Children on Edge of a Barge and Plank with a River and Factory in the Background), c. 1950s
Gelatin silver print
24.8 x 16.8 x cm.
Smart Museum of Art at the University of Chicago
Ile de la Cité, 1952
Printed on 11 x 14 inch paper
Untitled (Woman Seated on Bench in Moscow Subway Station), c. 1954
Gelatin silver print
16.8 x 25.1 x cm.
Smart Museum of Art at the University of Chicago
Le Lac des signes, théâtre Bolshoi, Moscou, 1954
Gelatin silver print
Rue Mouffetard, 1954
Gelatin silver print
Lisbonne, Portugal, 1955
Gelatin silver print
Bal de la reine Charlotte, Londres, 1959
Gelatin silver print
M, 1967
Gelatin silver print
Brie, France, Juin 1968
Gelatin silver print
Roumanie, 1975
Gelatin silver print
Cell in a Model Prison in the U.S.A., 1975
Printed on 11 x 14 inch paper
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Henri Cartier-Bresson foi uma lenda viva. Raramente um fotógrafo foi tantas vezes citado como exemplar de uma das grandes capacidades de fotografia: captar um momento. No ponto de vita de Cartier-Bresson, não se tratava apenas de qualquer momento, como acontece com 99 por cento dos milhões de fotografias que se tiram todos os dias. Pare ele era o momento decisivo que expressava a essência de uma situação. Este fotógrafo trabalhou para quase todos os jornais e revistas internacionais. Juntamente com Robert Capa, David "Chim" Seymour e George Rodger, fundou o grupo "Magnum" e as suas viagens levaram-no à Índia Burma, Paquistão, China, Indonésia, Cuba, México, Canadá, Japão e a antiga União Soviética. Produziu muitos livros ilustrados com as suas fotografias. Em 1970, casou-se com a fotógrafa Martine Franck. Nos últimos anos, Cartier-Bresson já não tirou fotografias, tendo regressado à paixão original: a pintura e o desenho. Henri Cartier-Bresson nasceu em Canteloup (FR) em 1908 e morreu em Céreste (FR) em 2004.
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Henri Cartier-Bresson (1908 - 2004) - Regarded as one of the greatest photographers of his time, Henri Cartier-Bresson was a shy Frenchman who elevated "snap shooting" to the level of a refined and disciplined art. His sharp-shooter’s ability to catch "the decisive moment," his precise eye for design, his self-effacing methods of work, and his literate comments about the theory and practice of photography made him a legendary figure among contemporary photojournalists. His work and his approach have exercised a profound and far-reaching influence. His pictures and picture essays have been published in most of the world’s major magazines during three decades, and Cartier-Bresson prints have hung in the leading art museums of the United States and Europe (his monumental ‘The Decisive Moment’ show being the first photographic exhibit ever to be displayed in the halls of the Louvre). In the practical world of picture marketing, Cartier-Bresson left his imprint as well: he was one of the founders and a former president of Magnum, a cooperative picture agency of New York and Paris. Henri Cartier-Bresson was born in 1908, in Chanteloupe, France, of prosperous middle-class parents. He owned a Box Brownie as a boy, using it for taking holiday snapshots, and later experimented with a 3 X 4 view camera. But he was also interested in painting and studied for two years in a Paris studio. This early training in art helped develop the subtle and sensitive eye for composition, which was one of his greatest assets as a photographer. In 1931, at the age of 22, Cartier-Bresson spent a year as a hunter in the West African bush. Catching a case of backwater fever, he returned to France to convalesce. It was at this time, in Marseille, that he first truly discovered photography. He obtained a Leica and began snapping a few pictures with it. It was a pivotal experience. A new world, a new kind of seeing, spontaneous and unpredictable, opened up to him through the narrow rectangle of the 35 mm viewfinder. His imagination caught fire. He recalls how he excitedly "prowled the streets all day, feeling very strung-up and ready to pounce, determined to ‘trap’ life, to preserve life in the act of living."
Thus began one of the most fruitful collaborations between man and machine in the history of photography. He remained devoted to the 35 mm camera throughout his career. The speed, mobility, the large number of exposures per loading, and, above all, the unobtrusiveness of the little camera perfectly fitted his shy, quicksilver personality. Before long he was handling its controls as automatically as an expert racing driver shifts gears. The camera itself, in his own famous phrase, became an "extension of the eye". When World War II erupted, Cartier-Bresson served briefly in the French Army and was captured by the Germans during the Battle of France. After two unsuccessful tries, he escaped from the camp where he was held as a prisoner of war, and worked with the underground until the war’s end. Resuming his interrupted career as a photojournalist, he helped form the Magnum picture agency in 1947. Assignments for major magazines would take him on global travels, across Europe and the United States, to India, Russia and China. Many books of Cartier-Bresson photographs were published in the 50’s and 60’s, the most famous being ‘The Decisive Moment’ (1952). A major milestone in his career was a massive, 400-print retrospective exhibition, which toured the United States in 1960. As a journalist, Henri Cattier Bresson felt an intense need to communicate what he thought and felt about what he saw, and while his pictures often were subtle they were rarely obscure. He had a high respect for the discipline of press photography, of having to tell a story crisply in one striking picture. His journalistic grappling with the realities of men and events, his sense of news and history, and his belief in the social role of photography all helped keep his work memorable. He has said that a sense of human dignity is an essential quality for any photojournalist, and feels that no picture, regardless of how brilliant from a visual or technical standpoint, can be successful unless it grows from love and comprehension of people and an awareness of ‘man facing his fate." Many of his portraits of William Faulkner and other notables have become definitive, catching as they do, with relaxed and casual brilliance, the essence of personality. His first book contained an often-quoted paragraph that sums up his approach to photography and has become something of a creed for candid, available light photojournalists everywhere. The decisive moment, as Cartier-Bresson tersely defined it, is ‘the simultaneous recognition, in a fraction of a second, of the significance of an event as well as the precise organization of forms which gives that event its proper expression." Some critics accused him of being nothing more than a snap-shooter. It is true that the "decisive moment’ approach, in less disciplined hands, can degenerate into haphazard, unselective snap shooting. But the best of Cartier-Bresson’s works, with their uncanny sense of timing, rigorous organization, and deep insights into human emotion and character, could never have been caught by luck alone, unaided by a rare talent. They are snapshots only in the classic sense of "instantaneous exposures " snapshots elevated to the level of art. "In photography, the smallest thing can be a great subject," he wrote in ‘The Decisive Moment’. "The little human detail can become a leitmotif." Most of his photography is a collection of such little, human details; concerned images with universal meaning and suggestion. He lived in a haunted world where mundane facts, a reflection in a mud-puddle, an image chalked on a wall, the slant of a black-robed figure against mist, radiate significance at once familiar and only half-consciously grasped. His was an anti-romantic poetry of vision, which finds beauty in "things as they are," in the reality of here and now. All his great pictures were taken with the kind of equipment owned by many amateur photographers: 35 mm rangefinder cameras equipped with a normal 5Omm lens or occasionally a telephoto for landscapes. Along with Dr. Erich Salomon and Alfred Eisenstaedt, he was a pioneer in available light photojournalism, and would no sooner intrude flash or flood into his pictures than would a fly fisherman toss rocks into a pool where he hoped to catch a prize trout. By having so skillfully exploited the camera’s ability to transfix a moment in time’s flow, Cartier-Bresson has left us a treasure of images. We can, through his eyes, see the world a little more clearly, and find truth and beauty where we had not guessed they existed.
From WEB
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Terça-feira, Maio 15, 2007
Flag. 1954–55
Encaustic, oil, and collage on fabric mounted on plywood (three panels)
42 1/4 x 60 5/8" (107.3 x 154 cm)
The Museum of Modern Art, New York City
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White Flag, 1955
Encaustic, oil, newsprint, and charcoal on canvas
78 5/16 x 120 3/4in. (198.9 x 306.7cm)
The Metropolitan Museum of Art, New York City
Flag above White Collage, 1955
Encaustic and collage
57 x 49 cm
Kunstmuseum Basel, Switzerland
Target with Four Faces, 1955
Encaustic
26 x 26 in
The Museum of Modern Art, New York City
Target with Plaster Casts, 1955
Mixed media
51 x 44 in
Private collection
Target on an Orange Field, 1957
Watercolor, pencil on paper
11 x 8 1/2 in. (27.9 x 21.6 cm)
The Museum of Contemporary Art, Los Angeles
Three Flags, 1958
Encaustic
2 ft 6 7/8 x 3 ft 9 1/2 in x 5 in
Whitney Museum of American Art, New York
0 through 9. 1960
Lithograph
Composition (irreg.): 24 1/2 x 18 15/16" (62.2 x 48.1 cm); sheet: 30 x 22 5/16" (76.2 x 56.7 cm)
The Museum of Modern Art, New York City
0 through 9, 1961
Oil on canvas
support: 1372 x 1048 mm frame: 1401 x 1078 x 48 mm
Tate Gallery, London
Grey Numbers, 1961
Oil on canvas
Private collection
In Memory of My Feelings - Frank O'Hara, 1961
Oil on canvas with objects
40-1/4 x 60 x 2-7/8 in. (102.2 x 152.4 x 7.3 cm)
Museum of Contemporary Art, Chicago
Periscope (Hart Crane), 1963
Oil on canvas
67 x 48 in
Private collection
Ale Cans, 1964
Lithography
Private collection
Flags, 1968
Color lithograph
34” X 25”
Wake Forest University Fine Arts Gallery, Winston-Salem, North Carolina
Figure 4, 1968
Lithograph on paper
27 x 20 7/8 in. (68.6 x 53.0 cm)
Smithsonian American Art Museum, Washington D.C.
Figure 0, 1968/1969
lithograph in red, yellow, blue, and white on Japanese Arjomari paper
96.8 x 79.2 cm (38 1/8 x 31 1/8 in.)
The Nation Gallery of Art, Washington D.C.
Figure 7, published 1969
4-color lithograph (stone and aluminum) on Japanese Arjomari paper
96.52 x 78.74 cm (38 x 31 in.)
The National Gallery of Art, Washington D.C.
Souvenir, 1970
Color lithograph on paper
sheet: 31 x 22 3/4 in. (78.7 x 57.8 cm)
Smithsonian American Art Museum, Washington D.C.
Decoy, 1971
Lithograph with die-cut
41 9/16 x 29 5/8" (105.6 x 75.3 cm).
The Museum of Modern Art, New York City
Fragment According to What Series - Bent "Blue," 1971
Lithograph
image: 28 x 24 in. (71.12 x 60.96 cm), sheet: 28 1/2 x 25 in. (72.39 x 63.5 cm)
Oklahoma City Art Museum, Oklahoma
Flags I, 1973
screenprint on J.B. Green paper
69.9 x 90 cm (27 1/2 x 35 7/16 in.)
The Nation Gallery of Art, Washington D.C.
Sketch from Untitled II, 1974
Lithograph on paper, edition 8/50
The Museum of Contemporary Art, Los Angeles
Diana, 1974
Encaustic on canvas
155.5 x 135..5 cm
The Seibu Museum of Art, Tokyo, Japan
Corpse and Mirror II, 1976
Color lithograph on paper
30 3/4 x 39 5/8 in. (78.2 x 100.7 cm)
Smithsonian American Art Museum, Washington D.C.
Usuyuki, 1979-1981
Color screenprint on buff handmade laid paper, 50/85
27 5/8 x 45 7/16”
University of Kentucky Art Museum
Dancers on a Plane, 1980-1
Oil and acrylic on canvas with painted bronze frame
support: 2000 x 1619 mm frame: 2002 x 1620 x 58 mm
Tate Gallery, London
Usuyuki, 1981
Screenprint
29-1/2 x 47-1/4 in. (74.9 x 120.0 cm)
The Metropolitan Museum of Art, New York City
Between the clock and the Bed, 1981
Encaustic on canvas
Three panels overall. 183.4 x 302.2 cm
Each panel 183.4 x 107.1 cm.
The Museum of Modern Art, New York City
Ventriloquist, 1986
Eleven color lithograph on paper, edition 32/69
41 1/2 x 29 in. (105.4 x 73.7 cm)
The Museum of Contemporary Art, Los Angeles
The Bath, 1988
Encaustic
122.5 x 153 cm
Kunstmuseum Basel, Switzerland
Untitled, 1992
Etching and aquatint on paper
image: 905 x 1153 mm
Tate Gallery, London
Untitled, 1999
Color aquatint, spitbite aquatint, sugarlift aquatint, etching, and photogravure on wove paper
plate: 46 x 67.5 cm (18 1/8 x 26 9/16 in.)
sheet: 58.3 x 79.7 cm (22 15/16 x 31 3/8 in.)
The National Gallery of Art, Washington D.C.
Untitled, 1999
Color intaglio (hard ground etching, softground, and aquatint): final print, plus 3 working proofs, 11 trial proofs, 14 key plate trial proofs, 5 elements in color, 4 elements in black, and 4 progressive proofs
27 1/4 x 19 3/4 in. (69.2 x 50.2 cm) (each sheet)
Yale University Art Gallery, New Haven, Connecticut
Untitled, 2000
Color linoleum cut on wove paper
image: 40.4 x 27 cm (15 7/8 x 10 5/8 in.)
sheet: 57.15 x 42.55 cm (22 1/2 x 16 3/4 in.)
The National Gallery of Art, Washington D.C.
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Em "0 through 9, 1961" do acervo da Tate Gallery, em Londres, os números de 0 a 9 foram sobrepostos, criando uma imagem abstracta sistemática, na qual nenhum dos números é claramente visível. As pinceladas soltas e coloridas de azul claro, vermelho e cor de laranja transmitem uma sensação de nergia. A utilização dos números como tema dos seus quadros inspira-se na obra dos artistas pop, que recorriam à imagens da vida quotidiana e da cultura popular como base para a sua arte. No entanto, a técnica de Johns é mais expressiva e dependente do uso da tinta, revelando a influência dos expressionistas abstractos, tais como Pollock, que na altura se empenhavam em criar telas carregadas de emoção. Ao optar por temas mundanos e objectivos, como os números e as bandeiras e ao aplicar o método rápido de pinceladas amplas e gestuais, Johns tornou-se conhecido como o elo de ligação entre os dois movimentos. Interessou-se acima de tudo pela natureza da pintura, alargando os seus limites através da combinação da colagem com a escultura sobre a superfície pintada. Jasper Johns nasceu em Allendale (EUA) em 1930.
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Jasper Johns born 1930, American painter and printmaker, forerunner of Pop art, who uses commonplace emblematic images such as flags or numbers as the starting-point for works of great richness and complexity. Born in Augusta, Georgia, and grew up in South Carolina. Studied at the University of South Carolina for about 1 1/2 years when he received his first formal training in art, then moved in 1949 to New York. Two years military service, part of the time in Japan. From 1952 lived in New York, supporting himself until 1958 mainly by working in a bookstore. Friendship from the mid 1950s with Rauschenberg, the dancer Merce Cunningham and John Cage. Made his first 'Flag', 'Target' and 'Number' paintings in 1954 and 1955 his first one-man exhibition at the Leo Castelli Gallery, New York, in 1958 won him immediate recognition. Since 1960 has also made nearly 300 lithographs, etchings, screenprints, and embossed paper and lead reliefs. Director of the Foundation for Contemporary Performance Arts since 1963 and Artistic Adviser to Merce Cunningham and Dance Company. Lives in New York.
Tate Gallery Biography
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Sábado, Maio 12, 2007
Self-Portrait, 1906
Oil on canvas
Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster
Elisabeth Gerhardt Sewing, 1909
Pastel
Galerie Utermann, Dortmund
Nude with Coral Necklace, 1910
Oil on canvas
Sprengel Museum, Hanover
Portrait of Franz Marc, 1910
Oil on pasteboard
Staatliche Museen Preußischer Kulturbesitz, Nationalgalerie, Berlin
Half-length Female Nude Standing Before a Mirror, c.1911
Watercolor over graphite on off-white wove paper
4 5/8 x 5 1/4 in. (11.9 x 13.4 cm)
Detroit Institute of Arts, Michigan
The Mackes' Garden at Bonn, 1911
Oil on canvas
Westdeutsche Landesbank Girozentrale, Düsseldorf
Our Street in Gray, 1911
Oil on canvas
Städtische Galerie im Lenbachhaus, Munich
St. Mary's in the Snow, 1911
Oil on pasteboard
Kunsthalle, Hamburg
Sitting Nude with Cushions, 1911
Oil on canvas
Wilhelm-Lehmbruck-Museum, Duisburg
The Storm, 1911
Oil on canvas
Saarland-Museum, Saarbrücken
Gemüsefelder, 1911
Oil on canvas
47,5 x 64 cm.
Kunstmuseum Bonn, Germany
Ballet russe I, 1912
Oil on canvas
103 x 81 cm
Kunsthalle Bremen. Bremen
Lady in a Green Jacket, 1913
Oil on canvas
44 x 43.5 cm
Museum Ludwig, Cologne
Circus, 1913
Oil on cardboard
47 x 63,5 cm
Museo Thyssen-Bornemisza, Madrid
Hussars (Hussars on a Sortie), 1913
Oil on canvas
37,5 x 56,1 cm
Museo Thyssen-Bornemisza, Madrid
Man Reading in the Park, 1914
Oil on canvas
86.5 x 100.3 cm
Museum Ludwig, Cologne
Farewell, 1914
Oil on canvas
101 x 130.5 cm
Museum Ludwig, Cologne
Kairuan III, 1914
Watercolor
29 x 22,5 cm.
Westfälisches Landesmuseum für Kunst und Kulturgeschiche. Münster
Fribourg Cathedral, 1914
Oil on canvas
60,6 x 50,3 cm
Kunstmuseum Basel, Switzerland
Landscape with cows and a camel, 1914
Oil on canvas
47 x 54 cm
Kunsthaus Zürich. Zürich
A Street, 1914
Watercolor
29 x 22,5 cm
Mülheim a.d. Ruhr, Städtisches Museum
The Market in Tunis, 1914
Pencil and watercolor on card
29 x 22,5 cm
Private collection
Red House in the Park, 1914
Oil on canvas
60 x 80 cm
Städtisches Kunstmuseum, Bonn, Germany
Promenaders, 1914
Graphite on off-white wove paper
21.5 cm x 28.1 cm, actual
Harvard University Art Museums Database, Massachusetts
Landscape with Cows, Sailing Boat and Figures, 1914
Oil on canvas
20 1/4 x 20 1/4 in. (51.4 x 51.4 cm)
Saint Louis Art Museum, Missouri
Tunisian Landscape, 1914
Oil on canvas
45 x 55 cm
Städtische Kunsthalle, Mannheim
Turkish Cafe I, 1914
Oil on wood
Städtischer Kunstmuseum. Bonn
Girls Under the Trees, 1914
Oil on canvas
119,5 x 159 cm
Bayerische Staatsgemäldesammlungen, Munich, Germany
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Em "Ballet russe I, 1912", a cena de teatro foi pintada como mse o autor estivessa na plateia, a assistir ao bailado tradicional. A parte de trás da cabeça dos espectadores vislumbra-se na obscuridade do teatro, contrastando com a luminosidade do cenário. As curvas graciosas dos bailarinos e as cores vivas dos seus trajes, realçadas pelas luzes de baixo, são características do estilo poético muito pessoal de Macke. A forma abstracta do pano de fundo e o uso emotivo da cor lembram as obras de Delaunay e de Kandinsky, ao passo que os contornos fortes e as formas estilizadas são típicos do Expressionismo. Macke associou-se ao grupo expressionista Der Blau Reiter (O Cavaleiro Azul), em 1911, encorajado pelo seu amigo Marc. Interessava-lhe particularmente o interesse demonstrado por este movimento em relação à arte não ocidental. No início da Primeira Guerra Mundial, em 1914, muitos destes artistas foram recrutados para o exército e o grupo desfez-se. Macke morreu tragicamente durante a guerra, aos 27 anos. August Macke nasceu em MesChede (ALE) em 1887 e morreu em Perthes (FR) em 1914.
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Born on 3rd of January 1887 in Meschede, August Macke grew up in Bonn and Cologne. Being filled with enthusiasm about the painting of Böcklin, he began his studies at the art college and the arts and crafts school in Düsseldorf. In 1907 Macke traveled to Paris, where he saw the paintings of the impressionists, which fascinated and influenced him. Back in the empire he went to Berlin and attended the painting school of Lovis Corinth for a short time. After doing his military service for one year as a volunteer in 1908, the artist married - now in Bonn - Elisabeth Gerhardt. In 1909 he got acquainted with Franz Marc in Tegernsee, with whom he would be friends for the rest of his life. With their colourful and spacious, two-dimensional forms Macke's works from that time displayed clearly the influence of the painting of Henri Matisse and Franz Marc. In 1911 Macke joined 'Der Blaue Reiter', a group of artists from Munich. On another trip to Paris with Marc he got to know Robert Delaunay and his orphic way of painting who visited him later together with Guillaume Apollinaire. This colourful form of cubism made a lasting impression on him. The trip to Tunis with Paul Klee and Louis René Moilliet in 1914 also contributed to the development of his own style of bright, intensive coloration and crystalline design. On the 26th of September 1914 Macke falled at the western front in France at the age of 27. August Macke's world of paintings is unmistakable. Quiet compositions, scenes of nature, the open countryside or of places inhabited by monumental, faceless figures show his harmony-seeking look at the contemplative world of the regular citizen - until the outbreak of World War I.
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Quarta-feira, Maio 09, 2007
Mexican Pin Up, 1975
Indulgences Man with no Legs, 1976
Los Angeles Death, 1976
From Anonymous Atrocities, 1977
The Emperor of Japan, 1978
Mother and Child, New Mexico, 1979
Woman Breast Feeding an Ael, 1979
Carrotcake I, 1980
Arms Broken by Windows, 1980
Cadaver with Necklace, 1980
Mandan, 1981
The Prince Imperial, 1981
Le Baisier, 1982
Woman with Severed Head, 1982
Manuel Osorio, 1982
The Bird of Quevada, 1982
The Bra of Joan Miró, New Mexico, 1982
Sanitarium, 1983
The Result of War, The Cornucopian Dog, 1984
Poet From a Collection of Relics and Ornaments, 1986
Portrait of a Dwarf, Los Angeles, 1987
Las Meniñas, New Mexico, 1987
Amour, New Mexico, 1987
The Graces, New Mexico, 1988
Apollonia and Dominetrix Creating Pain in the Art of the West, NYC, 1988
Blind Woman with Her Blind Son, Nogales, 1989
Daphne and Apollo, Los Angeles, 1990
Studio of the Painter (Courbet), Paris, 1990
Woman Once a Bird, Los Angeles, 1990
Cupid and Centaur, 1992
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Nascido em 1939 em New York, EUA, Joel-Peter Witkin ficou conhecido por seu trabalho fotográfico marcante, misturando corpos defeituosos com símbolos sado-masoquistas, pedaços de cadáveres com ícones religiosos, tudo completado por um acabamento artesanal que transforma cada foto em peça única. Witkin começou a fotografar aos dezessete anos, quando resolveu fazer o retrato de um rabino que afirmava ter visto e conversado com Deus. Com pai judeu ortodoxo e mãe católica, a temática religiosa sempre esteve presente para Witkin. Depois do rabino visionário, foi fotografar um hermafrodita num circo de horrores de Coney Island. A fascinação foi tanta que ali ocorreu também sua primeira experiência sexual, que, evidentemente, deixaria marcas na sua obra. As referências aos clássicos da pintura estão sempre presentes nas fotos de Witkin. Ele estudou a fundo a arte religiosa, com ênfase em Giotto, e também simbolistas como Gustav Klimt e Alfred Kubin. Quando chegou a época de se alistar no exército, Witkin recebeu a missão de documentar fotograficamente as mortes acidentais ocorridas em treinamentos militares. "Cheguei a endurecer-me de tal forma em relação á morte que me alistei como fotógrafo no Vietnam. Depois de receber treinamento especial, enquanto esperava ser chamado para o front, tentei suicidar-me." Afastado do exército, voltou à fotografia artística, formando-se Master of Arts pela Universidade do Novo México em 1976. Quando fez sua primeira exposição individual em 1980, em New York, transformou-se imediatamente em foco de atenção. Por um lado, recebeu elogios extremados pela profundidade temática de sua obra, calcada nos temas da dor e da morte e escorada por referências clássicas. Por outro, foi atacado como sensacionalista, despudorado, blasfemo e outros adjetivos menos respeitáveis. O trabalho de Witkin é detalhista. Cada foto começa como um esboço rabiscado no papel, passa por uma difícil etapa de produção, quando os modelos e os objetos de cena são procurados, entra por uma meticulosa sessão no estúdio, e passa muitas horas no laboratório de pós-produção, com manipulação direta sobre o negativo, propositadamente maltratado com agentes químicos e ação física.
Fonte
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Witkin, Joel Peter,(b Brooklyn, New York, 1939). American photographer. His first recorded photographs were of freaks on Coney Island made during the 1950s, giving an early indication of his ambition to challenge the boundaries of acceptable taste. His subject-matter included death, blasphemy, sado-masochism, homoeroticism and physical deformities. He presented an extreme, Gothic, nightmare world, which could be said to border on the pornographic. Balancing this taste for the grotesque was a tendency to mysticism and an aestheticism expressed in ironic reworkings of art-historical and literary themes drawn from Rembrandt, Goya, Rubens and the late 19th-century Symbolists.
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Segunda-feira, Maio 07, 2007
President Elect, 1960-1, 1964,
Oil on masonite
7 feet 5 3/4 inches by 12 feet
Musée National d'Art Moderne/Centre de Création Industrielle, Paris
Push Button, 1961
Oil on canvas
82 3/4 x 105 1/2 in. (210.2 x 268 cm)
The Museum of Contemporary Art, Los Angeles
I Love You with My Ford, 1961
Oil on canvas
6 feet 10 3/4 inches x 7 feet 9 1/2 inches
Moderna Museet, Stockholm
Hey! Let's Go for a Ride, 1961
Oil on canvas
34 1/8 x 35 7/8 inches
Private collection
Marilyn Monroe, I. 1962
Oil and spray enamel on canvas
7' 9" x 6' 1/4" (236.2 x 183.3 cm)
The Museum of Modern Art, New York City
Capillary Action, 1962
Oil on canvas
92 1/2 x 136 1/4 in. (235 x 346.1 cm)
The Museum of Contemporary Art, Los Angeles
Vestigial Appendage, 1962
Oil on canvas
72 x 93 1/4 in. (182.9 x 236.9 cm)
The Museum of Contemporary Art, Los Angeles
Smoked Glass, 1962
Oil on canvas
61 x 81,5 cm
Museo Thyssen-Bornemisza, Madrid
Study fot Marrilyn, 1962
Oil on canvas
95,2 x 91,5 cm
Ptrivate collection
Capillary Action II, 1963
Oil, plastic, neon tubing, metal, and wood
266.7 x 193 x 177.8 cm maximum irregular
National Gallery of Canada, Ottawa
Untitled (Broome Street Truck), 1963
Oil on canvas and attached canvas panel
6 x 6 ft.
Whitney Museum of American Art
Nomad, 1963
Oil on canvas, plastic, and wood
90 x 141"
Albright-Knox Art Gallery, Buffalo, New York
Shave, 1964
Oil on canvas
58 x 49 7/8 in. (147.3 x 126.7 cm)
The Museum of Contemporary Art, Los Angeles
High Pool, 1964-1966
Colour lithograph on wove paper
67.3 x 101.6 cm
National Gallery of Canada, Ottawa
Campaign, 1965
Lithograph, composition and sheet
29 5/8 x 22 7/16" (75.2 x 57 cm)
The Museum of Modern Art, New York City
Dusting Off Roses, 1965
Colour lithograph on wove paper with japan paper false margins
77.4 x 55.1 cm; image: 65 x 55 cm
National Gallery of Canada, Ottawa
For Love, 1965
Color photosilkscreen
35 3/8 x 27 1/8"
Museum of Fine Arts, Santa Fe, New Mexico
The Friction Disappears, 1965
Oil on canvas
48 1/8 x 44 1/4 in. (122.2 x 112.4 cm.) irregular
Smithsonian American Art Museum, Washington D.C.
Circles of Confusion, from the portfolio 11 Pop Artists, Volume I, 1965
Serigraph on paper
sheet and image: 23 7/8 x 20 in. (60.8 x 50.7 cm)
Smithsonian American Art Museum, Washington D.C.
Expo 67 Mural Firepole 33 X 17', 1967
Color lithograph on paper
33 1/8 x 17 in. (84.1 x 43.3 cm)
Smithsonian American Art Museum, Washington D.C.
Bunraku, 1970
Lithograph on Arches wove paper?
81.3 x 59.2 cm
National Gallery of Canada, Ottawa
Silver skies, 1970
Print colour lithograph
86.0 x 75.1 cm sheet
Art Gallery of New South Wales, Sydney, Australia
Spaghetti, 1970
Print colour lithograph
78.5 x 107.5 cm sheet
Art Gallery of New South Wales, Sydney, Australia
Busy signal, 1970
Print colour lithograph
40.2 x 53.7 cm sheet
Art Gallery of New South Wales, Sydney, Australia
Short ends,1970
Print colour lithograph
71.8 x 51.0 cm sheet
Art Gallery of New South Wales, Sydney, Australia
Pulling out, 1972
Colour Lithograph 26/39
65 cm x 76.5 cm
Tehran Museum of Contemporary Art, Iran
My Mind Is a Glass of Water, 1973
Colour lithograph on wove paper with japan paper borders
76.2 x 56.6 cm; image: 57.9 x 45.4 cm
National Gallery of Canada, Ottawa
Untitled, from the portfolio The New York Collection for Stockholm, 1973
Color lithograph on paper
image and sheet: 9 x 11 7/8 in. (22.9 x 30.3 cm)
Smithsonian American Art Museum, Washington D.C.
A Free For All, 1976
Lithograph and screenprint
25 3/4 x 19 5/8 in. (66.5 x 49.8 cm.)
Block Museum of Art at Northwestern University, Illinois
Artist Rights Today (Tide), 1976
Silkscreen
h: 30 x w: 22 in / h: 76.2 x w: 55.9 cm
Industrial Cottage, 1977
Oil on canvas
6 feet 9 inches x 15 feet 3 1/2 inches
Private collection
When a Leak..., 1982
11-color lithograph
109.9 x 137.2 cm (43 1/4 x 54 in.)
The National Gallery of Art, Washington D.C.
The Glass Wishes, Appearance, 1982
2-color aquatint, drypoint, and etching
85.1 x 67.3 cm (33 1/2 x 26 1/2 in.)
The National Gallery of Art, Washington D.C.
The Glass Wishes, Paper Head on a Nuclear Pillow, 1982
5-color aquatint
85.1 x 67.3 cm (33 1/2 x 26 1/2 in.)
The National Gallery of Art, Washington D.C.
The Glass Wishes, While the Earth Revolves at Night, 1982
5-color aquatint
85.1 x 67.3 cm (33 1/2 x 26 1/2 in.)
The National Gallery of Art, Washington D.C.
Fahrenheit 1982, 1982
Colored ink on mylar
33 1/8 by 71 1/2 inches
Whitney Museum of American Art
Welcome to the Water Planet, 1987
Oil on canvas
13 x 10 feet
Private collection
Lot #55 Untitled (Yellow Flowers), 1988
Oil on canvas in two parts
h: 208 x w: 213 cm / h: 81.9 x w: 83.9 in
Fireworks for President Clinton, 1996
5-color screenprint
71.1 x 71.1 cm (28 x 28 in.)
The National Gallery of Art, Washington D.C.
The Specific Target, 1996
Oil on canvas
121.9 x 121.9 cm
The Swimmer in the Econo-mist, 1997–98 (painting 3)
Oil on canvas, One of three panels
11 feet 6 inches x 9 feet 3 inches
Guggenheim Museum, New York City
Hitchhiker – Speed of Light, 1999
Lithograph
h: 36.2 x w: 42.5 in / h: 91.9 x w: 108 cm
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Em "Study fot Marrilyn, 1962", a surpreendente imagem seduz o espectador através das suas cores impetuosas e das suas conotações eróticas. Os artifícios visuais que Rosenquist utilizou são os dos anúncios de publicidade, o boca semiaberta, as unhas perfeitamente arranjadas e o batom, provocadoramente colocado, emitem sinais sugestivos. Contudo, estas imagens simplistas são contrariadas pela composição desconcertante da tela - por que é que metade do rosto (supostamente de Marilyn Monroe) está escondido atrás de um copo gigantesco? O quadro demonstra o poder da publicidade, que se tornou uma das pedras de toque das sociedades urbanas. A utilização que o artista faz do imaginário popular liga-o ao movimento da Arte Pop na América. Rosenquist tem credenciais irrepreensíveis como artista Pop: os seus primeiros anos foram passados a pintar cartazes e anúncios de gasolineiras. Voltou-se para a pintura como forma de expressão artística em 1960. James Rosenquist nasceu em Grand Forks (EUA) em 1933.
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Born in 1933 in Grand Forks, North Dakota, James Rosenquist studied art at the Minneapolis Institute of Arts as a teenager and at the University of Minnesota between 1952 and 1954, painting billboards during the summers. In 1955 he moved to New York to study at the Art Students League. He left the school after one year, and in 1957 returned to life as a commercial artist, painting billboards in Times Square and across the city. By 1960, he had quit painting billboards and rented a small studio space in Manhattan where his neighbors included artists Robert Indiana, Ellsworth Kelly, and Jack Youngerman. In 1962, he had his first solo exhibition at the Green Gallery in New York, and afterward was included in a number of groundbreaking group exhibitions that established Pop art [more] as a movement. Rosenquist achieved international acclaim with his room-scale painting, F-111 (1965). In addition to painting, he has produced a vast array of prints, drawings and collages; his print Time Dust (1992) is thought to be the largest print in the world, measuring seven by 35 feet. The artist has received numerous honors; he was selected as the Art in America Young Talent Painter in 1963, appointed to a six-year term on the Board of the National Council on the Arts in 1978, and nominated as a member of the American Academy and Institute of Arts and Letters in 1987. Since his first early career retrospectives in 1972 organized by the Whitney Museum of American Art and the Wallraf-Richartz-Museum, Cologne, he has been the subject of gallery and museum exhibitions in the U.S. and internationally. He continues to produce large-scale commissions, including the recent three-painting suite The Swimmer in the Econo-mist (1997–98) for Deutsche Guggenheim Berlin, and has a painting planned for the ceiling of the Palais de Chaillot in Paris. From his early days as a billboard painter to his recent masterful use of abstract painting techniques, Rosenquist has demonstrated his interest in and mastery of color, line, and shape that continues to dazzle audiences and influence younger generations of artists.
Guggenheim Collection - Rosenquist Biography
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Sábado, Maio 05, 2007
Quarta-feira, Maio 02, 2007
La Cigale, 1956
Lithographie en papier
402 x 402 mm
Composition 166, 1957
Aquarelle sur papier
505 x 638 mm
Chamatoi, 1963
Huile sur toile
90 x 73 cm
Marmuse, 1983
Huile sur toile
73 x 92 cm
D-2170, 1984
Encre d'imprimerie sur papier
68 x 55,5 cm
A-1198, 1989
Aquarelle sur papier
49,40 x 49,40 cm
A-1208, 1989
Aquarelle sur papier
56,10 x 49,50 cm
"", 1989
Aquarelle
50 x 54 cm
D-2203, 1989
Fusain sur papier gris
47,60 x 38,50 cm
D-2228, 1992.
Fusain et crayon de couleurs sur papier
48 x 45 cm
A. 1281, 1994
Aquarelle sur papier
63,70 x 49,60 cm
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Maurice Estève nasceu em Culan (FR) em 1904 e morreu na terra onde nasceu em 2001. Pintor francês, estudou em várias escolas de arte em Paris, mas foi principalmente um autoditacta. Em 1923 instalou-se em Espanha. Dirigiu o departamento de desenho de uma fábrica téxtil, em Barcelona. A partir de 1924 dedicou-se inteiramente à pintura. Estève, que alia formas cubistas com colorações fauvistas, é considerado como um dos maiores representantes da Abstracção Lírica da École de Paris.
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Estève, Maurice (b Culan, Cher, 2 May 1904). French painter, draughtsman and lithographer. Like Jean Bazaine and Charles Lapicque, Estève belongs to the generation whose early work was influenced by late Cubism. He himself particularly admired Fernand Léger. Estève became aware of his vocation extremely early in life and had already begun to paint when he arrived in Paris at the age of 15. Extreme attention to execution, already evident in early paintings such as Still-life with Basket of Eggs (1927; Paris, Conchon priv. col., see Vallier and others, p. 8), was to characterize all his work. Gradually Estève abandoned post-Cubist rigour and the sharp, flat colour that he used until the early 1930s in works such as First Steps (1930; Bourges, Mus. Estève); he began to follow Pierre Bonnard’s example, working towards softened forms enriched by a profusion of colour, as in The Meal (1937; Bourges, Mus. Estève). The problem of subject-matter concerned Estève increasingly as abstraction came to dominate the post-war period. In his paintings the powerful presence of colour invading the entire composition made the subject less and less legible, as in Sicilian Chair (1953; Paris, J. Verroust priv. col., see Vallier and others, p. 58). Estève was not, however, convinced of the validity of abstract painting; in his view the external world had to be taken into account and to be filtered through the artist’s sensibility.
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