Terça-feira, Junho 19, 2007
"Estas imagens parecem-nos estar aqui para durar sempre, embora não representem senão um instante. O espaço, a sua visão fragmentada, apontam para uma temporalidade ameaçada e suspensa. Dario Alves dá forma a um paraíso das imagens do quotidiano, que não morrem, embora esse seja o seu destino. A certeza do traço, a claridade da pintura e das cores que amadurecem serenamente sobre a tela, falam-nos de uma Primavera incorruptível, de uma estação radiante dos sentidos, emolduradas por um equilíbrio perfeito, pela harmonia de todos os elementos da composição. O movimento está latente na serenidade das poses, um movimento interior, apelando a uma transformação, à "outra vida" que a arte sempre persegue."
Maria João Fernandes
in:catálogo Dario Alves/trabalhos de casa/Árvore/1996
Desenho, 1974
Grafite sobre papel dobrado
19x19 cm
Desenho, 1974
Grafite sobre papel rasgado
15x16 cm
Desenho, 1974
Grafite e lápis de cor sobre papel
21x29 cm
Desenho, 1974
Grafite e lápis de cor sobre papel
21x29 cm
Desenho, 1974
Grafite e lápis de cor sobre papel
21x29 cm
Desenho, 1974
Grafite sobre papel
21x29 cm
Desenho, 1987
Grafite e lápis de cor sobre papel
20x20 cm
Desenho, 1991
Acrílico e grafite sobre papel
18x20 cm
Justíssimo, 1995
Acrílico sobre tela
100x120 cm
Quadro com uma maçã verde, 1996
Acrílico sobre tela
14.5x16.5 cm
Lápis amarelo com bico vermelho, 1996
acrílico sobre tela
16.5x14.7 cm
Flores, 2001
acrílico e tecido sobre papel
13x18 cm
Sardinha, 2001
Acrílico sobre papel
10x15 cm
Cebola, 2001
acrílico sobre papel
10x15 cm
Rosa, 2001
acrílico sobre papel
10x15 cm
Biscoito, 2001
acrílico sobre papel
10x15 cm
Bolacha, 2001
acrílico sobre papel
10x15 cm
Uvas, 2001
Acrílico sobre papel
10x15 cm
2001
Maracujá, 2001
Acrílico sobre papel
10x15 cm
Morango, 2001
acrílico sobre papel
10x15 cm
Ovo, 2001
Acrílico sobre papel
10x15 cm
Colher, 2001
Acrílico sobre papel
10x15 cm
Camisa, 2001
Acrílico sobre papel
10x15 cm
Oculos, 2001
Acrilíco sobre papel
10x15 cm
Jarros, 2001
acrílico sobre papel
10x15 cm
Rosa, 2001
acrílico sobre papel
10x15 cm
Copo com um pincel, 2001
acrílico sobre papel
10x15 cm
Transporta para a nossa época, a natureza morta poderia dirigir-se a elementos tão prosaicos do ambiente que nos acolhe, como as cápsulas farmacêuticas, que adquirem uma consistência de objecto decorativo na peça de Dario Alves. E já que a natureza morta admitiu tantas vezes a imagem de alimentos que ornamentam as salas onde decorre uma das nossas funções vitais, porque não alinhar na superfície, pílulas que são igualmente comestíveis?
Laura Castro
In: catálogo Farmácia/Galeria da Praça 1997
Não me vês, 2003
Acrílico sobre tela
10x15 cm
Como Constant Permeke, 2004
Acrílico sobre tela
13x18 cm
Desenho pintado, 2004
Acrílico e esferográfica sobre papel
8x9 cm
Amarrada, 2005
Acrílico sobre tela
18x24 cm
Óculos escuros vestido comprido, 2005
Acrílico, cartão e colagem
13x18 cm
Recortada, 2005
Acrílico, papel e colagem sobre tela
13x18 cm
Passo, 2005
Acrílico sobre cartão
13x18 cm
Nica Stripináquas, 2005
Acrílico sobre cartão
13x18 cm
Laranjada, 2005
Acrílico, papel e colagem
13x18 cm
Desenho pintado, 2005
Acrílico e esferográfica sobre papel
9x9 cm
Última versão, 2005
Acrílico sobre tela
50x60 cm
Guarda bem esta ideia, 2005
Acrílico sobre tela 18x24 cm
O Porto é o Porto, 2006
Acrílico sobre tela
50x60 cm
Quadro desligado, 2006
acrílico sobre tela
13x18 cm
Desenho, 2006
Grafite, lápis de cor e colagem sobre papel
21x29 cm
Desenho, 23006
Grafite, lápis de cor e colagem sobre papel
21x29 cm
Desenho, 2006
Grafite, lápis de cor e colagem sobre papel
21x29 cm
......................................................................................................
Dario Alves nasceu em Moncorvo em Dezembro de 1940. Em 1965 conclui o Curso Geral de Pintura da Escola Superior de Belas Artes do Porto. Em 1973 conclui o Curso Complementar de Pintura da ESBAP. Em 1976 entra como Docente para a Escola Superior de Belas Artes (actual Faculdade de Belas Artes da Universidade do Porto). De 1984 a 1993 e de 1996 a 2000 é Presidente do Conselho Directivo da Faculdade de Belas Artes. Em 1980 e em 1986 foi subsidiado pela Fundação Calouste Gulbenkian para visitar Bienais de Design Gráfico na Polónia, Checoslováquia e Itália. Expõe Pintura desde 1972 e realiza a sua primeira exposição individual em 1979. Em 1994 executa um retrato do Dr. Mário Soares. Entre 1994 e 2006 executa os retratos dos Reitores Lúcio Craveiro, Machado Santos e Victor Chaínho da Universidade do Minho bem como os retratos dos Reitores Alberto Amaral e Novais Barbosa da Universidade do Porto. Executa também o retrato do Presidente do Instituto Politécnico do Porto, Luís Soares. Em 2000 obtém a aposentação como Professor Associado da Faculdade de Belas Artes da Universidade do Porto.
Pintura e notas críticas
Ver também
antes/agora/depois
pintado-de-fresco
...........................................................................................................
Sexta-feira, Junho 15, 2007
Deutschland, Deutchland Über Alles
1929
Photomechanical reproduction
23.9 x 18.8 cm
Eastman House Museum of Photography & Film, Rochester, New York
Adolf the Superman Swallows Gold and Spouts Junk
Before 28 August 1932, printed before 1942
Gelatin silver print
35.4 x 24.6 cm; image: 33 x 24.1 cm
Museum of Fine Arts, Houston, Texas
Der Sinn des Hitlergrusses: Kleiner Mann bittet um grosse Gaben. Motto: Millonen Stehen Hinter Mir!
The Meaning of the Hitler Salute: Little man asks for big gifts. Motto: Millions Stand Behind Me!
1932
Photomechanical reproduction
The Metropolitan Museum of Art, New York City
Die drei Weisen aus dem Sorgenland
The three magi from the Land of Sorrow
"AIZ, Das Illustrierte Volksblatt", January 3, 1935, p. 16
Rotogravure print, rephotographed montage with typography
37.9 x 26.9 cm
Eastman House Museum of Photography & Film, Rochester, New York
Hitlers Friedenstaube
Hitler's Dove of Peace
"AIZ, Das Illustrierte Volksblatt", January 31, 1935, p. 80
Rotogravure print, rephotographed montage with typography
38.5 x 26.4 cm
Eastman House Museum of Photography & Film, Rochester, New York
Fantasie zweier Ostpaktjager
Fantasy of two Eastern Pact hunters
"AIZ, Das Illustrierte Volksblatt", February 7, 1935, p. 96
Rotogravure print, rephotographed montage with typography
38.2 x 26.5 cm
Eastman House Museum of Photography & Film, Rochester, New York
Das Spiel Der Nazis Mit Dem Feuer
The Nazis Playing With Fire
"AIZ, Illustrierte Volksblatt", February 28, 1935, p. 129
Rotogravure print, rephotographed montage with typography
38.5 x 26.5 cm
Eastman House Museum of Photography & Film, Rochester, New York
Neue Erfolge der Naziheilkunde: SENF statt Kase
New success of Nazi medical science: Mustard instead of Cheese
"AIZ, Illustrierte Volksblatt", March 8, 1935, p. 160
Rotogravure print, rephotographed montage with typography
38.0 x 26.6 cm
Eastman House Museum of Photography & Film, Rochester, New York
Hitlers bester Freund
Hitler's Best Friend
"AIZ, Illustrierte Volksblatt", August 15, 1935, p. 528
Rotogravure print, rephotographed montage with typography
37.8 x 26.5 cm
Eastman House Museum of Photography & Film, Rochester, New York
Auch ein Propagandaminister
Also a propaganda minister
"AIZ, Das Illustrierte Volksblatt", August 22, 1935, p. 544
Rotogravure print, rephotographed montage with typography
37.8 x 26.8 cm
Eastman House Museum of Photography & Film, Rochester, New York
Der Platz an der Sonne
The place in the sun
"AIZ, Das Illustrierte Volksblatt", October 10, 1935, p. 656
Rotogravure print, rephotographed montage with typography
38.0 x 26.5 cm
Eastman House Museum of Photography & Film, Rochester, New York
Die Lehre des Wolfes
The Teaching of the Wolf
"AIZ, Das Illustrierte Volksblatt", November 21, 1935, p. 752
Rotogravure print, rephotographed montage with typography
38.1 x 26.7 cm
Eastman House Museum of Photography & Film, Rochester, New York
Ubermensch in Noten
Superman in Trouble
"AIZ, Illustrierte Volksblatt", December 12, 1935, p. 800
Rotogravure print, rephotographed montage with typography
37.9 x 26.6 cm
Eastman House Museum of Photography & Film, Rochester, New York
O du frohliche, o du selige, gnadenbringende Zeit
O Joyful, O blessed, miracle-bringing time
"AIZ, Das Illustrierte Volksblatt", December 26, 1935, p. 832
Rotogravure print, rephotographed montage with typography
38.3 x 26.6 cm
Hurrah, the Butter is All Gone!
1935
Rotogravure print, rephotographed montage with typography
38,7x27,3 cm
Akademie der Kunste, Berlin, Germany
Neueste Muster der Nazi-Lebensmittelindustrie 1936
Latest samples of the Nazi food industry 1936
"AIZ, Illustrierte Volksblatt", January 9, 1936, p. 32
Rotogravure print, rephotographed montage with typography
38.2 x 26.6 cm
Eastman House Museum of Photography & Film, Rochester, New York
Der braune Tod vor den Toren
The brown death before the gates
"AIZ, Illustrierte Volksblatt", January 10, 1936, p. 32
Rotogravure print, rephotographed montage with typography
38.4 x 26.7 cm
Eastman House Museum of Photography & Film, Rochester, New York
Uniforfassen fur den Reichstag zu Worms
Come get your uniforms for the Reichstag at Worms
"AIZ, Das Illustrierte Volksblatt", January 23, 1936, p. 64
Rotogravure print, rephotographed montage with typography
38.1 x 26.5 cm
Eastman House Museum of Photography & Film, Rochester, New York
Nach drei Jahren in der Zange!
After Three Years in the Grip!
"AIZ, Illustrierte Volksblatt", January 30, 1936, p. 80
Rotogravure print, rephotographed montage with typography
37.9 x 26.6 cm
Eastman House Museum of Photography & Film, Rochester, New York
Zum Fall Hamsun-Ossietzky Knut Hamsuns Kandidaten fur den Friedens Nobelpreis
On the occasion of the Hamsun-Ossietzky case Knut Hamsun's candidates
"AIZ, Das Illustrierte Volksblatt", February 6, 1936, p. 96
Rotogravure print, rephotographed montage with typography
38.1 x 26.5 cm.
Eastman House Museum of Photography & Film, Rochester, New York
An einen sterbenden italienischen Soldaten
To a dying Italian soldier
"AIZ, Illustrierte Volksblatt", February 13, 1936, p. 112
Rotogravure print, rephotographed montage with typography
37.9 x 26.7 cm.
Eastman House Museum of Photography & Film, Rochester, New York
Hitler erzahlt Marchen II
Hitler tells fairy tales II
"AIZ, Illustrierte Volksblatt", March 5, 1936, p. 160
Rotogravure print, rephotographed montage with typography
37.5 x 26.5 cm
Eastman House Museum of Photography & Film, Rochester, New York
Bevor der Krieg euch fallt, muss er fallen! Schafft die Volksfront, die den Frieden sichert!
He must fall, before the war fells you! Create the Popular Front ...
"AIZ, Das Illustrierte Volksblatt", May 27, 1936, p. 352
Rotogravure print, rephotographed montage with typography
38.0 x 26.7 cm
Eastman House Museum of Photography & Film, Rochester, New York
Antwort Auf Ein Nazi-Plakat
Reply to a Nazi Poster
"AIZ, Illustrierte Volksblatt", June 10, 1936, p. 384
Rotogravure print, rephotographed montage with typography
38.0 x 26.7 cm
Eastman House Museum of Photography & Film, Rochester, New York
............................................................................................................
Em "Hurrah, the Butter is All Gone!, 1935" uma família alemã encontra-se sentada a uma mesa de jantar, a comer uma bicicleta. A obra lembra um poster de propaganda: a lealdade da família para com Hitler é evidenciada pelo retrato do Fuhrer e pelo papel de parede com a suástica. O bebé abocanha um machado, também ele com uma suástica e o cão lambe um enorme parafuso e porca. A legenda em baixo diz: "Viva, a manteiga acabou-se! Tal como Goering afirmou na sua casa de Hamburgo: "O ferro tornou o Reich forte. A manteiga e a banha tornaram as pessoas gordas". Ao tomar a retórica alemã à letra, Heartfield demonstra o absurdo da sua proposta política. Antinazi fervoroso, Heartfield considerava a arte como eminentemente política. Foi membro do grupo dadaísta alemão e aperfeiçoou a técnica da fotomontagem para reprodução em revistas e jornais, nos quais partes de fotografias com diversas origens eram combinadas, de forma a criticar e satirizar a realidade do governo hitleriano. Jonh Heartfield nasceu em Berlim (ALE) em 1891 e morreu na mesma cidade em 1968.
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Helmut Herzfelde (John Heartfield) was born in Berlin in 1891. He started off by serving an apprenticeship as a bookseller in 1905/06 before going to Munich, where he studied at the Kunstgewerbeschule from 1908 to 1911. After finishing his studies, John Heartfield went to Mannheim, where he worked briefly as a graphic artist before returning to his native Berlin for more study, this time at the Kunst- und Handwerkerschule. John Heartfield was inducted into the German armed forces in 1915/16. Helmut Herzfelde chose the pseudonym John Heartfield in 1916 in protest against the anti-British mood then prevailing in Germany. In 1916 John Heartfield and his brother Wieland Herzfelde founded Malik Verlag in Berlin. The Dada movement was growing apace in Berlin, too, by 1917; its leading exponents apart from the Herzfelde brothers (pseudonyms: H. Herzfeld and John Heartfield) were Johannes Baader, George Grosz, Hannah Höch, and Raoul Hausmann. The Berlin Dadaists found the journal "Neue Jugend". Contact with George Grosz exerted a profound influence on John Heartfield. Heartfield worked with George Grosz for the leftwing satirical publications "Die Pleite" and "Der Knüppel". In 1917 John Heartfield also joined the KPD (German Communist Party). Between 1924 and 1933 John Heartfield did a great many illustrations for the Communist Party mouthpiece, the "Arbeiter Illustrierte Zeitung". John Heartfield often worked with photocollages, mounting them together to create pictures that made an extraordinarily powerful statement. From these works grew John Heartfield's political photomontages, which reveal the influence of George Grosz, among them the works contained in the 1929 Kurt Tucholsky text collection "Deutschland, Deutschland über alles". In the 1920s John Heartfield designed his first stage sets for Erwin Piscator and Max Reinhardt. In 1933 John Heartfield became an exile in Prague, fleeing to England in 1939. By 1950 John Heartfield was back in Germany, living at first in Leipzig. Later he again designed stage scenery in East Berlin, working for Bertold Brecht and others.
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Sexta-feira, Junho 08, 2007
Bestiary, 1978
Gouache on paper, mounted on linen
79 x 83 in (200.7 x 210.8 cm)
Private collection
Map of What Is Effortless, 1978
Gouache on paper
60 x 57 in (152.4 x 144.8 cm)
Private collection
Twins, 1978
Ink, gouache, and colored pencil on four sheets of paper, mounted on linen
93 x 59 in (236.2 x 149.9 cm)
Collection Sanders, Amsterdam
Two Horizons, A Thousand, 1978
Gouache on paper
64 x 54 1/2 in (162.6 x 138.3 cm)
Paul Maenz, Cologne
Under the Hat, 1978
Gouache on paper
60 x 57 in (152.4 x 144.8 cm)
IFIDA Health Care Group, Bryn Mawr, Pennsylvania
Self-portrait, The First, 1979
Ink, pastel and gouache on paper on linen
111,8 x 147,3 cm
Private collection
Sun, 1980
Gouache on twelve sheets of handmade Pondicherry paper, joined by cotton strips
91 x 95 in (231.1 x 241.3 cm)
Philadelphia Museum of Art
Self-portrait, 1980
Oil on linen
44,8 x 34,8 cm
Gian Enzo Sperone Collection, New York
Self-portrait, 1980
Oil on linen
50 x 40 cm
Private collection
Tondo, 1981
Soft ground etching and aquatint
composition and sheet (diam.): 17 x 17" (43.2 x 43.2 cm)
Museum of Modern Art, New York City
Water and wine, 1981
Watercolour, gouache on paper
243.0 x 248.0 cm
Art Gallery of New South Wales, Sydney, Australia
Perseverance, 1981
Oil on canvas
6' 6" x 7' 9" (198.1 x 236.2 cm)
The Museum of Modern Art, New York City
Atlas, 1982
Watercolor on Arches paper
14 x 20 in (35.7 x 50.8 cm)
Thomas Ammann, Zurich
Fire, 1982
Watercolor on Arches paper
14 x 20 in (35.7 x 50.8 cm)
Thomas Ammann, Zurich
Waiting, 1982
Watercolor on Arches paper
14 x 20 in (35.7 x 50.8 cm)
Thomas Ammann, Zurich
Morning, 1982
Color woodcut
The University of Michigan Museum of Art
Untitled, 1982
Woodblock on paper
17 x 22.5 inches
Walker Art Center, Minnesota
Self-portrait, 1982
Oil on linen
101,6 x 86,4 cm
Private collection
Abbraccio, 1983
Pastel on Rives paper
26 x 19 in (66 x 48.2 cm)
Private collection
Conversion to Her, 1983
Paint on plaster on styrofoam and fiberglass
three panels, 8' x 9' 4 7/8" x 2 3/4" (244 x 286.7 x 7 cm)
The Museum of Modern Art, New York City
Furniture, 1983
Pastel on Rives paper
26 x 19 in (66 x 48.2 cm)
Private collection
Three Dead Soldiers, 1983
Pastel on Rives paper
26 x 19 in (66 x 48.2 cm)
Private collection
Kiss, 1983
Pastel on paper
66 x 48,3 cm
Private collection
Porta Coeli, 1983
Tempera on linen
261,6 x 236,2 cm
Private collection
Ohne Titel, 1984
Acrylic on canvas
353.5 x 445,5 cm
The Four Corners, 1985
Gouache on twelve sheets of handmade Pondicherry paper, joined by cotton strips
94 x 94 in (238.8 x 238.8 cm)
Collection of Barbara Radice, Milan
Untitled (31 Watercolours of CVIII), 1985
Watercolour on paper
12,3 x 19,1 cm; 25,6 x 25,9 cm
Öffentliche Kunstsammlung Basel, Kupferstichkabinett
Untitled B, 1986
Print triptych: lithograph
65.8 x 201.0cm overall
Art Gallery of New South Wales, Sydney, Australia
Flower, 1988
Pastel on paper
66,5 x 48,3 cm
Private collection
Silence, 1988
Pastel on paper
66,5 x 48,3 cm
Private collection
Bestiarium, 1989
Pastel on paper
76,2 x 66,9 cm
Museum für Moderne Kunst, Frankfurt, Germany
Foot (Testa Coda IX), 1990
Oil on linen
64 x 50 cm
Kunstmuseum Basel, Switzerland
Spider King Obscuring the Sun, 1990
Oil stick on paper
h: 66.7 x w: 102.2 cm / h: 26.3 x w: 40.2 in
Meditation, 1991
Tempera on linen
76 x 61 cm
Private colection
Honey and Sleep, 1993
Mixed media on canvas
112 x 112 cm
Private collection
Sky, Ex Libris Chenonceau, 1994-95
Pastel on paper
66 x 48,3 cm
Francesco & Alba Clemente Collection, New York
Ánima (51 days on Mount Abu), 1995
Watercolour on paper
53,7 x 70,8 cm
Francesco & Alba Clemente Collection, New York
Food (51 days on Mount Abu), 1995
Watercolour on paper
53,7 x 70,8 cm
Private collection
Heart, 1996
Oil on linen
121,9 x 152,4 cm
The Brant Foundation, Greenwich, Connecticut
Two, 1996
Oil and mixed media on canvas
100 x 127 cm
Skin, 1996
Oil on linen
121,9 x 152,4 cm
Private collection
Grisaille Self-Portrait, 1997
Oil on canvas
76,5 x 76,5 cm
Gita Mehta, 1998
Watercolour on paper
36,2 x 50,8 cm
Private collection
Scissors and Butterflies, 1999
Oil on linen
91 x 92 inches
Guggenheim Museum, New York City
She, 2000
Watercolour on paper
h: 16 x w: 12.2 in / h: 40.6 x w: 31 cm
Sky and Water, 2001-2002
Watercolour on paper
h: 44.5 x w: 44.5 in / h: 113 x w: 113 cm
Fountain, 2004
Oil on canvas
h: 30 x w: 40 in / h: 76.2 x w: 101.6 cm
Origin, 2004
Oil on canvas
h: 30 x w: 40 in / h: 76.2 x w: 101.6 cm
Boy and Girl, 2004
Oil on canvas
h: 30 x w: 40 in / h: 76.2 x w: 101.6 cm
Atlantic Avenue I - Southern Cross, 2006
Oil on canvas
h: 69.5 x w: 86 in / h: 176.5 x w: 218.4 cm
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Em "Self-portrait, The First, 1979", o artista nu fixa em nós o seu olhar penetrante, e quase nos leva a retribuí-lo. Um grupo de aves diversas pousa sobre os seus ombros. O primeiro de uma série de grandes desenhos de expressão caligráfica que Clemente fez, representando-se a si próprio, esta obra ilustra a disposição quase erótica do artista quanto à auto-exploração e auto- exposição. A figura é tratada de uma forma expressiva, enquanto as aves simbolizam a supremacia da imaginação e da subjectividade sobre a razão. Esta obra é um exemplo da corrente neo-expressionista Transvarguardia que se centrava na recuperação figurativa e expressiva em larga escala. Nos finais dos anos 70, Clemente e os outros neo-expressionistas italianos tiveram um papel preponderante no reavivar da pintura figurativa. De certa forma, esta tendência pode ser vista como uma reacção ao Expressionismo Abstracto que dominou a cena artística por muitos anos. Francesco Clemente nasceu em Nápoles (IT) em 1952.
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Francesco Clemente was born on March 23, 1952, in Naples, into a family with aristocratic roots. After writing poetry and painting as a child, he went to Rome to study architecture at the Universit� degli Studi di Roma, La Sapienza in 1970. Leaving school before completing the program, he focused instead on art. Although he came of age when Arte Povera [more] and Conceptual art [more] were in vogue, Clemente concentrated on representation in works on paper. His first solo exhibition was at the Galleria Valle Giulia in Rome in 1971. After meeting Alighiero e Boetti in Rome in 1972, Clemente traveled with the artist in Afghanistan. In 1973, Clemente first visited India, a country to which he would return again and again, often summering there. In 1974, he met Alba Primiceri, a theater actor, whom he would later marry; she would become a frequent subject of his art. In 1976 and 1977, Clemente spent time at Madras's Theosophical Society, where he delved into its library of religious and spiritual texts. His interest in Hindu spiritual life and in other non-European cultures was combined with an enthusiasm for local popular culture and crafts. Clemente began collaborating with Indian sign painters, miniaturists, and papermakers, as in Francesco Clemente Pinxit, a 1980–81 series of miniatures in gouache on handmade paper, for which young miniaturists from Jaipur and Orissa painted the decorative elements. He continued making drawings and other works on paper in the 1970s, pursuing what would become his signature subjects: the human form, particularly women's bodies; his own image; sexuality; myth and spirituality; non-Western symbols; and dreamlike visions. Clemente's participation in the 1980 Venice Biennale brought him international attention. He rapidly became seen as one of the leaders of the �return to figuration,� dubbed the Transavanguardia in Italy (by art critic Achille Bonito Oliva) and Neo-Expressionism [more] in the United States, though Clemente himself was uncomfortable with such labels. This acclaim coincided with Clemente's move to a New York loft with his growing family. In 1981, he studied Sanskrit in New York. In 1981–82, Clemente created his first large oils, a series of twelve paintings titled The Fourteen Stations, which were shown at the Whitechapel Art Gallery in London in 1983. The following year, he collaborated with Andy Warhol and Jean-Michel Basquiat on a group of works. While Clemente was working on a large scale, he simultaneously developed various book projects, including three unique works created with Beat poet Allen Ginsberg. In the 1980s, Clemente continued to travel to India; he also sojourned in southern Italy and the American Southwest. In the 1990s, he added Jamaica to his list of favorite spots and began working in a studio in New Mexico. He used a wax fresco method known as cera punica around this time. During a 1995 trip to Mount Abu in the Himalayas, Clemente painted a watercolor a day for fifty-one days in between taking walks and meditating. Among Clemente's less traditional undertakings have been murals for the now-demolished Palladium nightclub in New York (1985) and a mural and lampshades for New York's Hudson hotel, which opened in 2000. In addition, he produced some two hundred works for director Alfonso Cuar�n's film Great Expectations (1998). Clemente's art has been shown in numerous solo and group exhibitions. The first major American traveling show of his art was organized by the John and Mable Ringling Museum of Art in Sarasota, Florida (1986). Retrospectives have been organized by the Sezon Museum of Art in Tokyo (1994) and the Solomon R. Guggenheim Museum (1999). Clemente continues to divide his time between New York, Madras, and Rome.
Guggenheim Collection - Clemente Biography
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Segunda-feira, Junho 04, 2007
Sails, 1911–12
Pastel on composition board mounted on wood panel
Image: 17 7/8 x 21 1/2 in. (45.4 x 54.6 cm) Frame: 23 7/8 x 27 1/2 in. (60.6 x 69.9 cm)
Terra Foundation for American Art
Nature Symbolized #3: Steeple and Trees, 1911–12
Pastel on board mounted on wood panel
Image: 18 x 21 1/2 in. (45.7 x 54.6 cm) Frame: 27 9/16 x 31 1/8 in. (70.0 x 79.1 cm)
Terra Foundation for American Art
Team of Horses, 1911 or 1912
Pastel on composition board mounted to plywood
Amon Carter Museum, Texas
A Walk: Poplars, 1912 or 1913
Pastel on silk mounted on board
Image: 21 5/8 x 17 7/8 in. (54.9 x 45.4 cm) Frame: 32 1/4 x 28 1/2 in. (81.9 x 72.4 cm)
Terra Foundation for American Art
Golden Storm, 1925
Oil and metallic paint on plywood panel
18 9/16 x 20 1/2 in
The Phillips Collection, Washington D.C.
Waterfall, 1925
Oil on hardboard
10 x 8 in
The Phillips Collection, Washington D.C.
Goin' Fishin', 1925
Assemblage of bamboo, denim shirt sleeves, buttons, wood and oil on wood
21 1/4 x 25 1/2 in.
The Phillips Collection, Washington D.C.
Huntington Harbor I, 1926
Assemblage of canvas, oil and sand on metal panel
12 x 9 1/2 in.
The Phillips Collection, Washington D.C.
Huntington Harbor II, c. 1926
Sand, cloth, wood chips, and oil on metal support
H: 10 3/4 x W: 12 3/4 inches (H: 27 x W: 32 cm)
Carnegie Museum of Art, Pittsburgh, Pennsylvania
Clouds, 1927
Oil and sandpaper on zinc
38.1 x 50.8 cm (15 x 20 in.)
Museum of Fine Arts, Boston
George Gershwin-I'll Build a Stairway to Paradise, 1927
Ink, metallic paint, and oil on paperboard
50.8 x 38.1 cm (20 x 15 in.)
Museum of Fine Arts, Boston
Distraction, 1928
Brush and black ink and watercolor
approximate: 21.8 x 29.8 cm (8 9/16 x 12 1/8 in.)
The National Gallery of Art, Washington D.C.
Tree Forms, c. 1928
Pastel and tempera on plywood
H: 26 3/4 x W: 31 1/4 inches (H: 68 x W: 79 cm)
Carnegie Museum of Art, Pittsburgh, Pennsylvania
Moth Dance, 1929
Oil on canvas
50.8 x 66.4 cm (20 x 26 1/8 in.)
The National Gallery of Art, Washington D.C.
Composition in Green and Gray (Untitled), about 1930
Tempera, watercolor and black ink on paper
36.8 x 36.8cm (14 1/2 x 14 1/2 in.)
Museum of Fine Arts, Boston
Sand Barge, 1930
Oil on cardboard
30 1/8 x 40 1/4 in
The Phillips Collection, Washington D.C.
Ice and Clouds, 1931
Oil on board
19 1/2 X 26 3/4" (49.53 X 67.95 cm.)
Butler Institute of American Art, Ohio
Sun Drawing Water, 1933
Oil on canvas
24 3/8 x 33 5/8 in
The Phillips Collection, Washington D.C.
Summer, 1935
Oil on canvas
63.82 x 86.36 cm (25 1/8 x 34 in.)
Museum of Fine Arts, Boston
Morning Sun, 1935
Oil on canvas
20 x 28 in
The Phillips Collection, Washington D.C.
Goat, 1935
Oil on canvas
23 x 31 in. (58.1 x 78.4 cm)
The Metropolitan Museum of Art, New York City
Moon, 1935
Oil on canvas
88.9 x 63.5 cm (35 x 25 in.)
The National Gallery of Art, Washington D.C.
Red Sun, 1935
Oil on canvas
20 1/4 x 28 in
The Phillips Collection, Washington D.C.
Electric Peach Orchard, 1935
Oil on canvas
20 1/4 x 28 in
The Phillips Collection, Washington D.C.
Cows in Pasture, 1935
Wax emulsion on canvas
20 x 28 in
The Phillips Collection, Washington D.C.
Lake Afternoon, 1935
Wax emulsion on canvas
25 x 35 in
The Phillips Collection, Washington D.C.
Me and the Moon, 1937
Wax emulsion on canvas
18 x 26 in
The Phillips Collection, Washington D.C.
Reminiscence, 1937
Oil and wax emulsion on canvas
14 1/2 x 20 1/2 in
The Phillips Collection, Washington D.C.
Phelps, New York, 1937
Watercolor and black ink
5 1/8 x 7 1/8 in
The Phillips Collection, Washington D.C.
The Moon was Laughing at Me, 1937
Wax emulsion on canvas
6 1/4 x 8 1/4 in
The Phillips Collection, Washington D.C.
Sun on the Lake, 1938
Oil, wax and resin on canvas
56.2 x 91.44 cm (22 1/8 x 36 in.)
Museum of Fine Arts, Boston
Motor Boat, 1938
Oil, wax, and resin on canvas
63.5 x 88.9 cm (25 x 35 in.)
Museum of Fine Arts, Boston
Tanks, 1938
Oil and wax on canvas
63.5 x 88.9 cm (25 x 35 in.)
Museum of Fine Arts, Boston
Willows, 1939
Watercolor
5 x 7 in
The Phillips Collection, Washington D.C.
Black and White, 1940
Gouache on paper
6 x 8 in. (12.7 x 17.8 cm.)
Smithsonian American Art Museum, Washington D.C.
Swans, 1940
Watercolor
5 1/2 x 8 7/8 in
The Phillips Collection, Washington D.C.
Neighborly Attempt at Murder, 1941
Oil and wax on canvas
51.12 x 71.44 cm (20 1/8 x 28 1/8 in.)
Museum of Fine Arts, Boston
1941, 1941
Wax emulsion on canvas
25 x 35 in
The Phillips Collection, Washington D.C.
Formation III (Green Landscape), about 1942
Oil and wax on canvas; reverse of Abstract Composition (Oil on canvas)
50.8 x 71.44 cm (20 x 28 1/8 in.)
Museum of Fine Arts, Boston
Abstract Composition, about 1942
Oil on canvas; reverse of Formation III (Green Landscape)
50.8 x 71.44 cm (28 x 20 in.)
Museum of Fine Arts, Boston
Square on the Pond, 1942
Wax-based paint on canvas
50.8 x 71.12 cm (20 x 28 in.)
Museum of Fine Arts, Boston
R 25-A, 1942
Wax emulsion on canvas
15 x 21 in
The Phillips Collection, Washington D.C.
Silver Chief, 1942
Wax emulsion on canvas
21 x 15 in
The Phillips Collection, Washington D.C.
Untitled (Organic Ochre Form, Serrated Blue Border), 1942–44
Transparent and opaque watercolor and tempera paint over black chalk on paper
Sheet: 7.5 x 10.2 cm (2 15/16 x 4 in.)
Museum of Fine Arts, Boston
Roof Tops, 1943
Oil and resin on canvas
60.96 x 81.28 cm (24 x 32 in.)
Museum of Fine Arts, Boston
Sun, 1943
Wax emulsion on canvas
24 x 32 in. (61.0 x 81.4 cm.)
Smithsonian American Art Museum, Washington D.C.
Sun, 1943
Wax emulsion on paper mounted on paperboard
3 x 4 in. (7.6 x 10.2 cm)
Smithsonian American Art Museum, Washington D.C.
Sun, 1943
Watercolor and pen and ink on paper
3 x 4 in. (7.6 x 10.2 cm)
Smithsonian American Art Museum, Washington D.C.
Flight, 1943
Wax emulsion on canvas
12 x 20 in
The Phillips Collection, Washington D.C.
Indian One, 1943
Oil and wax emulsion on canvas
18 x 24 in
The Phillips Collection, Washington D.C.
Rose and Locust Stump, 1943
Wax emulsion on canvas
24 x 32 in
The Phillips Collection, Washington D.C.
Mars Yellow, Red and Green, 1943
Oil on canvas
28 x 18 in. (71.1 x 45.7 cm)
Ringling Museum of Art, Florida
Pieces of Red, Green, and Blue, 1944
Oil and wax on canvas
46.04 x 61.59 cm (18 1/8 x 24 1/4 in.)
Museum of Fine Arts, Boston
Dancing Willows, about 1944
Oil and wax on canvas
68.58 x 91.12 cm (27 x 35 7/8 in.)
Museum of Fine Arts, Boston
That Red One, 1944
Oil and wax on canvas
68.58 x 91.44 cm (27 x 36 in.)
Museum of Fine Arts, Boston
Primitive Music, 1944
Gouache on canvas
18 x 24 in
The Phillips Collection, Washington D.C.
Young Old Master, 1946
Oil on canvas
10 x 11 in
The Phillips Collection, Washington D.C.
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Em "Lake Afternoon, 1935", as formas amarelas e castanhas ondulantes desta estranha paisagem imaginária assemelham-se simultaneamente a animais e a formas abstractas. Separadas por uma mancha cor de laranja, estas formas orgânicas foram pintadas como cartoons. A gama de cores inclui os tons pálidos, o amarelo e o cor de laranja vivos, a constrastar com o fundo azul. Dove representava frequentemente a natureza nos seus trabalhos, normalmente de forma abstracta. Escreveu acerca da sua obra: «Gostaria de apanhar o vento, a água e a areia e trabalhar com eles, mas, na maioria dos casos, tenho de limitar-me à cor e às linhas de força, tal como a música fez com o som.» Este pintor nava-iorquino sustentou-se durante anos trabalhando como ilustrador comercial em revistas. O ponto de viragem deu-se quando foi apresentado ao fotógrafo e galerista Alfred Stieglitz, que admirava especialmente a obra de Dove e lhe proporcionou a primeira exibição individual em 1912, a primeira exibição pública de arte abstracta americana. Arthur Dove nasvceu em Canandaigua, Nova Iorque (EUA) em 1880 e morreu em Centerport, Nova Iorque, em 1946.
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Arthur Dove (1880-1946), American - "I would like to make something that is real in itself," [Arthur Dove] once wrote, "that does not remind anyone of any other thing, and that does not have to be explained like the letter A, for instance." And so, in a sense, he did. For Dove was the first American artist to paint a completely abstract picture, or rather a set of six; he did this in or around 1910, perhaps a little before Wassily Kandinsky's first abstract compositions. The difference, however, was that whereas Kandinsky's abstract work fell at once into a cultural context in Europe, Dove's had none. So his abstract paintings changed nothing. His work was twice orphaned, by the general indifference of American taste and by his own reclusiveness. Thus it never had the chance to be tested against the great arguments of metropolitan modernism; it remained a sequence of lyric meditations on nature, some beautiful, others clumsy and naive, but always isolated. Dove's work was all about nature, from beginning to end. The son of a well-off brickmaker in Geneva, New York, he began his art career as an illustrator for the New York press and went, in 1907, on a year-and-a-half trip to Europe, spending most of it in Paris. There he fell in with the circle of American expatriates: Weber, Maurer, Bruce. Inspired by Fauvism, he exhibited at the Salon d'Automne in Paris in 1908 and 1909; typical of his early work was The Lobster, 1908, painted in Provence - by then the locus classicus of Fauvism - and showing the influence of Cezanne in the heavy construction of the still life and of Matisse in its lush color and the twining, exuberant cabbage rose wallpaper behind. This was Dove's only time in Paris. As soon as he got back to America he "went native," as he put it, spending much of his time camping in the wilderness. "I can claim no background," he once reflected, "except perhaps the woods, running streams, hunting, fishing, camping, the sky." Thereafter, landscape would dictate the essential forms of his work, and apart from the small, rather tentative abstractions of c. 1910 (some of which look like landscape anyway), there is hardly a painting by Dove that doesn't have some perceptible reference to landscape in it, whether in the earthen and green colors or the format ("sky" above, "land" below, sometimes with suns or just legible clouds, rocks, and foliage). Dove was immersed in nature. He wanted to be a farmer, and after his father in 1912 refused to support him with a stipend of one hundred dollars a month - "No, I won't do it, I won't encourage this madness," he exclaimed - he bought a farm in Connecticut and tried to make a living off it without much success. Later, in 1920, when he and his wife split up, he bought a yawl, the Mona, on which he lived for seven years sailing the waters of Long Island Sound along the Connecticut shore. These long experiences fed into his work, while isolating him from New York's small avant-garde circles. At the same time he felt that a rural or marine life didn't cut him out of the discourse. "What do we call 'America' outside of painting?" he asked a friend. "Inventiveness, restlessness, speed, change. Well, a painter may put all these qualities in a still life or an abstraction, and be going more native than another who sits quietly copying a skyscraper." In 1913 Dove explained to a friend his process of abstraction (or, as he sometimes called it, "extraction"): the landscape slowly disappears like the Cheshire cat in the tree, leaving the "abstract" form behind. The first step was to choose from nature a motif in color, and with that motif to paint from nature, the form still being objective. The second step was to apply this same principle to form, the actual dependence on the object ... disappearing, and the means of expression becoming purely subjective. After working for some time in this way, I no longer observed in the old way, and not only began to think subjectively but also to. remember certain sensations purely through their form and color, that is, by certain shapes, planes of light, or character lines determined by the meeting of such planes. In this way Dove believed he could arrive at "essences" that would transmit his sense of the spiritual in nature, the deep concern of his art. Such "essences" were shapes that symbolized different kinds of force, organic growth, and élan vital, suggesting (he thought) some inner principle of reality. His early abstractions, particularly the large pastel paintings on linen like Nature Symbolized, No. 2, 1911 are part of his effort to realize this. One can recognize its landscape basis - the round hill and high horizon line - but within it dance sail- and comma-like forms that lend the image a joyous vibrancy. It is in the same spirit as Kandinsky and Kupka. Perhaps because Dove's ideas about this were also in the American grain (they had been formed, in part, by his reading of Ralph Waldo Emerson), such early abstractions were tolerated by his American critics, though one journalist twitted him with the couplet "To show the pigeons would not do / And so he simply paints the coo." Actually, the coo mattered to Dove. He was interested in synesthesia - the possibility that sounds could be experienced and depicted as colors or shapes, an idea current in French Symbolist circles since the 1880s. Foghorns, 1929, represents the moaning of warning sirens in the Long Island mist as concentric rings of paint growing in lightening tones of grayed pink from a dark center: the bell mouths of the horns, their peculiar resonance, and the color of the fog are fused in one image. Dove had a homespun side too, a folksy kind of buckeye humor that came out in the series of assemblages he did between 1924 and 1930, such as Portrait of Ralph Dusenberry, 1924. It has little in common with Cubist collage - it is less formal and more anecdotal, with a side of the mouth twist, a few notches up from the kind of amateur driftwood-and-shell collages that were once a staple of seaside restaurants. It is unlikely that Dove ever saw a Schwitters, but this is a Yankee Merzbild, and the framing device - a folding wooden carpenter's rule - offers a laconic joke: how do you measure the fictional space of a work of art?
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