O SÉCULO PRODIGIOSO

A arte no século XX

Bakst, Leon - Arte-Deco

Sábado, Julho 28, 2007


Design for the Costume for the Gypsy Fortune Teller, 1900
Watercolor
29,5 x 22 cm
Private collection



Costumes sketch for Euripides tragedy, 1902-1903
Watercolor on paper
28,2x21 cm
National Gallery of Armenia, Yerevan, Armenia



Design for the First Costume for an Elderly Lady of Phaedra's Court with Variations of Detail for an Old Lady, 1903
Pencil, watercolor and gold paint
29 x 21,7 cm
Thyssen-Bornemisza Collection, Lugano



Self-Portrait, 1906
Crayon on paper
75,8 x 51,8 cm
State Tretiakov Gallery, Moscow



Elysium, 1906
Watercolor and gouache on paper on board
158 x 140 cm
State Tretiakov Gallery. Moscow



Projet de costume pour une odalisque du ballet Shéhérazade, 1910
Pencil, watercolor, gold paint
21.5 x 35 cm
Private collection



Design for Alexei Bulgakov's Costume as Shahriar, 1910
Pencil, watercolor, gouache, gold and silver paint (laid down)
35,5 x 22 cm
Thyssen-Bornemisza Collection, Lugano



Drawing of a Bayadère's Costume, 1910
Pencil, watercolor, gouache, gold and silver paint
29,7 x 19 cm
Thyssen-Bornemisza Collection, Lugano



Fantaisie sur le Costume Moderne, 1910
Pencil, watercolor and gouache
33 x 25,4 cm
The Metropolitan Museum of Art, New York City



Design for a Decadent Dress for Mrs. Legar, 1910
Watercolor, bronze paint, and Indian ink, on paper on board
30,8 x 23,3 cm
State Bakhrushin Theater Museum. Moscow



L’oiseau de feu, The Firebird, 1910



L'oiseau de feu, costume pour Tamara Karsavina, 1910



Scheherazade, La sultane bleue, 1910



Design for Nathalie Trouhanova's Costume as La Péri, 1911
Lithograph colored by hand in watercolor, gold and silver paint
59,8 x 43,7 cm
Thyssen-Bornemisza Collection, Lugano



Design for the Costume of a Pilgrim, 1911
Pencil, watercolor, gouache and silver paint (laid down)
28,2 x 22,8 cm
Thyssen-Bornemisza Collection, Lugano



Narcisse Bacchante, 1911



Design for Ida Rubinstein's Costume for Act IV, 1912
Pencil, watercolor and silver paint (laid down)
27 x 19,6 cm
Thyssen-Bornemisza Collection, Lugano



Le dieu bleu, Bayadere with Peacock, 1912



Costume Study for Nijinsky in his Role in La Péri, 1913
Watercolor
26 5/8 x 19 1/4 in. (67.6 x 48.9 cm)
Metropolitan Museum of Art, New York City



Bacchante, 1913
Watercolor, bronze paint, and pencil on paper on board



Design for a Masquerade Costume for Mr. Kharitonenko, 1914
Watercolor, bronze paint, and pencil on paper on board
25,8 x 19,1 cm
State Bakhrushin Theater Museum. Moscow



La legende de Joseph Potiphar's wife, 1914



Design for Scene 4: The Awakening, 1921
Pencil and watercolor
48 x 66,8 cm
Thyssen-Bornemisza Collection, Lugano



Design for the Costume for Cantalbutte, Master of Ceremonies in Scene 1, 1921
Pencil, watercolor, gouache and gold and silver paint
28,5 x 22,3 cm
Private collection



The Sleeping Beauty Wolf, 1921



Décor for the Curtain for the Beginning of Act I, 1922
Pencil, watercolor, gold and silver paint
52,8 x 80 cm
Thyssen-Bornemisza Collection, Lugano.



Design for Henri Rollan's M. Gabrio's and M. Numés'Costumes as the Three Generals in Act II: L'lle des Bienheureux, 1922
Pencil, watercolor, gouache, gold and silver paint (on card)
48,8 x 33 cm
Thyssen-Bornemisza Collection, Lugano



Design for M. Desjardins'Costume as Theseus, 1922
Pencil, watercolor, gold and silver paint (laid down)
30,8 x 22,3 cm
Thyssen-Bornemisza Collection, Lugano



Le sultan vindicatif, 1922



Design for the Set of Act II: Les Demeures de Phaedre, 1923
Pencil, watercolor and gouache (on card)
33,5 x 52,3 cm
Thyssen-Bornemisza Collection, Lugano



Design for Mille. Sylvie's Costume as Hipponoé, the Theban Slave, in Act I: Atrium du Palais de Thésée á Thrézène, 1923
Pencil, watercolor, gold and silver paint
29 x 21,2 cm
Thyssen-Bornemisza Collection, Lugano



Phedre and Theseus, 1923
Pencil, watercolor, gouache, gold and silver paint
Private collection

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Os desenhos de Bakst evocam as linhas sinuosas da Arte Nova do virar do século, bem como o elemento fantástico presente na arte de Chagall por volta desta época. (Chagall tinha estudado por um curto espaço de tempo na escola de arte de Bakst, em S. Pertersburgo). Nascido nesta cidade, Bakst estudou em Moscovo, antes de regressar à sua cidade natal em 1900, onde conheceu o bailarino Diaghilev, através do qual foi apresentado ao mundo do teatro e começou a contribuir de forma importante para a criação de cenários e figurinos. De seguida, mudou-se para Paris e foi aqui, em 1909, que começou a desenhar as suas criações mais extraordinárias para o Ballet Russe. Alguns dos seus trajes tornaram-se uma lenda ainda durante o seu tempo de vida, combinando as cores fortes da arte russa e a sofisticação e esplendor da arte oriental. Léon Bakst nasceu em S. Petersburgo (RUS) em 1866 e morreu em Paris em 1924.
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Rosenberg Lev Samoylovich called Bakst was a painter and a stage designer of Belorussian birth. He was born in Grodno on 10 May 1866 ans dead in Paris on 27 December 1924. Born into a middle class Jewish family, Bakst was educated in St Peterburg, attending the gymansium and the Academy of Arts (1883-1886). He began his professional life as a copyist and illustrator of teaching materials but quickly moved on to illustration of popular magazines. His tastes was influenced and horizons enlarged when he met Alexander Benois and his circle in 1890. Bakst traveled regularly to various countries into Europe and North Africa and studied in Paris with a number of notable artists including the French Orientalist painter Jean-Leon Gerome at the Academie Julian and, from 1893 to 1896, the Finish landscape painter Albert Adelfelt. Returning to the St Peterburg, he became active as a book designer and fashionable portrait painter. With Benois and Serge Diaghlev he was a founder of the WORL OF ART (Mir Iskusstva) group in 1898 and was largely responsible for the technical excellence of its influential magazine. Later he contributed graphics to such publications as "Apollon" and "Zolotoe Runo" ("The golden fleece"). In 1906 he became a drawing teacher at the Yelizaveta Zvantseva's private school in St Peterburg, where his pupils included Mark Shagall. The portrait of the dancer "Isadora Duncan" (Oxford, Ashmolean) in brush and ink, dating from her Russian tour in 1908, is typical of his draughts-manship in its sensual and flowing movement. Bakst realized his greatest artistic success in the theatre. Making the debut with designs for stage productions at the Hermitage and Alexandrinsky theatres in St Peterburg (1902-1903), he was then commissioned for several works at the Maryinsky theatre (1903-1904). In 1909 he collaborated with Diaghilev in the founding of Ballets Russes, where he acted as artistic director, and his stages designs rapidly brought him international fame. His colourful exotic costumes and decors for Diaghilev's Scheherezade (Paris, 1910) caused a sensation whenever the ballet was performed and prompted new fashions in dress and interior decorations. Between 1909 and 1921 he designed more Diaghilev productions than any other artist, his name became inseparable from the Ballets Russes. He also designed for other celebrities, included the artist producers Vera Komissarzhervskaya in 1906, Ida Rubinstein between 1911 to 1924. Rubistein's ballet "Le Martyre de saint Sebastien" (Paris, 1911) provided him with another spectacular triumph. He settled in Paris in 1912, having being exiled from St Peterburg where, as a Jew he was unable to obtain a residence permit. A dedicated professional who was able even in mid-career to make stylistic developments, Bakst was arguably the most accomplish painter, as well as designer, in the World of Art group. His early preferences were for Realist painters and Old Masters, such as Rembrandt and Velazquez. The animated line and relaxed postures in his portraiture also suggest the influence of his close friend Valentin Serov. Through Benois and his circle Bakst was attracted to "retrospectivism" and Orientalism, and motifs from ancient Greece and Egypt became signatures in his easel paintings and theoretical work. The Benois circle also introduced him to Symbolism and Art Nouveau. From 1900 these tendencies, and sensuousness similar to that of Konstantin Somov, characterized his graphic ornamentation and designs for the stage. Bakst did not experiment with Cubism, abstraction or any other innovations of the early 20th century, yet he modernized stage design and had many imitators. Through his Kinetic forms and bold color schemas, he integrated vertical space with the movement on stage. His costumes, though lavish, did not restrict dancers: in the manner of Isidora Duncan's tunics, they freed the torso. However his costumes for Diaghlev's revival of Imperial Ballte, The Sleeping Princess (London, 1921) were appropriately traditional as may be seen from his Design for Columbine from the ballet (London, Theatre Museum). Other examples of his designs for Diaghelev are to be found in the Australian National Gallery in Canberra.
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Feininger, Lyonel - Cubismo / Expressionismo

Quinta-feira, Julho 26, 2007


The White Man, 1907
Oil on canvas
68,3 x 52,3 cm
Museo Thyssen-Bornemisza, Madrid



Windmill on a Hilltop, 1910
Color lithograph on paper
10 x 8 3/8 in. (25.4 x 21.4 cm)
Smithsonian American Art Museum, Washington D.C.



Uprising, 1910
Oil on canvas
41 1/8 x 37 5/8" (104.4 x 95.4 cm)
The Museum of Modern Art, New York City



Town, 1910
Oil on canvas
36 cm (14.17 in.) x 33 cm (12.99 in.)
Private collection



The Disparagers, 1911
Watercolor and ink on paper
9 1/2 x 12 3/8" (24.1 x 31.4 cm)
The Museum of Modern Art, New York City



The Bicycle Race, 1912
Oil on canvas
80.3 x 100.3 cm (31 5/8 x 39 1/2 in.)
The National Gallery of Art, Washington D.C.



Gelmeroda II, 1913
Oil on canvas



Gelmeroda III, 1913
Oil on canvas
100.50 x 80.00 cm
National Galleries of Scotland, Edinburgh



Jesuits II, 1913
Oil on canvas
28 3/4 x 23 5/8 in. (73 x 60 cm)
Saint Louis Art Museum, Missouri



The Bridge I, 1913
Oil on canvas
80 x 100 cm
George Washington University Gallery of Art, St. Louis, MO



Gelmeroda IV, 1915
Oil on canvas



Gelmeroda VII, 1915
Oil on canvas



Woman's Head with Green Eyes, 1915
Oil on canvas
28 x 24 1/2 in. (71.1 x 62.2 cm)
Saint Louis Art Museum, Missouri



Gross-Kromsdorf I, 1915
Oil on canvas
39 x 31 1/2 in. (99.1 x 80.0 cm)
Minneapolis Institute of Arts, Minnesota



Street in Arceuil, 1915
Watercolor, ink, and charcoal on paper
11 1/4 x 9 3/8" (28.5 x 24 cm)
The Museum of Modern Art, New York City



Alley, 1915
Oil on canvas



The Green Bridge II, 1916
Oil on canvas
49 3/8 x 39 1/2 in. (125.4 x 100.3 cm)
North Carolina Museum of Art, Raleigh



Zirchow VI, 1916
Oil on canvas
32 3/16 in. x 39 9/16 in. (81.7 cm x 100.5 cm)
Art Gallery of the University of Rochester, New York



Arriving Steamship, 1917
Charcoal, India ink and pencil on tan laid paper
comp: 7-7/8 x 9-7/8 in. (20.0 x 25.1 cm)
sheet: 9-3/8 x 12-1/8 in. (23.8 x 30.8 cm)
Norton Simon Museum, Pasadena, California



Ships, 1917
Oil on canvas
71 x 85,5 cm
Museo Thyssen-Bornemisza, Madrid



Street in Paris, 1918
Woodcut
21-1/8 x 18-1/4 x in.
Smart Museum of Art at the University of Chicago



Norman Village I (Normannisches Dorf I), 1918
Oil on canvas
80 x 100 cm
Private collection



Euphoric Victory, 1918
Watercolor and pen and ink on paper
sheet 14 1/4 x 12 1/2" (36.4 x 32 )
The Museum of Modern Art, New York City



Zirchow VII, 1918
Oil on canvas
80.7 x 100.6 cm (31 3/4 x 39 3/8 in.)
The National Gallery of Art, Washington D.C.



Hohe Häuser IV, 1919
Oil/canvas
101x81 cm (39,8x31,9 in)
Private collection



Bridge V, 1919
Oil on canvas
31 5/8 x 39 1/2 inches (80.3 x 100.3 cm)
Philadelphia Museum of Art



Viaduct, 1920
Oil on canvas
100.9 x 85.7 cm
Private collection



Hopfgarten, 1920
Oil on canvas
63.5 x 81.92 cm
The Minneapolis Institute of Arts



Lady in Mauve, 1922
Oil on canvas
100,5 x 80,5 cm
Museo Thyssen-Bornemisza, Madrid



Torturm I, 1923-1926
Oil on canvas
61 x 47,5 cm
Kunstmuseum Basel, Switzerland



Gelmeroda IX, 1926



Barfüsserkirche II (Church of the Minorites II), 1926
Oil on canvas
42.75 x 36.625 x 2.5 inches
Walker Art Center, Minnesota



The Glorious Victory of the Sloop 'Maria', 1926
Oil on canvas
21 7/8 x 33 1/2 in. (55.6 x 85.1 cm)
Saint Louis Art Museum, Missouri



Village, 1927
Oil on canvas
16 7/8 x 28 1/2 in.
The Phillips Collection, Washington D.C.



Windmühle bei Usedom, 1927
Oil on canvas
h: 16.8 x w: 25.9 in / h: 42.7 x w: 65.8 cm



Gelmeroda XI, 1928
Oil on canvas



Gelmeroda XII, 1929
Oil on canvas



Market Church in Halle, 1930
Oil on canvas
102 x 80.4 cm
Pinakothek der Moderne - Staatsgalerie Moderner Kunst, Munich



Ober-Weimar, 1931
Oil on canvas
90 x 100 cm
Private collection



Sailing ship with three stars, 1933
Print woodcut on green paper
7.0 x 6.5cm image; 14.0 x 10.8cm sheet
Art Gallery of New South Wales, Sydney, Australia



Gelmeroda XIII, 1936
Oil on canvas



Cloud, 1936
Oil on canvas



Manhattan IV B, 1937
Water color on paper
31.4 x 24.1
Marlborough International Fine Art, New York



Dünen am Abend, 1937
Oil on canvas
48,3x77 cm (19,0x30,3 in)
Private collection



Dawn, 1938
Watercolor and ink on paper
12 3/8 x 18 7/8" (31.5 x 48 cm)
The Museum of Modern Art, New York City



Storm Brewing, 1939
Oil on canvas
48.2 x 77.5 cm (19 x 30 1/2 in.)
The National Gallery of Art, Washington D.C.



Manhattan I, 1940
Oil on canvas
39 5/8 x 31 7/8" (100.5 x 80.9 cm)
The Museum of Modern Art, New York City



Spook I, 1940
Oil on canvas
21 x 21 in
The Phillips Collection, Washington D.C.



The River, 1940
Ink and watercolor on paper
Worcester Art Museum, Worcester, MA



Waterfront, 1942
Watercolor and black ink
11 1/2 x 18 in.
The Phillips Collection, Washington D.C.



Becalmed, 1943
Pen and ink and watercolor on paper
31.1 x 48 cm
Private collection



Golden Sunrise, 1944
Watercolor, charcoal and ink on paper
h: 12.6 x w: 18.9 in / h: 32 x w: 48 cm



Lighthouse I, 1947
Watercolor
9 1/2 x 10 3/4 in
Hyde Collection Art Museum, Glens Falls, New York



Steamboat Landing, 1949
Oil on canvas
h: 48.3 x w: 61.2 cm / h: 19 x w: 24.1 in



Wanderers by the Sea II, 1949
Oil on canvas
h: 39.4 x w: 53.3 cm / h: 15.5 x w: 21 in

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Na série de quadros sobre a igreja de Gelmeroda, uma aldeia alemã, as cores incandescentes do edifício e as montanhas arrebatadoras adquirem uma natureza romântica e sonhadora. Feininger iniciou esta série de vistas da igreja e da povoação de Gemerolda em 1912. O escritor Hans Hesse escreveu: "A igreja de Gelmeroda esteve para Feiningercomo o Mont Sainte-Victoire para Cézanne - o tema de uma vida inteira, na procura de significados escondidos, à espera da expressão formal." A estrutura geométrica das formas arquitectónicas é essencialmente cubista, combinando diversas vistas da igreja, ao passo que o ambiente remete para os paisagistas românticos do século XIX. Também se denota o impacto dos expressionistas alemães. Feininger estudou na Alemanha, exibindo com o grupo expressionista Der Blaue Reiter (O Cavaleiro Azul) e dando aulas na escola Bauhaus. Pintou várias séries de paisagens marítimas, barcos à vela, pontes e viadutos. Lyonel Feininger nasceu em Nova Iorque (EUA) em 1871 e morreu na mesma cidade em 1956.
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Lyonel Feininger was born on 17 July 1871 as the son of a concert violinist of German origin and a singer and pianist. He followed his parents to Europe in 1887, where he first attended the drawing and painting class at the Gewerbeschule in Hamburg and later studied at the Königliche Kunst-Akademie in Berlin from 1888 to 1892. Then followed one year in Paris where he attended the private art school of the Italian sculptor Filippo Colarossi. Feininger returned to Berlin in 1893, where he earned a living mainly as an illustrator until 1906. He spent the following two years in Paris where he met the 'Café du Dôme'-circle of German Matisse pupils as well as Robert Delaunay. He became a member of the 'Berliner Sezession' in 1909, exhibiting at their show for the first time one year later. The artist travelled to Paris in 1911 for his exhibition at the 'Salon des Independants'. Here he had his first encounter with Cubism. His acquaintance with Alfred Kubin and the 'Brücke' painters Karl Schmidt-Rottluff and Erich Heckel opened up new perspectives for his own work in 1912. He began making his first architectural compositions with the typical Cubist fragmentation. In 1913 Franz Mark invited Feininger to participate in the 'Erster Deutscher Herbstsalon' at Herwarth Walden's 'Sturm'-Galerie in Berlin, which also organised Feininger's first one-man exhibition in 1917. Walter Gropius called him to the 'Bauhaus' in Weimar in 1919, where he taught graphic art and painting until 1926. Together with Wassily Kandinsky, Paul Klee and Alexej von Jawlensky Feininger founded the artist group 'Die Blauen Vier' in 1924. A first comprehensive retrospective exhibition took place in 1931 at the Kronprinzen-Palais in Berlin, where the artist moved in 1933. Feininger emigrated to New York in 1937. In the same year the National Socialists confiscated more than 400 of his works. Feininger's artistic breakthrough in the US only came in 1944 with a retrospective exhibition at the Museum of Modern Art in New York. In 1945 Feininger ran a summer course at the Black Mountain College in North Carolina, where he met Gropius and Einstein. His teaching, his writing and his later watercolours were an important source for the development of Abstract Expressionism in America.
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Weston, Edward - Fotografia

Sábado, Julho 21, 2007


Ruth St Denis in a Japanese costume, 1916
Photographic print
17 x 12 cm., mounted on paper 41 x 36 cm
New York Public Library Digital Gallery



Eloise Seaman, 1917
Palladium print
Portland Art Museum, Oregon




Betty Brandner, 1920
Platinum print
7 1/2 x 9 9/16 in
J. Paul Getty Museum, Los Angeles



Tina Modotti, 1923



Nude, Mexico, 1924
Gelatin silver print
5 3/8 x 9 5/16 in
J. Paul Getty Museum, Los Angeles



Little Birds, 1924
Palladium print
7 1/2 x 8 5/16 in
J. Paul Getty Museum, Los Angeles



Nahui Olin, 1924



Tina Reciting, 1924



Plaster Works/Western Plaster Mill, Los Angeles, 1925
Platinum print
7 9/16 x 9 7/16 in
J. Paul Getty Museum, Los Angeles



Nude, 1925
Gelatin silver print
5 13/16 x 9 3/16 in. (14.8 x 23.4 cm)
The Metropolitan Museum of Art, New York City



Nude, 1925



Nude, 1925
Gelatin Silver Print, printed by Cole Weston
h: 7 x w: 8.5 in / h: 17.8 x w: 21.6 cm



Torso of Neil, 1925



Cloud, Mexico, 1926
Palladium or platinum print
5 7/8 x 9 7/16 in
J. Paul Getty Museum, Los Angeles



Palma de Semana, 1926



Kelp, 1926
Gelatin silver print
h: 7.6 x w: 9.5 in / h: 19.3 x w: 24.1 cm



Two Shells, 1927
Gelatin silver print
9 1/2 x 7 1/4 in
J. Paul Getty Museum, Los Angeles



Still Life with Bananas and Orange, 1927
Gelatin silver print
7 7/16 x 9 5/16 in
J. Paul Getty Museum, Los Angeles



Nude, Los Angeles, 1927
Gelatin silver print
9 3/8 x 7 5/16 in
J. Paul Getty Museum, Los Angeles



Nude, Bertha Wardell, 1927
Gelatin silver print
8 11/16 x 6 1/2 in
J. Paul Getty Museum, Los Angeles



Nude, Dancer's Knees, 1927



Shell, 1927
Gelatin silver print
Portland Art Museum, Oregon



Shell, 1927



(Untitled) Joshua Tree, 1928
Gelatin silver print
Portland Art Museum, Oregon



Pepper, 1929
Gelatin silver print
Portland Art Museum, Oregon



Pepper, 1930
Photographic materials on Paper
9 7/16 in. x 7 1/2 in. (23.9 cm. x 19.1 cm.)
Ruth Chandler Williamson Gallery at Scripps College, California



Pepper # 30, 1930



Bedpan, 1930
Gelatin silver print
9 5/8 x 6 in. (24.5 x 15.2 cm)
The Metropolitan Museum of Art, New York City



Bananas, 1930
Gelatin silver print
Portland Art Museum, Oregon



Artichoke Halved, 1930



Jose Clemente Orozco, 1930



Hands of Kreutzberg, 1932
Gelatin silver print
9 7/8 x 7 1/8 in
J. Paul Getty Museum, Los Angeles



White Radish, 1933
Gelatin silver print
9 1/2 x 7 5/8 in
J. Paul Getty Museum, Los Angeles



Nude, 1934



Sand Dune, Oceano, 1936
Gelatin silver print
7 5/8 x 9 9/16 in
J. Paul Getty Museum, Los Angeles



Nude on the Sand, Oceano, 1936
Gelatin silver print
Portland Art Museum, Oregon



Charis Nude, 1936
Gelatin silver print
9 1/2 x 7 9/16 in
J. Paul Getty Museum, Los Angeles



Nude (on sand dunes), 1936



Dunes, Oceano, 1936
Gelatin silver print
7 5/8 x 9 5/8 in. (19.3 x 24.4 cm)
The Metropolitan Museum of Art, New York City



Squash, 1936



Grass Against Sea, 1937



Coolidge Dam, Arizona, 1937
Gelatin silver photograph
7 1/2 x 9 3/8
Museum of Fine Arts, Santa Fe, New Mexico



Tomato Field, 1937
Gelatin silver print
7 1/2 x 9 1/2 in
The Phillips Collection, Washington D.C.



Ranch, San Simeon Highway, 1937
Gelatin silver print
Portland Art Museum, Oregon



Dead Man, Colorado Desert, 1937



Nude Floating, 1939



Nude, 1939



Rubber Dummy, Metro Goldwyn Mayer, 1939



St. Roch Cemetery, New Orleans, 1941



Woodlawn Plantation, Louisiana, 1941



Dead Bird, Point Lobos, 1942



Civilian Defense (with Peaches), 1942



Bench/Comics, Elliot Point, 1944
Gelatin silver print
7 5/8 x 9 5/8 in
J. Paul Getty Museum, Los Angeles



Nude, 1945



Point Lobos, 1946



Portrait of a Man, n. d.
Photographic materials on Paper
9 1/4 in. x 6 5/8 in. (23.5 cm. x 16.83 cm.)
Ruth Chandler Williamson Gallery at Scripps College, California

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Edward Weston, um pioneiro da "fotografia directa", desenvolveu dos seus princípios pictóricos para um estilo claro e preciso. Em 1923, abriu um estúdio de retratos no Novo México, onde estabeleceu contacto com Diego Rivera, Frida Kahlo e outros artistas e intelectuais mexicanos. Nos seus nus, naturezas-mortas e close-ups, Weston demonstra a sua extraordinária sensibilidade para atextura de superfícies, conferindo-lhes uma dimensão quase táctil. Edward Weston nasceu em Highland Park, Illinois, em 1886 e morreu em Wildcat Hill em 1958.
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Edward Weston was born in 1886 in Highland Park, Illinois. When he was sixteen years old his father gave him a Kodak Bulls-Eye #2 camera and he began to photograph at his aunt's farm and in Chicago parks. In 1903 Weston first had his photographs exhibited at the Chicago Art Institute. Soon after the San Francisco earthquake and fire on April 19, 1906, Weston came to California to work as a surveyor for San Pedro, Los Angeles and Salt Lake Railroad. For a short while Weston returned to Chicago and attended the Illinois College of Photography, but came back to California to live in 1908 where he became a founding member of the Camera Pictorialists of Los Angeles. He married Flora Chandler in 1909 and they soon gave birth to two sons: Edward Chandler Weston, in 1910 and Theodore Brett Weston in 1911. Weston had his own portrait studio in Tropico, California and also began to have articles published in magazines such as American Photography, Photo Era and Photo-Miniature where his article entitled "Weston's Methods" on unconventional portraiture appeared in September, 1917. Weston's third son, Laurence Neil Weston, was born in 1916 and his fourth, Cole Weston, in 1919. Soon after Weston met Tina Modotti which marked the starting point of their long relationship, photographic collaborations in Mexico and later much publicized love affair. Modotti's husband, a political radical in Mexico, died in 1922. That same year Weston traveled to Ohio to visit his sister and there took photographs of the Armco Steel Plant. From Ohio he went to New York and met Alfred Stieglitz, Paul Strand, Charles Sheeler and Georgia O'Keefe. At this time Weston renounced Pictorialism and began a period of transition, self-analysis and self-discipline while making voyages to Mexico, often with Modotti and one of his sons. Some of the photographs that he and Modotti made in Mexico were published in Anita Brenner's book Idols Behind Altars. Weston began photographing shells, vegetables and nudes in 1927. Weston kept very detailed journals or "Day Books" of his daily activities, thoughts, ideas and conversations. His first publication of these writings "From My Day Book" appeared in 1928 - others were published after his death. Two years later he had his first New York exhibit at Alma Reed's Delphic Studios Gallery and later exhibited at Harvard Society of Contemporary Arts with Walker Evans, Eugene Atget, Sheeler, Stieglitz, Modotti and others. Weston was a Charter member of the "Group f/64" that was started in 1932 and included Ansel Adams, Imogen Cunningham, Consuelo Kanaga and others. They chose this optical term because they habitually set their lenses to that aperture to secure maximum image sharpness of both foreground and distance. Weston went even further toward photographic purity in 1934 when he resolved to make only unretouched portraits. Even though several large exhibitions followed, he was still of modest means and in 1935 initiated the "Edward Weston Print of the Month Club" offering photographs at $10 each. In 1937 he was the first photographer to be awarded a Guggenheim fellowship taking his assistant Charis Wilson along on his travels whom he married the next year. In 1940 the book California and the West was published with text by Charis and photographs by Edward. The same year he participated in the U.S. Camera Yosemite Photographic Forum with Ansel Adams and Dorthea Lange. In 1941 he was commissioned by Limited Editions Club to illustrate a new edition of Walt Whitman's Leaves of Grass. Weston started experiencing symptoms of Parkinson's disease in 1946 and in 1948 made his last photographs at Point Lobos. In 1952 his Fiftieth Anniversary Portfolio was published with his images printed by Brett. In 1955 Weston selected several of what he called "Project Prints" and began having Brett, Cole and Dody Warren print them under his supervision. Lou Stoumen released his film The Naked Eye in 1956 of which he used several of Weston's print as well as footage of Weston himself. Edward Weston died at home on January 1, 1958.
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Tàpies, Antoni - Arte Abstracta

Sexta-feira, Julho 20, 2007


White and red, 1954
Mixed media on canvas
115 x 88 cm
Colección Fundació Antoni Tàpies, Barcelona, Spain



Great Oval or Painting, c. 1955
Mixed media on canvas
194.5 x 170 cm
Bilbao Fine Arts Museum, Spain



All White No. II, 1955
Mixed media on canvas
57 1/2 x 38 in. (146.1 x 96.5 cm)
The Museum of Contemporary Art, Los Angeles



Grey and Black Cross. No. XXVI, 1955
Mixed media on canvas
57 1/8 x 44 5/8 in. (145.1 x 113.3 cm)
The Museum of Contemporary Art, Los Angeles



Grey Relief Perforated with Black Sign. No. X, 1955
Mixed media on canvas
57 5/8 x 38 in. (146.4 x 96.5 cm)
The Museum of Contemporary Art, Los Angeles



Òval blanc, 1956
Mixed media on canvas
100 x 81 cm
Städtische Museum, Krefeld, Germany



Grey and Green Painting, 1957
Peinture grise et verte
Oil, epoxy resin and marble dust on canvas
1140 x 1613 mm
Tate Gallery, London



Great Painting, 1958
Mixed media on canvas
78 1/2 x 103 inches
Guggenheim Museum, New York City



Relieve rojo, 1958
Mixed media on canvas
195 x 150 cm
Private collection



Gray Relief on Black, 1959
Latex paint with marble dust on canvas
6' 4 5/8" x 67" (194.6 x 170 cm)
The Museum of Modern Art, New York City



Marble-Worker's Sand with Six Footprints, 1959
Mixed media on canvas
102 1/2 x 76 1/2 in. (260.4 x 194.3 cm)
The Museum of Contemporary Art, Los Angeles



Gris Violacé aux Rides [Violet Grey with Lines], 1961
Mixed media on canvas
200.00 x 176.00 cm
National Galleries of Scotland, Edinburgh



Pequeño azul, 1962
Mixed media
90 x 217 cm
Maeght Gallery, New York



Great White with Bedframe (Grand blanc à la cage), 1965
Mixed media on canvas mounted on wood
195 x 130 cm
Städel Museum, Frankfurt



Cartone con la T - 1968



Pintura de la tabla de planchar, 1970
Mixed media ans collage on canvas
170 x 195 cm
Private collection



The Sieve, 1972
Le Tamis
Intaglio print on paper
654 x 892 mm
Tate Gallery, London



Blanche Tendue et Graphisme Noire, 1974
Monotype
140 cm x 95 cm
Tehran Museum of Contemporary Art, Iran



Cartography, 1976
Cartographie
Intaglio print on paper
560 x 843 mm
Tate Gallery, London



Chaises (Chairs), 1981
Carborundum
composition: 36 1/4 x 54 3/4" (92 x 139 cm); sheet: 36 5/8 x 54 3/4" (93 x 139 cm)
The Museum of Modern Art, New York City



A + M, 1985
Lithography
25 x 70 cm.



Nº 34, 1985
Lithography
56,5 x 75,5 cm



Tres ulls vermells - 1992
Mixed media on paper



Feet, 1992
Mixed media on wood
150 x 150 cm
Private collection



Head, 1995
Mixed media on wood
116.5 x 89 cm
Private collection



Hesychasta, 1996
Watercolor on paper
157,5 x 130,5 cm
Private collection



Matèria i frontissa, 1996
Procediment mixt i assemblage sobre fusta
65 x 81 cm



Orelles, 1997
Procediment mixt sobre fusta
46 x 55 cm



Alaya, 1998
Procediment mixt sobre fusta
150 x 150 cm


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O uso de materiais atípicos, tais como areia e asfalto, faz lembrar a obra dos artistas da Arte Povera, que transformavam os elementos mais simples em obras de arte, enquanto que os rabiscos ao acaso são influenciados pela Arte Informal, um movimento que se centrava em obras abstractas inspiradas no subconsciente do artista. Nascido em Barcelona em 10 de Abril de 1923, Tàpies testemunhou em primeira mão os acontecimentos da Guerra Civil espanhola. A guerra teve um impacto importante na sua obra, dando-lhe uma dimensão influente e ocasionalmente um ponto de vista político. Tàpies é um dos mais importantes artistas espanhóis do pós-guerra, admirado pela beleza perene das suas obras.
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Antoni Tàpies was born December 13, 1923, in Barcelona. His adolescence was disrupted by the Spanish Civil War and a serious illness that lasted two years. Tàpies began to study law in Barcelona in 1944 but decided instead within two years to devote himself exclusively to art. He was essentially self-taught as a painter; the few art classes he attended left little impression on him. Shortly after deciding to become an artist, he began attending clandestine meetings of the Blaus, an iconoclastic group of Catalan artists and writers who produced the review Dau al Set. Tàpies’s early work was influenced by the art of Max Ernst, Paul Klee, and Joan Miró, and by Eastern philosophy. His art was exhibited for the first time in the controversial Salo d’Octubre in Barcelona in 1948. He soon began to develop a recognizable personal style related to matière painting, or Art Informel [more], a movement that focused on the materials of art-making. The approach resulted in textural richness, but its more important aim was the exploration of the transformative qualities of matter. Tàpies freely adopted bits of detritus, earth, and stone—mediums that evoke solidity and mass—in his large-scale works. In 1950, his first solo show was held at the Galeries Laietanes, Barcelona, and he was included in the Carnegie International in Pittsburgh. That same year, the French government awarded Tàpies a scholarship that enabled him to spend a year in Paris. His first solo show in New York was presented in 1953 at the gallery of Martha Jackson, who arranged for his work to be shown the following year in various parts of the United States. During the 1950s and 1960s, Tàpies exhibited in major museums and galleries throughout the United States, Europe, Japan, and South America. In 1966, he began his collection of writings, La practica de l’art. In 1969, he and the poet Joan Brossa published their book, Frègoli; a second collaborative effort, Nocturn Matinal, appeared the following year. Tàpies received the Rubens Prize of Siegen, Germany, in 1972. Retrospective exhibitions were presented at the Musée National d’Art Moderne, Paris, in 1973 and at the Albright-Knox Art Gallery, Buffalo, New York, in 1977. The following year, he published his prize-winning autobiography, Memòria personal. In the early 1980s, he continued diversifying his mediums, producing his first ceramic sculptures and designing sets for Jacques Dupin’s play L’Eboulement. By 1992, three volumes of the catalogue raisonné of Tàpies’s work had been published. The following year, he and Cristina Iglesias represented Spain at the Venice Biennale, where his installation was awarded the Leone d’Oro. A retrospective exhibition was presented at the Galerie Nationale du Jeu de Paume, Paris, and the Guggenheim Museum SoHo, New York, in 1994–95. Tàpies lives in Barcelona.

Guggenheim Collection - Tàpies Biography
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Picabia, Francis - Dadaísmo / Surrealismo

Quarta-feira, Julho 18, 2007


The Procession, Seville, 1912
Oil on canvas
121.92 x 121.92 cm (48 x 48 in.)
The National Gallery of Art, Washington D.C.



New York as Seen from Across the Body / La ville de New York aperçue à travers le corps - 1913
Gouache, watercolor, pencil and Chinese ink on paper
Private collection



New York, 1913
Gouache, watercolor, and pencil on paper
22 x 29 7/8" (55.8 x 75.9 cm)
The Mueum of Modern Art, New York City



Edtaonisl (Clergyman), 1913
Oil on canvas
Art Institute of Chicago



See Again in Memory My Dear Udnie, 1914, possibly begun 1913
Oil on canvas
8' 2 1/2" x 6' 6 1/4" (250.2 x 198.8 cm)
The Museum of Modern Art, New York City



Star Dancer on a Transatlantic Steamer, 1913
Watercolor
Private collection



Udnie (Young American Girl: Dance), 1913
Oil on canvas
300 x 300 cm
Musée National d'Art Moderne, Centre Pompidou, Paris



Comic Wedlock, c. June-July 1914
Oil on canvas
6' 5 3/8" x 6' 6 3/4" (196.5 x 200 cm)
The Museum of Modern Art, New York City



This Has to Do with Me. c. June-July 1914
Oil on canvas
6' 6 5/8" x 6' 6 3/8" (199.8 x 199.2 cm)
The Museum of Modern Art, New York City



The Embarassment, 1914
Watercolor
Museo Thyssen-Bornemisza, Madrid



Paroxysm of Pain, 1915
Ink and metallic paint on cardboard
80 x 80 cm
National Gallery of Canada, Ottawa



Here, This Is Stieglitz Here, 1915
Pen and ink on paper
29 7/8 x 20 in. (75.9 x 50.8 cm)
The Metropolitan Museum of Art, New York City



Very Rare Picture on the Earth (Très rare tableau sur la terre) - 1915
Oil and metallic paint on board, and silver and gold leaf on wood, including artist’s painted frame
Guggenheim Museum, New York City



Fille née sans mère [Girl Born without a Mother], about 1916 - 1917
Gouache and metallic paint on printed paper
50.00 x 65.00 cm
National Galleries of Scotland, Edinburgh



Parade Amoureuse, 1917
Private collection



Machine tournez vite (Machine Turn Quickly), 1916/1918
Brush and ink with watercolor and shell gold on paper; laid down on canvas
49.6 x 32.7 cm (19 1/2 x 12 7/8 in.)
The National Gallery of Art, Washington D.C.



The Child Carburetor - 1919
Oil, enamel, metallic paint, gold leaf, pencil, and crayon on stained plywood
Guggenheim Museum, New York City



Take Me There ["M'Amenez-y"], 1919-20
Oil on cardboard
50 3/4 x 35 3/8" (129.2 x 89.8 cm)
The Museum of Modern Art, New York City



Conversation I, 1922
Watercolour and pencil on paper
595 x 724 mm
Tate Gallery, London



Conversation II, c. 1922
Watercolor on composition board
17 7/8 x 23 7/8" (45.4 x 60.6 cm)
The Museum of Modern Art, New York City



The Fig-Leaf 1922
La Feuille de vigne
Household paint on canvas
2000 x 1600
Tate Gallery, London



Self-Portrait, 1923
Ink and pencil on paper
10 7/8 x 8 3/8" (27.4 x 21.2 cm)
The Museum of Modern Art, New York City



Le baiser, 1923 - 1926
Oil on canvas
92 x 73,8 cm
GAM - Galleria Civica d'Arte Moderna e Contemporanea, Turin



La femme de l'amour - 1927-28
Watercolor, pencil and fusain on paper
Galerie Piltzer



Sotileza [Subtlety], about 1928
Gouache on paper
75.70 x 55.70 cm
National Galleries of Scotland, Edinburgh



Untitled/Sans titre, c. 1928-29
Watercolor on paper
39 x 28 cm
Private collection



The Handsome Pork-Butcher circa 1924-6, circa 1929-35
Le Beau Charcutier
Oil and mixed media on canvas
924 x 737 x 22 mm
Tate Gallery, London



Otaïti, 1930
Oil and resin on canvas
1940 x 1303 mm
Tate Gallery, London



Adam et Ève - 1931
Oil on canvas
Private collection



Virgin with Infant/Vierge à l'enfant, c. 1933-35
Oil on canvas
160 x 130 cm
Private collection



Ève, 1934
Oil on canvas
41 x 33 cm
Private collection



Portrait of a Doctor, circa 1935-8
Portrait d'un docteur
Oil on canvas
920 x 728 x 18 mm
Tate Gallery, London



Self-Portrait - 1940
Oil on cardboard
Private collection



Montparnasse - 1940-41
Oil on cardboard
Private collection



Two Nudes/Deux Nus. c. 1941
Oil on cardboard
106 x 75.5 cm
Private collection



Portrait of a Couple, 1942-43
Oil on board
41 5/8 x 30 1/2" (105.7 x 77.4 cm)
The Museum of Modern Art, New York City



Nude from Back / Nu de dos, 1942-44
Oil on wood
105 x 75 cm
Private collection



Two Women with poppies / Deux femmes aux pavots, 1942-44
Oil on cardboard
105 x 75 cm
Private collection



In Favor of Criticism / En faveur de la critique, 1945
Oil on canvas
103 x 75 cm
Private collection



The Joy in Blindness / Bonheur de l'aveuglement, 1947
Oil on wood
151.5 x 96 cm
Private collection



Coloque, 1949
Oil on cardboard
96 x 129.5 cm
Private collection

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Rico, rebelde, extravagante, pintor e poeta muito imaginativo, Picabia foi um grande comunicador , das vanguardas que surgiram no decorrer das primeiras décadas do século XX. O seu pai era descendente de uma rica família espanhola exilada em Cuba e sua mãe pertencentia à burguesia parisiense. Revelou desde cedo o seu interesse pela pintura, participando aos 15 anos de idade do "Salão de Artistas Franceses". No início do século, encontramos Picabia totalmente absorvido pela pintura impressionista. Mas, entediado com o Impressionismo, associou-se aos cubistas do círculo Puteaux e foi um dos membros fundadores da Section D’or. Em 1912, casou-se com Gabrielle Buffet com quem viajou a Nova Iorque para participar do "Armony Show". Lá conheceu Duchamp, com quem fundou o Dada americano em Nova Iorque em 1913. Sua primeira publicação Dada foi em 1916, em Barcelona. Em 1918, juntou-se ao Dada de Zurique. Seu retorno a Paris foi narrado por provocativas demonstrações Dada. Após o colapso do movimento em Paris em 1922, passou a fazer parte do Surrealismo. Em 1925, decidiu viver no sul da França, onde conheceu Olga Mohler, com quem se casou vinte anos depois. Retornou a Paris em 45 onde viveu até a sua morte.
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Francis Picabia was born François Marie Martinez Picabia on or about January 22, 1879, in Paris, of a Spanish father and a French mother. He was enrolled at the Ecole des Arts Décoratifs in Paris from 1895 to 1897 and later studied with Fernand Cormon, Ferdinand Humbert, and Albert Charles Wallet. He began to paint in an Impressionist manner in the winter of 1902–03 and started to exhibit works in this style at the Salon d’Automne and the Salon des Indépendants of 1903. His first solo show was held at the Galerie Haussmann, Paris, in 1905. From 1908, elements of Fauvism [more] and Neo-Impressionism as well as Cubism [more] and other forms of abstraction appeared in his painting, and by 1912 he had evolved a personal amalgam of Cubism and Fauvism. Picabia worked in an abstract mode from this period until the early 1920s. Picabia became a friend of Guillaume Apollinaire and Marcel Duchamp and associated with the Puteaux group in 1911 and 1912. He participated in the 1913 Armory Show, visiting New York on this occasion and frequenting avant-garde circles. Alfred Stieglitz gave him a solo exhibition at his gallery “291” that same year. In 1915, which marked the beginning of Picabia’s machinist or mechanomorphic period, he and Duchamp, among others, instigated and participated in Dada [more] manifestations in New York. Picabia lived in Barcelona in 1916 and 1917. In 1917, he published his first volume of poetry and the first issues of 391, his magazine modeled after Stieglitz’s periodical 291. For the next few years, Picabia remained involved with the Dadaists in Zurich and Paris, creating scandals at the Salon d’Automne, but finally denounced Dada in 1921 for no longer being “new.” The following year, he moved to Tremblay-sur-Mauldre outside Paris, and returned to figurative art. In 1924, he attacked André Breton and the Surrealists in 391. Picabia moved to Mougins in 1925. During the 1930s, he became a close friend of Gertrude Stein. By the end of World War II, Picabia returned to Paris. He resumed painting in an abstract style and writing poetry. In March 1949, a retrospective of his work was held at the Galerie René Drouin in Paris. Picabia died November 30, 1953, in Paris.

Guggenheim Collection - Picabia Biography
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Diego Rivera - Social Realismo - Muralismo

Sexta-feira, Julho 13, 2007


La Era, 1904
Oil on canvas
100 x 114.6 cm
Museo-Casa de Diego Rivera, Guanajuato, Mexico



Still Life, 1913
Oil on canvas
84x65 cm
Hermitage Museum, Saint Petersburg, Russia



Fusilero marino, 1914
Oil on canvas
113,9 x 69,9 cm
Museo Casa Diego Rivera. Guanajuato, Mexico



Jacques Lipchitz (Portrait of a Young Man), Paris 1914
Oil on canvas
25 5/8 x 21 5/8" (65.1 x 54.9 cm)
The Museum of Modern Art, New York City



Table on a Café Terrace, 1915
Oil on canvas
23 7/8 x 19 1/2 in.(60.6 x 49.5 cm)
Metropolitan Museum of Art, New York City



Paisaje zapatista, 1915
Oil on canvas
145 x 125 cm
Museo Nacional de Arte, Ciudad de México, México



No. 9, Nature Morte Espagnole, 1915
Oil on canvas
90.5 x 110.5 cm (35 5/8 x 43 1/2 in.)
The National Gallery of Art, Washington D.C.



Retrato de Ramón Gómez de la Serna, 1915
Oil on canvas
109,2 x 90,2 cm
Colección Plácido Arango, Madrid, Spain



Maternidad - Angelina y el niño Diego, 1916
OIl on canvas
132 x 86 cm
Museo de Arte Alvar y Carmen T. de Carrillo Gil, Ciudad de Mexico, Mexico



The Mathematician. 1919
Oil on canvas
45 1/2 x 31 3/4 in.
Fundación Dolores Olmedo Pati–o, A.C., Mexico City



Bañista de Tehuantepec, 1923
Oil on canvas
63 x 52 cm
Colección Marte R. Gómez. Museo Casa de Diego Rivera. Guanajuato



The Maize Festival (La fiesta del maíz), from the cycle "Political Vision of the Mexican People", 1923-24
Fresco
Ministry of Education, Mexico City



Woman Grinding Maize, 1924
Encaustic on canvas
42 x 48 in.
Museo Nacional de Arte, Mexico City



Flower Festival (Festival de las flores), 1925
Oil on canvas
Los Angeles County Museum of Art



Espalda Desnuda de una Mujer Sentada, 1926
Red chalk and charcoal
Fine Arts Museums of San Francisco



Germinación, 1926 - 1927
Fresco del ciclo "Canto a la tierra" (La revolución natural)
3.54 x 3.48 m
3º wall right



Maduración, 1926 - 1927
Del ciclo "Canto a la tierra" (La revolución natural)
3.54 x 3.67 m
3º wall right



Enrrielando, Moscú (Sawing Rails, Moscow), 1927
Charcoal
25 x 19 inches
Arthur Ross Gallery at the University of Pennsylvania



Night of the Rich, 1928
Fresco
North wall, Courtyard of the Fiestas
Ministry of Education, Mexico City



The Arsenal- Frida Kahlo Distributes Arms (El arsenal- Frida Kahlo repartiendo armas), detail, from the cycle "Political Vision of the Mexican People", 1928
Fresco
Ministry of Education, Mexico City



Baile en Tehuantepec, 1928
Oil on canvas
199 x 162 cm
Private collection, USA



Revolt and The New Religion, 1929-1930
Fresco
13' 11" x 4' 5" and 14' 3" x 4'3"
Cortes Palace, Cuernavaca, Mexico



Flower Festival: Feast of Santa Anita, 1931
Encaustic on canvas
6' 6 1/2" x 64" (199.3 x 162.5 cm)
The Museum of Modern Art, New York City



Agrarian Leader Zapata, 1931
Fresco
7' 9 3/4" x 6' 2" (238.1 x 188 cm)
The Museum of Modern Art, New York City



Hat Makers, 1931
India ink
The University of Michigan Museum of Art



Fruits of Labor, 1932
Lithograph
Metropolitan Museum of Art, New York City



Detroit Industry, North Wall, 1932-33
Fresco
Detroit Institute of Arts



Detroit Industry, South Wall, 1932-33
Fresco
Detroit Institute of Arts



The Flower Carrier, 1935
Oil and tempera on masonite
48 x 47 3/4 in. (121.9 x 121.3 cm)
San Francisco Museum of Modern Art



Niña Parada, 1937
Oil on canvas
21x 23 in
Arizona State University Art Museum



Niña con Elotes (Young Girl with Ears of Corn), ca. 1938
Watercolor on Japanese rice paper
15 x 11 inches
Arthur Ross Gallery at the University of Pennsylvania



Profile of an Indian Woman with Lilacs, 1938
Charcoal and pastel.
Milwaukee Art Museum, Wisconsin



Portrait of Lupe Marín (Retrato de Lupe Marín), 1938
Oil on canvas
Museo de Arte Moderno, Mexico City



Portrait of Modesta and Inesita (Retratos de Modesta e Inesita), 1939
Oil on canvas
Collection of the Estate of Licio Lagos, Mexico City



Portrait of Frida Kahlo, 1940
Pan-American Unity -Detail
Fresque
City College of San Francisco



Las manos del Dr. Moore, 1940
Oil on canvas
45.7 x 55.9 cm
San Diego Museum of Art, San Diego



Self-Portrait Dedicated to Irene Rich (Autorretrato dedicado a Irene Rich), 1941
Oil on canvas
Smith College Museum of Art, Northampton, Massachusetts



Portrait of Natasha Zakólkowa Gelman (Retrato de Natasha Zakólkowa Gelman), 1943
Oil on canvas
Jacques and Natasha Gelman Collection, Mexico City



Nude with Calla Lilies (Desnudo con alcatraces), 1944
Oil on cardboard
Emilia Gussy de Gálvez collection, Mexico City



Las Ilusiones, 1944
Oil on canvas
Museu de Arte São Paulo. Sãoo Paulo. Brazil



A Dream of a Sunday Afternoon in Alameda Park, 1947-48
Fresco
Alameda Hotel, Mexico City



A Dream of a Sunday Afternoon in Alameda Park, detail of center, 1947-48
Fresco
Alameda Hotel, Mexico City



A Dream of a Sunday Afternoon in Alameda Park, detail of right side, 1947-48
Fresco
Alameda Hotel, Mexico City



Retrato de Ruth Rivera, 1949
Oil on canvas
199 x 100.5 cm
Collection of Rafael Coronel, Cuernavaca, Mexico



Vendedora de Flores, 1949
Oil on masonite
Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain



Pre-Hispanic America (Book cover for Pablo Neruda's "Canto General"), 1950
Oil on canvas
Collection of the Estate of Licio Lagos, Mexico City



Figura simbolizando la raza asiática
El agua, origen de la vida, 1951
Ciclo de fresco sobre poliestireno y goma.
Suelo y 4 pinturas murales. Total 224 m2.
Cárcamo del río Lerma. Chapultepec-Park. Ciudad de México



Figura simbolizando la raza negra
El agua, origen de la vida, 1951
Ciclo de fresco sobre poliestireno y goma
Suelo y 4 pinturas murales. Total 224 m2
Cárcamo del río Lerma. Chapultepec-Park. Ciudad de México



Estudio del pintor, 1954
Oil on canvas
178 x 150 cm
Colección de la Secretaría de Hacienda Crédito Público, Mexico City



Retrato de Dolores Olmedo, 1955
Oil on canvas
Collection of Dolores Olmedo, Mexico City, Mexico




Desfile del 1º de Mayo en Moscú, 1956
Oil on canvas
135.2 x 108.3 cm
Colección Fomento Cultural Banamex. Mexico City



Las Sandías, 1957
Oil on canvas
Collection of Dolores Olmedo. Mexico City. Mexico

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No fresco "El arsenal- Frida Kahlo repartiendo armas - 1928), o autor, que era um ardente comunista, mostra uma cena revolucionária no México. Ao centro está a sua mulher, a artista Frida Kahlo, ajudando a distribuir armas aos trabalhadores. Esta obra pertence a um ciclo ambicioso de murais que Rivera executou para o governo mexicano nos finais dos anos 20. Sendo um extenso programa social e político da história e das aspirações do povo mexicano, a série contém acontecimentos reais e imaginários. Os elementos das composições de Rivera estão claramente delineados e desenhados em nítidas áreas de cor constrastantes. Este estilo, que influenciou consideravelmente a arte mexicana, pretendia fazer com que a estrutura narrativa da obra fosse o mais legível possível. Tal como outros realistas sociais, ele acreditava que a arte deveria ter uma função directa social e política e que em vez de se limitarem à pintura de cavalete de pequenas dimensões, os artistas deveriam executar obras para espaços públicos, tal como o tinham feito durante a Renascença. Diego Rivera nasceu em Guanajauto (MEX) em 1886 e morreu na Cidade do México em 1957.
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Diego Rivera (1886-1957), Mexico's most famous painter, rebelled against the traditional school of painting and developed his own style, a combination of historical, social, and critical ideas depicting the cultural evolution of Mexico. Diego Rivera was born in Guanajuato, Guanajuato State, on December 8, 1886. He studied painting at the National School of Fine Arts, Mexico City, under Andrés Ríos (1897), Félix Para, Santiago Rebull, and José María Velasco (1899-1901). In 1907 Rivera received a grant to study in Europe and lived there until 1921. He first worked in the studio of Eduardo Chicharro in Madrid and in 1909 settled in Paris. He was influenced by the impressionists, particularly Pierre Auguste Renoir. Rivera then worked in a postimpressionist style, inspired by Paul Cézanne, Paul Gauguin, Georges Seurat, Henri Matisse, Raoul Dufy, and Amedeo Modigliani. The series of works Rivera produced between 1913 and 1917 are in the cubist idiom, for example, Jacques Lipchitz (Portrait of a Young Man; 1914). Some of them have Mexican themes, such as the Guerrillero (1915). By 1918 he was producing pencil sketches of the highest quality, exemplified in his self-portrait. Before returning to Mexico he traveled through Italy. Rivera's first mural, the Creation (1922), in the Bolívar Amphitheater at the University of Mexico, painted in encaustic, was the first important mural of the century. From the beginning he sought for, and achieved, a free and modern expression which would be at the same time understandable. He had an enormous talent for structuring his works and a great hand for color, but his two most pronounced characteristics were intellectual inventiveness and refined sensuality. His first mural was an allegory in a philosophical sense. In his later works he developed various historical, social, and critical themes in which the history and the life of the Mexican people appear as an epic and as a specific example of universal ideas. Rivera next executed frescoes in the Ministry of Education Building, Mexico City (1923-1926). The frescoes in the Auditorium of the National School of Agriculture, Chapingo (1927), are considered his masterpiece. The unity of the work and the quality of the component parts, particularly the feminine nudes, show him at the height of his creative power. The general theme is man's biological and social development and his conquest of nature in order to improve it. This idea, which sprang from positivist roots, is complicated by Rivera's sociohistorical criticism and by a revolutionary feeling under the symbol of the red star. The murals in the Palace of Cortés, Cuernavaca (1929-1930), depict the fight against the Spanish conquerors. In 1930 Rivera went to the United States. In San Francisco he did the murals for the Stock Exchange Luncheon Club and the California School of Fine Arts. Two years later he had an exhibition at the Museum of Modern Art, New York City. One of his most important works is the fresco in the Detroit Institute of Arts (1933), which depicts industrial life in the United States. He returned to New York and painted part of a mural for Rockefeller Center (1933; destroyed) and a series of frescoes on movable panels depicting a portrait of America for the Independent Labor Institute. When Rivera returned to Mexico City, he executed the mural for the Palace of Fine Arts (1934), a replica of the one he had started in Rockefeller Center, and completed the frescoes on the monumental stairway in the National Palace (1935), which interpret the history of Mexico from pre-Columbian times to the present and culminate in the symbolic image of Marx. Rivera later continued the frescoes along the corridors, but he never completed them. The four movable panels he executed for the Hotel Reforma (1936) were withdrawn from the building because of their controversial nature. During this period he did the portraits of Lupe Marín and of Ruth Rivera and two easel paintings, Dancing Girl in Repose and the Dance of the Earth. In 1940 Rivera returned to San Francisco to do a mural for a junior college on the general theme of culture in the future, which he believed would consist of a fusion of the artistic genius of South America with the industrial genius of North America. His two murals in the National Institute of Cardiology, Mexico City (1944), portray the development of cardiology and include portraits of the outstanding physicians in that field. His mural for the Hotel del Prado, A Dream in the Alameda (1947), was based on a historical and critical theme. In 1951 a great retrospective covering Rivera's 50 years of activity as an artist took place in the Palace of Fine Arts. His last works were the mosaics for the stadium of the National University and for the Insurgents' Theater and the fresco in the Social Security Hospital No. 1. In 1956 he made his second trip to Russia (his first was in 1927-1928). He died in Mexico City on November 25, 1957.
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Derain, André - Pós-Impressionismo/Fauvismo/Realismo

Domingo, Julho 08, 2007


Enfant courant sur la plage, 1880
Oil on canvas
H. 0.245 ; L. 0.195
Musée d'Orsay, Paris, France



Pont de Charing Cross, 1901
Oil on canvas
H. 0.81 ; L. 1.00
Musée d'Orsay, Paris, France



Auto-portrait dans l'atelier
[Self-portrait in the studio] c.1903
Oil on canvas
42.2 (h) x 34.6 (w) cm
National Gallery of Australia, Canberra



At the Suresnes Ball, 1903
Oil on canvas
70 7/8 x 57 1/8 in. (180 x 145.1 cm)
Saint Louis Art Museum, Missouri



Landscape around Chatou, 1904-1905
Oil on canvas
54,2 x 65,2 cm
Colección Carmen Thyssen-Bornemisza en depósito en el Museo Thyssen-Bornemisza



Port, circa 1905
Oil on canvas
62x73 cm
Hermitage Museum, Saint Petersburg, Russia



Le Cavalier au cheval blanc
[Knight on a white horse] c.1905
Oil on canvas
45.9 (h) x 37.9 (w) cm
National Gallery of Australia, Canberra



Henri Matisse, 1905
Oil on canvas
460 x 349 mm
Tate Gallery, London



Fishing Boats, Collioure, 1905
Oil on canvas
31 7/8 x 39 1/2 in. (81 x 100.3 cm)
The Metropolitan Museum of Art, New York City



Fishing Boats, Collioure. 1905
Oil on canvas
15 1/8 x 18 1/4" (38.2 x 46.3 cm)
The Museum of Modern Art, New York City



Collioure, 1905
Oil on canvas
60.20 x 73.50 cm
National Galleries of Scotland, Edinburgh



Mountains at Collioure, 1905
Oil on canvas
81.3 x 100.3 cm (32 x 39 1/2 in.)
The National Gallery of Art, Washington D.C.



Landscape by the Sea: the Côte d'Azur near Agay, 1905
Oil on canvas
54.6 x 65 cm
National Gallery of Canada, Ottawa



Houses of Parliament at Night, 1905-06
Oil on canvas
31 x 39 in. (78.7 x 99.1 cm)
The Metropolitan Museum of Art, New York City



Charing Cross Bridge, London, 1905-06
Oil on canvas
32 1/8 x 39 5/8" (81.7 x 100.7 cm)
The Museum of Modern Art, New York City



The Table, 1906
Oil on canvas
94 x 85 cm
E.G. Bührle Collection, Zurich



Bacchic Dance, 1906
Watercolor and pencil on paper
19 1/2 x 25 1/2" (49.5 x 64.8 cm)
The Museum of Modern Art, New York City



L'Estaque, 1906
Oil on canvas
13 7/8 x 17 3/4" (35.3 x 45.1 cm)
The Museum of Modern Art, New York City



Bridge over the Riou, 1906
Oil on canvas
32 1/2 x 40" (82.6 x 101.6 cm)
The Museum of Modern Art, New York City



Waterloo Bridge, 1906
Oil on canvas
80,5 x 101 cm
Museo Thyssen-Bornemisza, Madrid



London: St. Paul's Cathedral seen from the Thames, 1906
Oil on canvas
39 1/4 x 32 1/4 in. (99.7 x 81.92 cm)
Minneapolis Institute of Arts, Minnesota



Charing Cross Bridge, London, 1906
Oil on canvas
80.3 x 100.3 cm (31 5/8 x 39 1/2 in.)
The National Gallery of Art, Washington D.C.



View of the Thames, 1906
Oil on canvas
73.3 x 92.2 cm (28 7/8 x 36 5/16 in.)
The National Gallery of Art, Washington D.C.



London Bridge, 1906
Oil on canvas
The Museum of Modern Art, New York City



The Pool of London, 1906
Oil on canvas
657 x 991 mm
Tate Gallery, London




Road in the Mountains, 1907
Oil on canvas
81x100 cm
Hermitage Museum, Saint Petersburg, Russia



Landscape near Cassis, 1907
Oil on canvas
18 1/8 x 21 5/8" (46 x 54.9 cm)
The Museum of Modern Art, New York City



Madame Derain in Green, 1907
Oil on canvas
28 3/4 x 23 5/8" (73 x 60 cm)
The Museum of Modern Art, New York City



Bathers, 1907
Oil on canvas
52" x 6' 4 3/4" (132.1 x 195 cm)
The Museum of Modern Art, New York City



Trees by a lake, le Parc de Carrieres-St-Denis, circa 1909
Oil on canvas
Height: 54.1 cm (canvas); Width: 65 cm (canvas)
Courtauld Institute of Art, London



The Church of Chatou, 1909
Oil on panel
34,5 x 35,7 cm
Colección Carmen Thyssen-Bornemisza en depósito en el Museo Thyssen-Bornemisza



The Bagpiper, 1910-11
Oil on canvas
74 x 59 in. (188.0 x 149.9 cm)
Minneapolis Institute of Arts, Minnesota



Path in a Park with a Figure, between 1910 and 1914
Oil on canvas
12.5x12.5 cm
Hermitage Museum, Saint Petersburg, Russia



Portrait of a Man with a Newspaper (Chevalier X), 1911 - 1914
Oil on canvas
162.5x97.5 cm
Hermitage Museum, Saint Petersburg, Russia



Still Life with Earthenware Jug and White Napkin, circa 1912
Oil on canvas
61x50 cm
Hermitage Museum, Saint Petersburg, Russia



Valley of the Lot at Vers, 1912
Oil on canvas
28 7/8 x 36 1/4" (73.3 x 92.1 cm)
The Museum of Modern Art, New York City



Table and Chairs, 1912
Oil on canvas
88x86.5 cm
Hermitage Museum, Saint Petersburg, Russia



Cliffs, 1912
Oil on canvas
60.5x81 cm
Hermitage Museum, Saint Petersburg, Russia



The Grove, 1912
Oil on canvas
116.5x81.3 cm
Hermitage Museum, Saint Petersburg, Russia



Portrait of the Artist, c. 1912–14
Oil on canvas
45 1/16 x 34 3/8 in. (114.46 x 87.31 cm)
Minneapolis Institute of Arts, Minnesota



Still-life, c. 1912-1914
Oil on canvas
93.7 x 67.1 cm
National Gallery of Canada, Ottawa



Still Life, circa 1913
Oil on canvas
100.5x118 cm
Hermitage Museum, Saint Petersburg, Russia



Girl in Black, circa 1913
Oil on canvas
93x60.5 cm
Hermitage Museum, Saint Petersburg, Russia



Portrait of a Girl in Black, 1913
Oil on canvas
116.5x89.3 cm
Hermitage Museum, Saint Petersburg, Russia



Landscape with a Boat at the Bank, circa 1915
Oil on canvas
100x65 cm
Hermitage Museum, Saint Petersburg, Russia



The Road to Castel Gandolfo, circa 1921
Oil on canvas
62.5x50.8 cm
Hermitage Museum, Saint Petersburg, Russia



Still life, 1921-1922
Oil on canvas
87.2 x 124.5cm stretcher; 125.5 x 153.5 x 8.0cm frame
Art Gallery of New South Wales, Sydney, Australia



Landscape near Barbizon, circa 1922
Oil on canvas
708 x 727 mm
Tate Gallery, London



Le Beau Modèle, 1923
Oil on canvas
Musée de l'Orangerie, Paris



Arlequin et Pierrot, 1924
Oil on canvas
Musée de l'Orangerie, Paris



Guitarist, 1928
Oil on paper
12 3/4 x 8 in. (32.4 x 20.3 cm)
Saint Louis Art Museum, Missouri



Landscape, circa 1928-1930
Oil on canvas
46.3 x 65.1cm stretcher; 67.0 x 86.0 x 9.0cm frame
Art Gallery of New South Wales, Sydney, Australia



Woman with a Hat, 1934-1939
Oil on cradled wood panel
22 1/8 x 18 5/8 in. (56.1 x 47.3 cm.)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



The Black Feather Boa, 1935
Oil on canvas
64 x 38 1/2 in. (162.6 x 97.8 cm)
The Metropolitan Museum of Art, New York City



The Painter and his Family, circa 1939
Le Peintre et sa famille
Oil on canvas
1765 x 1238 mm
Tate Gallery, London

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No quadro "The Pool of London, 1906", as cores vivas dançam e cintilam num embarcadouro do rio Tamisa. Ao longe a inconfundível silhueta da Torre de Londres. O artista transformou a cena num arco-íris de cores primárias, nitidamente aplicadas em blocos. A pincelada expontânea revela que Derain conhecia as técnicas do Impressionismo: assim, fez da cor o tema da sua pintura, tornando o cenário quase irrelevante. A sua insp+iração e a de um grupo de pintores que partilhava as suas ideias, advinha-lhe o desejo de trabalhar apenas com cores fortes. Quando expuseram pela primeira vez, foram chamados "fauves" (feras) pela forma "selvagem" como usavam a cor nas suas composições invulgares. Depois de 1908 começou a experimentar outros estilos. A influência de Cézanne, levou-o a uma tendência de colorido mais tranquilo e a um maior controle das suas obras. Em 1910, produz obras geométricas, de influência cubista. As suas últimas obras, posteriores a 1912, mostram a influência de muitos estilos, desde a arte francesa clássica à escultura africana e uma tendência cada vez maior para a pintura tradicional. André Derain nasceu em Chaton (FR) em 1880 e morreu em Garches (FR) em 1954.
............................................................................................................
Andre Derain - Birth Year : 1880, Death Year : 1954 - André Derain was born in Châtou, a suburb of Paris. Excellent scholar that he was, Derain had first planned to become an engineer before suddenly deciding to study art at the Académie Julian. He shared a studio with his friend Vlaminck, painted with Matisse at Collioure near Marseilles, and was a frequent visitor to the ramshackle studios on the rue Ravignan, known as the Bateau Lavoir, where his friends Braque and Picasso worked. As a Fauve Derain was principally concerned with line and color and enjoyed squeezing tubes of bright color on his canvas, particularly pinks, blues, and violets. In and around 1908, Derain turned to the study of form and structure, and experimented with Cubism, Impressionism, and the styles of van Gogh, Gauguin, and Cezanne, in an effort to find a style that pleased him. An early interest in the Renaissance masters led him to a further study of paintings of the past and he went as far back as the Italian primitives and the Gothic masters. During his years of study he worked as a wood-engraver and illustrated many famous books, like Rabelais' "Pantagruel", a work indicative of his sensitivity to and understanding of the past. He also executed a great many sets and costumes for the Ballet Russe. In the later years of his career, after 1920, he painted brilliant still lives, classical landscapes, and some of the finest portraits of his day, although none of these were ever exhibited. Derain was a strange, moody, highly intellectual man who disliked the painting produced during his own lifetime to the extent that he retired to the country to live in almost complete solitude and seemed almost determined to be forgotten. Early in 1954, when Derain showed symptoms of eye trouble and mental incapacity, he was treated at a clinic near Paris until he became well enough to return home. Shortly thereafter he was hit by a car on his way home from a nearby garage. Derain died a few weeks later from shock.
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Penn, Irving - Fotografia

Sábado, Julho 07, 2007


Ballet Theater
New York, 1947



After-dinner Games
New York, 1947



Salad Ingredients
New York, 1947



Still Life with Watermelon
New York, c. 1947



Ballet Society
New York, 1948



Cuzco Children
Peru, 1948



Gilbert Adrian
1948



Georgia O'Keeffe
New York
1948



Nude No. 1
1949–50



Nude 119
New York, 1949-50



Nude no 58
1949-50



Bouchers
Paris, 1950



Woman with Roses (Lisa Fonssagrives-Penn)
Paris, 1950



Vogue Cover
New York
1950



Jean Cocteau
1950



Alberto Giocometti
Paris
1950



Blaise Cendrars and His Wife
Paris
1950



Woman in Palace (Lisa Fonssagrives-Penn)
Marrakech, Morocco 1951



Tennessee Williams
New York, 1951



Colette
Paris
1951



Pablo Picasso at La Californie
date Cannes 1957



Jonh Osborne
London
1958



S. J. Perelman
New York
1962



Two Cretan Women
1964



David Smith
Bolton Landing, Lake George, New York
1964



Truman Capote
1965



Banett Newman
New York
1966



Hell's Angel (Dough)
San Francisco
1967



Tulip
New York
1967



Dahomey
1967



Newguinea
1970



Claude Levi-Strauss
Burgund
1970



Three Rissani Women
1971



Morocco
1971



Morocco
1971



Morocco
1971



Cigarette 17
New York, 1972



New York
1974



Camel Pack
1975



James Van Der Zee
New York
1983



Lion Skull
Prague
1986



Creation by Issey Miyake
New York
1987



Street Findings
New York, 1999



Kate Moss
2000


..........................................................................................
Irving Penn revolucionou um sem-número de gêneros fotográficos; no entanto, o campo da fotografia de moda é um daqueles em que sua marca foi impressa de forma mais profunda. De fato, é difícil imaginar o que seria da foto de moda contemporânea sem a seminal influência da estética de Penn - criador de uma beleza elegante e simples, mas construída com um rígido formalismo e uma sensibilidade incomum.Quando Penn chegou à Vogue, ainda na década de 1940, estranhou o sofisticado ambiente que ali havia encontrado. Não conhecia os cânones e normas com as quais tão subitamente havia se deparado; pra completar, havia sido contratado por Alexander Liberman para dar idéias para capas da revista, mas os fotógrafos simplesmente ignoravam suas recomendações. Não havia outra escolha, a não ser fazer as coisas ele mesmo: Penn pegou a câmera e realizou, por conta própria, suas idéias. Uma feliz decisão: a imagem que levou para Liberman foi a primeira das mais de cem capas da Vogue criadas a partir de suas fotografias.Esta atitude "do it yourself", mescla de inconformismo e uma criatividade sem barreiras, guiou Irving Penn pelos mais distintos caminhos, dos quais jamais escapou devido a seus incontáveis questionamentos. Seu equipamento mudou inúmeras vezes; tecnicamente, tornou-se um virtuoso, utilizando diferentes câmeras para diferentes trabalhos conforme suas necessidades estéticas. Realizou, em 1949, uma notável série de nus com grandes mulheres - à la Rubens ou Renoir - que, se na época causou estranhamento até em Edward Steichen, outro dos grandes mestres da fotografia do século XX, foi aos poucos sendo reconhecida como uma obra de valor artístico indiscutível.É esta versatilidade - ou genialidade - o que coloca em maus lençóis tantos críticos que escrevem sobre Penn. Embora suas fotos de moda assemelhem-se àquelas criadas pelos olhares aristocráticos de pioneiros como De Meyer ou Huene, dificilmente seria possível encerrá-lo sob a máscara da sofisticação quando o próprio Penn reconhece que chegou à Vogue como uma espécie de selvagem entre uma refinada elite; embora seu formalismo vá contra muitos dos experimentalismos de vanguarda, seus stills com referências ao memento mori - a arte que, lidando com objetos podres ou putrefatos, relembra ao homem sua finitude - colocam em questão a própria idéia de vanguarda; embora seu cultivo da pose remeta à foto de moda das décadas de 20 e 30, seu minimalismo e despojamento inserem-no claramente na contemporaneidade que ele mesmo ajudou a criar.As imagens de Penn tipicamente abandonam fundos e efeitos elaborados em nome de uma imagem simples e expressiva, de notável concentração nos modelos ou acessórios fotografados. Penn optou, desde o princípio, por suprimir os elaborados cenários, usando fundos simples e explorando diferentes poses - ou seja: conscientemente optando pelo essencial, o que foi suficiente para um percurso no qual desenvolveu verdadeiras obras-primas. Eis, mais uma vez, a reafirmação de que, na fotografia, o fator determinante é o próprio olhar do fotógrafo - que, no caso de Penn, está na gênese de uma estética inovadora por seu rigor e por sua sensibilidade rara.O lugar de Irving Penn é, afinal, singular. Idealmente atemporal, já por seu propósito de atravessar os séculos de história da pintura e da moda em uma trajetória essencial; inclassificável, por sua própria relutância em seguir qualquer trilha sem submetê-la aos mais radicais questionamentos, a obra de Penn representa um lugar único em meio aos mundos da fotografia.
:
Por HENRIQUE MARQUES-SAMŸN
(hmsfoto@yahoo.com.br)
colunista do site Moda Almanaque

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Born in New Jersey,Irving Penn studied design at the Philadelphia Museum School, where he became a student of Alexey Brodovitch. In 1937, the year before he graduated, several of his drawings were published by Harper's Bazaar. From 1940 to 1941, he worked for the art and advertising director of Saks Fifth Avenue, and the following year he spent in Mexico painting, a medium he subsequently abandoned. Returning to New York, Penn was hired by Vogue magazine, first to create ideas for cover illustrations, then to photograph covers as well as editorial illustrations for the interior of the magazine. Working closely with Alexander Liberman, Penn developed a highly stylized, graphically compelling form of fashion photography which did much to define post-war notions of feminine chic and glamour. In his fashion and portrait photography, Penn favored the use of a neutral backdrop of gray or white seamless paper, or alternatively, the use of constructed architectural sets which created striking effects with oblique, diving diagonals and upward tipped perspectives. Penn also created numerous still life compositions for the magazine: carefully orchestrated assemblages of food or objects characterized by a play of three-dimensional and two-dimensional forms. In 1953 Penn opened his own commercial studio and almost immediately became one of the most influential and successful advertising photographers in the world. Eschewing any notions of naturalism, spontaneity, or chance, Penn has always favored the rigidly controlled, formal conditions of the studio. Thus, even when photographing North African nomads, New Guinea tribesman, Peruvian Indians, or Hell's Angels, Penn contrived portable studios that permitted much the same degree of elegant and structured lighting and composition that he used to photograph fashion models and socialites. in addition to his fashion and commercial work, Penn has produced a body of art photography. Using platinum and other precious metal processes, Penn has photographed urban detritus (cigarette butts, crumpled wrappers, etc.), the torsos of plump artists' models, and most recently, still lifes of skulls, bones, and construction materials. While the subject matter represents the antithesis of his fashion and commercial work, as does the use of artisanal printing processes produced in numbered editions, both bodies of work reveal the same preoccupation: balance of form and carefully calibrated composition, with nuances of light and tone, presenting a subject that is emotionally neutral or kept always at emotional and psychological arm's length.
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Goncharova, Natalia - Neo-Primitivismo / Cubismo

Terça-feira, Julho 03, 2007


The boy with a cock, 1900-1913
Oil on canvas
99 x 79 cm
National Gallery of Armenia, Yerevan, Armenia



Willows, 1906
Oil on canvas
97 x 82 cm
National Gallery of Armenia, Yerevan, Armenia



Self-Portrait with Yellow Lillies, 1907
Oil on canvas
77 x 58.2 cm



Rusalka, (Wassernymphe), 1908
Oil on canvas
104 x 74 cm
Wallraf-Richartz-Museum, Cologne, Germany



Annunciation, c. 1909
Gouache



Fishing (fishers), 1909
Oil on canvas
112 x 99,7 cm
Museo Thyssen-Bornemisza, Madrid



Haycutting, 1910
Oil on canvas



Les lutteurs, between 1909 and 1910
Oil on canvas
1,03 m x 1,18 m
Musée d' Art Moderne (Centre Georges Pompidou), Paris



Goncharova & Larinov, c. 1910
Oil on canvas
Art Institute of Chicago, Chicago



The Weaver, 1910
Oil on canvas
154. 4 x 99.8 cm
National Museums and Galleries of Wales



Peasants dancing [Khorovod (Round Dance)] 1910-11
Oil on canvas
92.0 (h) x 145.0 (w) cm
National Gallery of Australia, Canberra



Frost, 1910-11
Oil on canvas



Untitled pastel, c. 1911-1925
Pastel
Louisiana Museum for Moderne Kunst, Copenhagen



Rabbi with Cat, about 1912
Oil on canvas
100.20 x 92.00 cm
National Galleries of Scotland, Edinburgh



Electric Lamps, 1912
Oil on canvas
Musée d' Art Moderne (Centre Georges Pompidou), Paris



La machine à coudre, 1912
Oil on canvas
h: 28.1 x w: 19.6 in / h: 71.4 x w: 49.8 cm



The Cyclist, 1912-1913
Oil on canvas
Russian State Museum, St. Petersburg



La Forêt [The Forest], about 1913
Oil on canvas
53.80 x 81.00 cm
National Galleries of Scotland, Edinburgh



Rayonist Landscape (La Forêt), 1913
Oil on canvas
130 x 97 cm
Museo Thyssen-Bornemisza, Madrid



Cats (rayist percep.[tion] in rose, black, and yellow), 1913
Oil on canvas
84,4 x 83,8 cm
Guggenheim Museum, New York City



Portrait of Larionov, 1913
Oil on canvas



Composition, 1913-14
Oil on canvas



Magnolia, c. 1920
Oil on linen
h: 54.8 x w: 46 cm / h: 21.6 x w: 18.1 in



Paysage abstrait, c. 1925
Watercolor and gouache over pencil
h: 7.4 x w: 9.9 in / h: 18.8 x w: 25.1 cm



Abstrakte Komposition, 1930
Oil on coated cardboard
h: 24 x w: 19.8 in / h: 61 x w: 50.3 cm

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Em "Frost, 1910-11", figuras humans vagueiam ou trabalham nos campos gelados. A atmosfera de conto de fadas desta paisagem russa transmite a ingenuidade e encanto característicos do trabalho inicial de Goncharova. A natureza das personagens é algo infantil, ao passo que a redução da composição a formas geométricas simples se inspira na vanguarda parisiense de então. Goncharova produziu dxiversas obras dominadas pelas cores lisas e vivas, uitilizando o folclore russo como tema. Ela e o seu marido, o pintor Larionov, foram elementos-chave para os movimentos de vanguarda russos da primeira sécada do século XX. Em 1916 o casal abandonou a Rússia e instalou-se em Paris, onde Goncharova começou a desenhar cenários para o Ballet Russe de Diaghilev. Natalia Goncharova nasceu em Tula em 1881 e morreu em Paris em 1962.
....................................................................................................
Natalia Goncharova was born June 21, 1881, in Nagaevo, Russia. In 1892, she moved to Moscow to attend school. In 1900, she met Mikhail Larionov, who encouraged her to paint and became her lifelong companion. The following year, she enrolled at the Moscow Institute of Painting, Sculpture, and Architecture to study sculpture. Goncharova participated in an exhibition of Russian artists organized by Sergei Diaghilev at the 1906 Salon d’Automne in Paris. Her early work shows the influence of Impressionism [more], Fauvism [more], and Russian folk sculpture. Goncharova participated in numerous important exhibitions of new art in Moscow, including Jack of Diamonds (1910), The Donkey’s Tail (1912), and The Target (1913). While her early works were painted in Primitivist and Cubist styles, she adopted a Cubo-Futurist and Rayonist approach around 1912. Goncharova was represented at the second Blaue Reiter exhibition at Galerie Hans Goltz, Munich, in 1912 and the Erste deutsche Herbstsalon at the Der Sturm gallery in Berlin in 1913. Around this time, Goncharova and Larionov began their collaboration with Diaghilev and his Ballets Russes, which lasted until the impresario’s death in 1929. In 1917, they settled permanently in Paris, and the following year their work appeared in the exhibition L’Art décoratif théâtral moderne at the Galerie Sauvage, Paris. Goncharova showed extensively during the 1920s and 1930s, often with Larionov, in Europe, the United States, and Japan. Although she never abandoned painting, much of her creative energy was directed toward stage decoration and book illustration. She designed costumes, settings, and drop curtains for international presentations of modern and classical ballets until she was in her 70s. In 1938, Goncharova became a French citizen and in 1955 she married Larionov. The following year she was given a retrospective at the Galerie de l’Institut in Paris. Goncharova died October 17, 1962, in Paris.

Guggenheim Collection - Goncharova Biography
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Spencer, Stanley - Arte Figurativa

Domingo, Julho 01, 2007


Two girls and a Beehive, 1910
Oil on canvas
48 x 48 cm
Private collection



Self-Portrait, 1913
Pen and ink and chalk on paper
345 x 215 mm
Tate Gallery, London



Zacharias and Elizabeth, 1913-14
Oil on canvas
152,5 x 152,5 cm
Tate Gallery, London



Self-Portrait - 1914
Oil on canvas
63 x 51 cm
Tate Gallery, London



Mending Cowls, Cookham, 1915
Panel
15,2 x 15,2 cm
Private collection



Swan Upping at Cookham, 1915-19
Oil on canvas
148 x 116,2 cm
Tate Gallery, London



Travoys Arriving with Wounded at a Dressing Station at Smol, Macedonia, September 1916, 1919
Oil on canvas
183 x 218.5 cm
Imperial War Museum, London.



Soldiers at Thanksgiving Service, 1918
Wash on paper
54 X 53.5 cm
British Council Arts Group



The Bridge, 1920
Oil on canvas
121,5 x 122,5 cm
Tate Gallery, London



Christ Overturning the money changers' table, 1921
Oil on canvas
75 x 60 cm
Stanley Spencer Gallery, Cookham



The Resurrection - 1924



Country girl: Elise, 1929
Oil on canvas
83,8 x 76,2 cm
Private collection



Nude (Patricia Preece), 1935
Oil on canvas
50,8 x 76,2 cm
Private collection



St Francis and the Birds, 1935
Oil on canvas
660 x 584 mm frame: 870 x 770 x 53 mm
Tate Gallery, London



Cookham Lock, 1935
Oil on canvas
50.9 x 61.2cm stretcher; 66.6 x 76.7 x 3.8cm frame
Art Gallery of New South Wales, Sydney, Australia



The Jubilee tree, Cookham, 1936
Oil on canvas
91,5 x 76,2 cm
Art Gallery of Ontario, Toronto



Portrait with Patricia Preece - 1937



Double Nude Portrait: The Artist and his second wife or The leg of mutton nude, 1937
Oil on canvas
91,5 x 93,5 cm
Tate Gallery, London



Hilda, Unity and Dolls, 1937
Oil on canvas
76,2 x 50,8 cm
Leeds City Art Galleries



Daphne, 1940
OIl on canvas
50,8 x 61 cm
Tate Gallery, London



Wisteria, Cookham, 1942
Oil on canvas
63,5 x 76,2 cm
Harris Museum and Art Gallery, Preston



Self-Portrait, 1944
Oil on canvas
76,2 x 50,8 cm
The Beaverbrook Art Gallery, Fredericton



Bluebells, Cornflowers and Rhododendrons, 1945
Oil on canvas
51 X 76 cm
British Council Arts Group



Wheatfield at Starlings, 1947
Oil on canvas
50.7 x 76.2cm stretcher; 67.5 x 93.5 x 9.0cm frame
Art Gallery of New South Wales, Sydney, Australia



Christ Calling the Apostles, 1951-1952
Oil on canvas
127.0 x 205.7cm stretcher; 141.0 x 220.0 x 7.5cm frame
Art Gallery of New South Wales, Sydney, Australia



Self-Portrait, 1959
Oil on canvas
508 x 406 mm
Tate Gallery, London
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As obras de Stanley Spencer revelam a influência de tendências progressistas da sua época, embora nunca tivesse abandonado a arte figurativa. Spencer foi muitas vezes marginalizado por ser considerado um excêntrico, um artista que seguiu a sua própria visão cada vez mais idiossincrática, desatento em relação às correntes artísticas na altura. Na maioria dos seus quadros, com o uso da anatomia e do espaço deformado e estados psicológicos complexos, exalta de uma forma extravagante, infantil e por vezes perturbante a sua fé cristã e a sua vida na aldeia Thames Valley em Cookham, onde nasceu. É também conhecido pelas suas vastas decorações murais na Capela Burghclere, em Hampshire.
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To Sir Stanley Spencer Cookham was "a village in heaven". It was in this Thames side village that he grew up happy and secure as a member of a large and talented family. Stanley's early life in Cookham was the well spring of his inspiration and the village itself was an important background for many of his paintings. Stanley Spencer was born at Fernlea, Cookham High Street on 30 June 1891, the tenth child of a family of eleven, of whom two died in infancy. His father William was an organist and music teacher. Pupils coming for lessons and his older siblings practicing the piano or the violin created a musical atmosphere in which Stanley flourished. Music was always an important part of his life. Two of his sisters ran a school in a shed in Fernlea garden and Stanley received his early education at their hands. His reading was based on the Bible, Bunyan and Milton. He attended the parish church as well as his mother's Methodist chapel (now the Spencer Gallery). Fernlea, especially at mealtimes, was loud with discussion and argument as Stanley's older brothers talked with each other and their parents. Stanley watched, listened and absorbed. Cookham, prior to the First World War, was a rural community somewhat cut off from the outside world. The village High Street contained not only a working forge, a baker, butcher and chemist but opposite Fernlea, Ovey's Farm, whose cows fascinated Stanley when he sat looking out from the window of his bedroom. His brother Gilbert wrote of the village in summer, with "the excitement of the regatta ending with the fair on Cookham Moor where everyone descended; the gentry and their ladies in their evening clothes joining in with the hoi polloi, Social barriers were down and the mix up was attractive and complete." The young Spencer loved and embraced it all. His early interest and ability in art was fostered by lessons from a local artist and later by a year at the Maidenhead Technical Institute. In 1908 he went to the Slade School and gained several prizes as well as the nickname "Cookham" because he talked so much about the village and returned home there every night. Recognition came early, culminating in a knighthood towards the end of his life. Stanley painted over 450 pictures and made hundreds of drawings, many of them set in and around Cookham. Often, his Cookham paintings were placed in scenes remembered from childhood. Others were painted out-of-doors, the artist, trundling his painting gear along on the old pram he used, was a familiar sight in the village. In particular he followed his own vision of biblical events taking place in Cookham, and thus created the wonderful series of religious paintings setting the New Testament story in and around the village. Cookham has greatly altered since Stanley's early days but it is still possible to see many of the settings of his paintings and even the views he recorded so well. We hope the following walk will add to your enjoyment of his work.
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