O SÉCULO PRODIGIOSO

A arte no século XX

Pomar, Júlio - Expressionismo Abstracto

Sexta-feira, Agosto 31, 2007


Gadanheiro, 1945
Óleo sobre aglomerado
122 x 83 cm
Colecção Museu do Chiado, Lisboa



Almoço do trolha, 1946/50
Óleo sobre tela
120 x 150 cm
Colecção Manuel Torres, Oeiras



Maria da Fonte, 1957
Óleo sobre aglomerado
121 x 180 cm
Colecção Família Pelágio Nogueira, Lisboa




Cegos de Madrid, 1957/59
Óleo sobre tela
81,5 x 101 cm
Fundação Calouste Gulbenkian, Lisboa



Metro, 1964
Óleo sobre tela
60 x 60 cm
Colecção particular



Chantilly I, 1965
Óleo sobre tela
65 x 81 cm
Colecção Jorge de Brito, Cascais



Maio 68 (CRS-SS) II, 1968
Acrílico sobre tela
97 x 130 cm
Colecção Jorge de Brito, Cascais



Maio 68 (CRS-SS), 1969
Acrílico sobre tela
130 x 162 cm
Colecção Jorge de Brito, Cascais



Odalisca com Escrava II, segundo Ingres, 1969
Acrílico sobre tela
157,5 x 184,3 cm
Fundação Calouste Gulbenkian, Lisboa



Graça Lobo, Laranja, 1973
Acrílico sobre tela
162 x 114 cm
Colecção particular



Belle-Isle-en-Mer, 1976
Acrílico sobre tela
127 x 172 cm
Colecção Fundação Júlio Pomar, Lisboa



La Table de l'architecte, 1977
Colagem, acrílico e objectos sobre tela
100 x 100 cm
Colecção Fundação Júlio Pomar, Lisboa



L´Épure, 1977
Colagem e acrílico sobre tela
100 x 100 cm
Colecção Joost van Odijk, Essene



Le Signe, 1978
Colagem, acrílico e objectos sobre tela
71 x 116 cm
Colecção Galeria 111, Lisboa



Le Luxe, 1979
Colagem e acrílico sbre tela
81 x 116 cm
Fundação Calouste Gulbenkian, Lisboa



L'Étonnement, 1979
Colagem e acrílico sobre tela
116 x 81 cm
Colecção João Esteves Oliveira, Lisboa



Edgar Poe, Charles Baudelaire, Um Orangotango e o Corvo, 1985
Colagem e crílico sobre tela
195 x 130 cm
Colecção particular



Edgar Poe, Fernando Pessoa e o Corvo, 1985
Colagem e acrílico sobre tela
195 x 130 cm
Colecção particular



Fernando Pessoa encontra D. Sebastião: num «caixão sobre um burro ajaezado à andaluza», 1985
Acrílico sobre tela
158,5 x 154 cm
Colecção Caixa Geral de Depósitos, Lisboa



Lusitânia no Bairro Latino (retratos de Mário de Sá-Carneiro, Santa-Rita Pintor e Amadeo de Sousa Cardoso), 1985
Acrílico sobre tela
158,5 x 154 cm
Fundação Calouste Gulbenkian, Lisboa



Mascarados de Pirenópolis XIV, 1987
Acrílico e carvão sobre tela
195 x 130 cm
Colecção Pinto da Fonseca, Lisboa



Camões, 1988/90
Acrílico e carvão sobre tela
195 x 130 cm
Colecção Ministério da Cultura, Lisboa



Kuka-Huka II, 1989
Acrílico e carvão sobre tela
130 x 195 cm
Colecção Grupo Totta, Lisboa



Martelo (e Três Frutos), 1991
Acrílico sobre tela
114 x 146 cm
Colecção Fundação Júlio Pomar, Lisboa



Tartaruga, 2003
Bronze e vidro
110 x 60 x 90 cm
Colecção Galeria Valbom, Lisboa

.........................................................................................................
Nasceu em 1926, em Lisboa, e instalou-se em Paris em 1963. Actualmente vive e trabalha em Paris e Lisboa. Frequentou a Escola de Artes Decorativas António Arroio e as Escolas de Belas-Artes de Lisboa e Porto, tendo participado em 1942 numa primeira mostra de grupo, em Lisboa, e realizado a primeira exposição individual em 1947, no Porto. Dedicou-se especialmente à pintura, mas o seu trabalho inclui também obras de desenho, gravura, escultura e «assemblage», ilustração, cerâmica, tapeçaria e cenografia para teatro. Realizou, igualmente, obras de decoração mural em azulejo para a Estação Alto dos Moinhos do Metropolitano de Lisboa, (1983-84), o Circo de Brasília (Gran’Circolar, 1987), a Estação Jardin Botanique do Metropolitano de Bruxelas (1992), o Tribunal da Moita («Justiça de Salomão», 1993) e a estação de combóios de Corroios (1998). Participou na Bienal de São Paulo de 1953 e, igualmente, nas edições de 1975 e 1985. A Fundação Gulbenkian organizou em 1978 a primeira retrospectiva da sua obra, que foi exibida em Lisboa, Porto e Bruxelas. Em 1986, uma nova exposição retrospectiva foi apresentada pela Fundação Gulbenkian em museus de São Paulo, Rio de Janeiro e Brasília e também na sua sede, em Lisboa. Outras mostras antológicas de âmbito temático tiveram lugar em 1990, com obras de temas brasileiros, em Rio de Janeiro, São Paulo e Lisboa; em 1991, com pinturas e desenhos sobre temas literários e retratos de escritores («Pomar et la Littérature»), em Charleroi, Bélgica; em 1997, com trabalhos sobre o tema de D. Quixote, em Cascais, e pinturas sobre os Índios do Brasil, em Biarritz, França. Outras antologias de pintura foram apresentadas, em 1999 e 2000, em Macau e Pequim; em 2001, em Aveiro (Pinturas Recentes) e, em 2003, em Istambul. Publicou, em 2002, o volume de ensaios «Então e a Pintura?» e, em 2003, o poema «TRATAdoDITOeFeito». Expôs novas pinturas («Méridiennes - Mères Indiennes»), em 2004, na Galeria Patrice Trigano, em Paris, e o Sintra Museu de Arte Moderna – Colecção Berardo apresentou uma retrospectiva da sua obra organizada por Marcelin Pleynet sob o título «Autobiografia», onde foram expostas as primeiras peças de uma série de esculturas em bronze. Ainda em 2004, o CCB expôs uma antologia de obras recentes intitulada «Comédia Humana». Os dois primeiros volumes do catálogo «raisonné» da obra de pintura, escultura em ferro e assemblages foram publicados, em 2001 e 2004, pelas Éditions de la Difference, em Paris.
.........................................................................................................

Boldt, José - Fotografia

Sexta-feira, Agosto 24, 2007


Pessoas 1, Lisboa, 1999
30 x 40 cm



Pessoas 2, Lisboa, 1999
40 x 30 cm



Pessoas 3, Alentejo, 1999
40 x 30 cm



Pessoas 4, Alentejo, 1999
40 x 30 cm



Pessoas 5, Lisboa, 1999
30 x 40 cm



Pescador, Lisboa, 1999
40 x 30 cm



Passagem, Lisboa, 1999
40 x 30 cm



Olhos, Lisboa, 2000
40 x 30 cm



Feira da Ladra, Lisboa, 2000
30 x 40 cm



Escada, Lisboa, 2000
30 x 40 cm



Chapéu e Tejo, Lisboa, 2000
30 x 40 cm



Música, Loures, 2000
40 x 30 cm



Barracas de praia, Santa Cruz, 2000
40 x 30 cm



Passeio, Santa Cruz, 2000
30 x 40 cm



Gato e pedra, Alentejo, 2000
40 x 30 cm



Portão com gato, Alentejo, 2000
30 x 40 cm



Janela 1, Santa Cruz, 2000
40 x 30 cm



Fardo, Açores, 2000
30 x 40 cm



Portas de Stº Antão, Lisboa, 2002
40 x 30 cm



Alentejo, Castelo de Vide, 2003
30 x 40 cm



Santa Cruz 1, 2003
30 x 40 cm



Promessa, Fátima, 2004
40 x 30 cm



Barco 1, Coímbra, 2004
40 x 30 cm



Aula de Natação, Lisboa, 2004



Praia, Santa Cruz, 2005
~30 x 40 cm



Lisnave, 2005
40 x 50 cm



Cercas, Guincho, 2005
30 x 40 cm



Alentejo, 2005
40 x 30 cm



Nevoeiro, Alentejo, 2005
40 x 50 cm



Centro Cultural de Belém, Lisboa, 2005
30 x 40 cm



Folhas, 2005
30 x 40 cm



Reflexo em poça de água 1, Lisboa, 2005



Reflexo em poça de água 2, Fátima, 2006
50 x 40 cm



Abril, Lisboa, 2006
30 x 40 cm



Aeroporto, Espanha, 2006
30 x 40 cm



Cais, Troia, 2006
40 x 50 cm



Estrado com barco ao fundo, Troia, 2006
40 x 50 cm



Barco 2, Troia, 2006
40 x 50 cm



Barracão de pescador, Ericeira, 2006
50 x 40 cm



Um gato de corda, Ericeira, 2006
50 x 40 cm



Vidro partido, Sintra, 2006
40 x 50 cm



Construção, Lisboa, 2006
40 x 50 cm



Colunas, Lisboa, 2006
30 x 40 cm



Janela 2, Lisboa, 2006
50 x 40 cm



Multiusos, Lisboa, 2006
50 x 24 cm



Praça, Porto, 2006
40 x 50 cm



Homem a correr na praia, Ericeira, 2007
40 x 50 cm



Graffiti 1, Ericeira, 2007
50 x 40 cm



Graffiti 2, Lisboa, 2007
40 x 50 cm



Chiado, Lisboa, 2007
40 x 50 cm



Arcos, Lisboa, 2007
40 x 50 cm



Varanda com vista para..., Lisboa, 2007
40 x 50 cm



Casa da Música, Porto, 2007
40 x 50 cm



Pássaro de Fogo, Lisboa, 2007
45 x 17 cm



Corrimão, Lisboa, 2007
40 x 50 cm



Estação, Lisboa, 2007
40 x 50 cm



Porto, 2007
40 x 40 cm



Partir ou chegar 1, Lisboa, 2007
50 x 40 cm



Partir ou chegar 2, Lisboa, 2007
50 x 24 cm



Partir ou chegar 1, 2007
50 x 40 cm



Santa Cruz 2, 2007
50 x 40 cm



Santa Cruz 3, 2007
50 x 40 cm

....................................................................................................
«O que eu gostava verdadeiramente era de escrever, mas como não tenho esse dom, como tal procuro escrever com luz.»
José Boldt

José Boldt dedica-se à fotografia desde 1983. Em 1985 faz a sua 1ª exposição individual no Externato de Odivelas. Participa no 3º concurso fotográfico da Coopretaiva Sacavenense onde lhe é atribuído o 1º prémio e uma menção honrosa. Realizou três exposições na Union Assurances de Paris. Obteve o 2º prémio no concurso fotográfico da Escola de Artes António Arroio. Em 2004 realiza na galeria Quadrante uma exposição individual. Em 2005/6 fez parte de várias exposições colectivas.

«José Boldt desenvolveu a sua capacidade de transformar o que sente em peças que nos surpreendem e fazem pensar que cada momento é único, irrepetível e merecedor de um olhar mais atento. A utilização que faz do preto e branco permite captar as subtilezas da luz sobre pessoas, objectos ou cenários que diariamente se nos apresentam sem que deles demos conta. Um simples enquadramento transforma um tradicional beirado de Alfama numa composição geométrica característica da arquitectura mais vanguardista. O sentido gráfico que revelam alguns dos seus mais recentes trabalhos pode indicar um rumo que o levará, por certo, a novas etapas do seu modo de ver e de nos mostrar. Os trocadilhos da forma e as metáforas da luz são as regras do jogo que nos convida a partilhar. Garanto-vos que é um prazer joga-lo, e que todos sairemos a ganhar.

Armando Lopes in catálogo da Exposição na Galeria Quadrante.»
:
.
Escrever com Luz, portfólio de José Boldt
......................................................................................................

Klee, Paul - Expressionismo

Terça-feira, Agosto 21, 2007


Full Moon, 1919
Oil on board
40,5x34,5
Stangel Gallery, Munich, Germany



The Bavarian Don Giovanni, 1919
Watercolor and ink on wove paper
8 7/8 x 8 3/8 inches
Guggenheim Museum, New York City



Black Columns in a Landscape, 1919
Watercolor, pen, and ink on paper
8 x 10 3/8 in. (20.4 x 26.3 cm)
The Berggruen Klee Collection



Southern Gardens - 1919
Watercolor and india ink on paper
The Metropolitan Museum of Art, New York City



Small Rhythmic Landscape, 1920
Oil and pencil on canvas bordered with adhesive paper strips and pen sketches mounted on cardboard
27.8 x 21.5 cm
Private collection



Temple Gardens, 1920
Gouache and traces of ink on paper
H. 7-1/4, W. 10-1/4 in. (18.4 x 26.7 cm)
The Metropolitan Museum of Art, New York City



Miraculous Landing, or the "112!", 1920
Watercolor, transferred printing ink, pen, and ink on paper
9 3/8 x 12 1/2 in. (23.6 x 31.8 cm)
The Berggruen Klee Collection



Fairy Tales, ca. 1920
Watercolor and gouache on paper
8 1/2 in. x 10 1/4 in. (21.59 cm x 26.04 cm)
Art Gallery of the University of Rochester, New York



Three Flowers, 1920
Oil on priming on cardboard, oil on whole reverse surface
19.5 x 15 cm
Klee-museum, Bern



Dream City - 1921
Watercolor on paper
Private collection



Runner at the Goal, 1921
Watercolor and pencil on paper, bordered with gouache on the cardboard mount, Cardboard: 15 1/2 x 11 7/8 inches
Paper and Border: 12 7/8 x 9 3/8 inches
Paper: 12 1/16 x 8 15/16 inches
Guggenheim Museum, New York City



Adam and Little Eve, 1921
Watercolor and transferred printing ink on paper
12 3/8 x 8 5/8 in. (31.4 x 21.9 cm)
The Berggruen Klee Collection



Revolving House, 1921
Gouache
37,7 x 52,2 cm
Museo Thyssen-Bornemisza, Madrid



Crystal Gradation, 1921
Watercolour on paper, bordered in brush and pen, mounted on cardboard
24 x 31.3 cm
Offentliche Kunstsammlung Basel. Kupferstichkabinett



Red Balloon (Roter Ballon), 1922
Oil (and oil-transfer drawing?) on chalk-primed gauze, mounted on board
12 1/2 x 12 1/4 inches
Guggenheim Museum, New York City



Mauerpflanze (Wallflower), 1922
Watercolor and pen and brown ink on paper
25.8 x 30.2 cm (10 3/16 x 11 7/8 in.)
Museum of Fine Arts, Boston



Gespenst eines Genies [Ghost of a Genius], 1922
Oil transfer and watercolour on paper laid on card
50.00 x 35.40 cm (framed: 61.90 x 80.30 x 3.80 cm)
National Galleries of Scotland, Edinburgh



A Young Lady's Adventure, 1922
Watercolour on paper
625 x 480 mm frame: 686 x 510 x 20 mm
Tate Gallery, London



Senecio, 1922
Oil on canvas on wood
40.5 x 38 cm
Öffentliche Kunstsammlung Basel Kuntmuseun, Basilea



Landscape with Yellow Birds, 1923
Watercolor on blackened ground
Private collection



Abstract Trio, 1923
Watercolor and transferred printing ink on paper, bordered with gouache and ink
12 1/2 x 19 3/4 in. (32.1 x 50.2 cm)
The Berggruen Klee Collection



17 Astray, 1923
Watercolor and India ink on paper mounted on cardboard
Kunstmuseum Öffentliche Kunstsammlung, Basel



Static-Dynamic Gradation, 1923
Oil and gouache on paper, bordered with gouache, watercolor, and ink
15 x 10 1/4 in. (38.1 x 26.1 cm)
The Berggruen Klee Collection



Harmony in Blue = Orange, 1923
Oil on black priming on paper, bordered in watercolour and pen, strip on the botton in watercolour and pen, mounted on cardboard
37.3 x 26.4 cm
Rosengart Collection. Lucerne



Ventriloquist and Crier in the Moor, 1923
Watercolor and transferred printing ink on paper, bordered with ink
15 1/4 x 11 in. (38.7 x 27.9 cm)
The Berggruen Klee Collection



Portrait of Mrs. P. in the South (Bildnis der Frau P. im Süden), 1924
Watercolor and oil transfer drawing on paper, bordered with grey gouache on the pulpboard mount
Pulpboard: 16 3/4 x 12 1/4 inches
Paper: 14 3/4 x 10 3/4 inches
Guggenheim Museum, New York City



The Mask with the Little Flag, 1925
Watercolor on paper mounted on cardboard
Staatsgalerie, Munich



The Goldfish, 1925
Oil and watercolor on paper, mounted on cardboard
19 1/8 x 27 in.
Kunsthalle, Hamburg



Ancient Sound, 1925
Oil on cardboard
Kunstsammlung, Basel



Wintery Mask, 1925
Watercolour on wove paper, laid down on cardboard
53.5 x 34.6 cm
National Gallery of Canada, Ottawa



Fish Image, 1925
Oil tracing, pen and watercolour on plaster priming on gauze mounted on blue primed cardboard
60.5 x 40 cm
Rosengart Collection, Lucerne



Around the Fish, 1926
Oil on canvas
46.7 x 63.8 cm
Abby Aldrich Rockefeller Fund.
The Museum of Modern Art, New York City



Magic Garden (Zaubergarten), March 1926
Oil on gypsum plaster-filled wire mesh, mounted in artist's wood frame
With Frame: 20 7/8 x 17 3/4 inches
Plaster: 20 1/2 x 16 5/8 inches
Guggenheim Museum, New York City



Drohender Schneesturn, no. 291 [Threatening Snowstorm], 1927
Pen and coloured inks and watercolour on paper laid on card
49.90 x 31.60 cm
National Galleries of Scotland, Edinburgh



Omega 5 (Attrappen), 1927
Oil and watercolor on board
57 x 43 cm
Museo Thyssen-Bornemisza, Madrid



Monument on the Border of the Fertile Country, 1928
Watercolour and pen on paper mounted on cardboard
45.8 x 30.7 cm
Rosengart Collection, Lucerne



Howling Dog, 1928
Oil on canvas
17 1/2 x 22 3/8 in. (44.45 x 56.83 cm)
Minneapolis Institute of Arts, Minnesota



Highways and Byways - 1929
Oil on canvas
Ludwig Museum, Cologn



In the Current Six Thresholds (In der Strömung sechs Schwellen), 1929
Oil and tempera on canvas
17 1/8 x 17 1/8 inches
Guggenheim Museum, New York City



Burdened Children, 1930
Pencil, crayon and pen and ink on paper on board
650 x 458 mm
Tate Gallery, London



Childhood of the Chosen One, 1930
Coloured paste and watercolour strips on top and bottom in a watercolour and pen mounted on cardboard
23.9 x 30.5 cm
Rosengart Collection, Lucerne



Rythmisches aka Rythmical, 1930
Oil on canvas
Height: 68.9 cm (27.12 in.), Width: 50.48 cm (19.88 in.)
Private collection



Dampfer und Segelbote, 1931
Watercolor
Image: 43.5 x 64 cm (17 1/8 x 25 1/8 in.)
Support: 48.5 x 67.3 cm (19 1/16 x 26 7/16 in.)
The National Gallery of Art, Washington D.C.



Clarification, 1932
Oil on canvas
27 3/4 x 37 7/8 in. (70.5 x 96.2 cm)
The Berggruen Klee Collection



Ad Parnassum, 1932
Oil on canvas
39 x 49 in. (100 x 126 cm.)
Kunstmuseum, Bern



Fire at Full Moon, 1933
Watercolor wax-coated on canvas
Museo Folkwang, Essen, Germany



The One Who Understands, 1934
Oil and gypsum on canvas
21 1/4 x 16 in. (54 x 40.6 cm)
The Metropolitan Museum of Art, New York City



Hardy Plants, 1934
Oil on pulpboard
16 1/8 x 21 5/8 in. (40.96 x 54.93 cm)
Minneapolis Institute of Arts, Minnesota



Aviatic Evolution, 1934
Oil on canvas mounted on masonite
16 3/8 x 19 1/2 in. (41.6 x 49.5 cm)
Saint Louis Art Museum, Missouri



Angst, 1934
Gouache and wax on burlap
49.9 x 60 cm
National Gallery of Canada, Ottawa



The Invention, 1934
Watercolour, partly, sprayed, on cotton, mounted on plywood
50.5 x 50.5 cm
Private collection



Around the Core (Um den Kern), 1935
Oil and mixed media on burlap mounted on board
18 5/8 x 23 5/8 in. (47.308 x 60.008 cm)
Dallas Museum of Art, Texas



Souther Garden - 1936
Oil on paper, mounted on cardboard
Sprengel Museum, Hannover



New Harmony, 1936
Oil on canvas
36 7/8 x 26 1/8 inches
Guggenheim Museum, New York City



Arches of the Bridge Break Ranks, 1937
Charcoal on cloth, mounted on paper
Cloth: 16 3/4 x 16 1/2 inches
Paper: 19 5/8 x 18 3/8 inches
Guggenheim Museum, New York City



Oriental garden, 1937
Pastel
36,1 x 28,2 cm
Private collection



Comedians' Handbill, 1938
Gouache on newsprint
19 1/8 x 12 5/8 in. (48.6 x 32.1 cm)
The Berggruen Klee Collection



Angel Applicant, 1939
Gouache, ink, and pencil on paper
19 1/4 x 13 3/8 in. (48.9 x 34 cm)
The Berggruen Klee Collection



The Man of Confusion, 1939
Oil on canvas
26 1/4 x 19 7/8 in. (66.7 x 50.5 cm)
Saint Louis Art Museum, Missouri



Embrace, 1939
Paste color, watercolor, and oil on paper
9 1/2 x 12 1/4 in
Private collection



Love Song by the New Moon, 1939
Watercolor on lined burlap
Klee Foundation, Bern, Switzerland



Nomad Mother (Nomaden Mutter), 1940
Black crayon and opaque watercolor on paper
29.4 x 20.6cm (11 9/16 x 8 1/8in.)
Museum of Fine Arts, Boston



Captive, 1940
Oil on burlap
18 7/8 x 17 3/8 in
Private collection

...........................................................................................................
Na tela "Senecio, 1922", o rosto humano surge esquematizado, dividido, através do uso da cor, em rectângulos. Por outro lado, vários quadrados estão contidos num círculo representando a face com máscara e mostrando o treje multicolorido de um arlequim. O retrato do artista Senecio pode ser considerado como um símbolo da mudança da relação entre a arte, ilusão e o mundo do drama. «Levar uma linha a passear» era como Paul Klee descrevia o seu estilo hieroglífico, inspirado por uma paixão pela música e um interesse pelos sonhos e as incongruências do subconsciente. O estilo único de Klee, que muitos artistas posteriores procuraram perfilhar, combina inocência com sofisticação. Inicialmente, especializou-se em gravura, virando-se para a aguarela depois de uma viagem à Tunísia ter despertado a sua consciência da cor. Em 1911, associou-se a Kandinsky, Jawlwnsky e Feininger, com quem formou o grupo expressionista avant-garde Der Blaue Reiter (O Cavaleiro Azul), em Munique. Leccionou arte na Bauhaus, em Weimar, mas foi obrigado a bandonar a Alemanha devido às suas tendências artísticas radicais. Pau klee nasceu em Münchenbuchsee (SUI) em 1879 e morreu em Muralto (SUI) em 1940
................................................................................................
Paul Klee was born on December 18, 1879, in Münchenbuchsee, Switzerland, into a family of musicians. His childhood love of music was always to remain profoundly important in his life and work. From 1898 to 1901 Klee studied in Munich, first with Heinrich Knirr, then at the Kunstakademie under Franz von Stuck. Upon completing his schooling, he traveled to Italy. It was the first in a series of trips abroad that nourished his visual sensibilities. He settled in Bern in 1902. A series of his satirical etchings was exhibited at the Munich Secession in 1906. That same year Klee married Lily Stumpf, a pianist, and moved to Munich. There he gained exposure to Modern art. Klee’s work was shown at the Kunstmuseum Bern in 1910 and at Moderne Galerie, Munich, in 1911.

Klee met Alexej Jawlensky, Vasily Kandinsky, August Macke, Franz Marc, and other avant-garde figures in 1911; he participated in important shows of advanced art, including the second Blaue Reiter (Blue Rider) exhibition at Galerie Hans Goltz, Munich, in 1912, and the Erste deutsche Herbstsalon at the Der Sturm Gallery, Berlin, in 1913. In 1912 he visited Paris for the second time, where he saw the work of Georges Braque and Pablo Picasso, and met Robert Delaunay. Klee helped found the Neue Münchner Secession in 1914. Color became central to his art only after a revelatory trip to Tunisia in 1914.

In 1920 a major Klee retrospective was held at the Galerie Hans Goltz, Munich; his Schöpferische Konfession was published; he was also appointed to the faculty of the Bauhaus [more]. Klee taught at the Bauhaus in Weimar from 1921 to 1926 and in Dessau from 1926 to 1931. During his tenure, he was in close contact with other Bauhaus masters such as Kandinsky and Lyonel Feininger. In 1924 the Blaue Vier (the Blue Four), consisting of Lyonel Feininger, Jawlensky, Kandinsky, and Klee, was founded. Among his notable exhibitions of this period were his first in the United States at the Société Anonyme, New York, in 1924; his first major show in Paris the following year at the Galerie Vavin-Raspail; and an exhibition at the Museum of Modern Art, New York, in 1930. Klee went to Düsseldorf to teach at the Akademie in 1931, shortly before the Nazis closed the Bauhaus. Forced by the Nazis to leave his position in Düsseldorf in 1933, Klee settled in Bern the following year. Seventeen of his works were included in the Nazi exhibition of “degenerate art,” Entartete Kunst, in 1937. Major Klee exhibitions took place in Bern and Basel in 1935 and in Zurich in 1940. Klee died on June 29, 1940, in Muralto-Locarno, Switzerland.

Guggenheim Collection - Klee Biography
...........................................................................................................

Matta, Roberto-Expressionismo-Abstracto / Surrealismo

Quarta-feira, Agosto 15, 2007
:
:


Composición azul, 1937
Watercolor
32.5 x 50 cm
Private Collection



untitled, 1937
Watercolor
32.4 x 50.2 cm.
Private collection



Space Travel (Star Travel)", 1938
OIl on canvas
50.2 x 64.8 cm
Museum of Modern Art, San Francisco



Inscape, 1939
Oil on canvas
73 x 92,7 cm
Château de Chemillieu Collection, París



Water, 1939
Oil on canvas
71 x 90 cm
Private collection



Dark Light, 1940
Oil on canvas
29 x 44.4 cm.
Guggenheim Museum, New York City



Listen to Living, 1941
Oil on canvas
29 1/2 x 37 7/8" (74.9 x 94.9 cm)
The Museum of Modern Art, New York City



Here, Sir Fire, Eat!, 1942
Oil on canvas
56 1/8 x 44 1/8" (142.3 x 112 cm)
The Museum of Modern Art, New York City



El dia es um atentado, 1942
Oil on canvas
76 x 91 cms
Museo Nacional de Bellas Artes. Santiago, Chile



The Bachelors Twenty Years After, 1943
Oil on canvas
38 x 40 inches (96.5 x 101.6 cm)
Philadelphia Museum of Art



The Vertigo of Eros, 1944
Oil on canvas
6' 5" x 8' 3" (195.6 x 251.5 cm)
The Museum of Modern Art, New York City



To Escape the Absolute, 1944
Oil on canvas
37 3/4 x 49 3/4 inches (95.9 x 126.4 cm)
Philadelphia Museum of Art



Le Poète (Un poète de notre connaissance), 1945
Oil on canvas
94 x 76.5 cm.
Private collection



A Grave Situation, 1946
Oil on canvas
55 x 77-1/8 in. (139.7 x 195.9 cm)
Museum of Contemporary Art, Chicago



The Ego and the I, 1946
Oil on canvas
80.5 x 101 cm.
Private collection



Let's Phosphoresce by Intellection I, 1950
Oil on canvas
149.9 x 177.8 cm.
Private collection



Cat for Piano, 1951
Oil on canvas
48.75 x 59 x 1.25 inches
Walker Art Center



Les évanisseurs, 1951
Oil on canvas
121 x 176 cm.
Private collection



Untitled, 1952
Oil on canvas
130 x 195 cm
Private collection



Let any flowers bloom, 1952
Oil on canvas
199 x 299.7 cm.
Private collection



The Un-Nominator Renominated, 1952-53
Oil on canvas
120.4 x 175 cm
Peggy Guggenheim Collection, Venice



Untitled, 1961
Oil on canvas
45.25 x 38.125 x 1.125 inches
Walker Art Center



Les Orienteur, 1964
Oil on canvas
h: 45 x w: 57.1 in / h: 114.3 x w: 145 cm
Private collection



"Malitte" Cushion System, 1966
Upholstered polyurethane
63 x 63 x 25 inches (160 x 160 x 63.5 cm)
Philadelphia Museum of Art



Where Madness Dwells A. From the Cicle:"The Blinding Exile", 1966
Oil on canvas
205 x 203,5 cm
Museo Thyssen-Bornemisza, Madrid



Where Madness Dwells B. From the Cicle:"The Blinding Exile", 1966
Oil on canvas
204 x 204,5 cm
Museo Thyssen-Bornemisza, Madrid



The Where at Flood Tide. From the Cicle:"The Blinding Exile", 1966
Oil on canvas
202 x 195 cm
Museo Thyssen-Bornemisza, Madrid



The Blinding Exile. From the Cicle:"The Blinding Exile", 1966
Oil on canvas
200 x 195 cm
Museo Thyssen-Bornemisza, Madrid



Chaosmos, 1970
Bronze
180.00 x 92.00 x 38.00 cm
National Galleries of Scotland, Edinburgh



Cuadro, 1970
Oil on canvas
51.3 x 49.5 cm
Private collection



M'orbite, 1970-71
Oil on canvas
99.3 x 91.8 cm
Private collection



Eye-Forces, 1971
Oil on canvas
136 x 150 cm
Private collection



Otto Por Tre, 1971
Oil on canvas
99 x 95.8 cm
Private collection



You-Foric, 1975
Oil on canvas
104 x 94 cm
Private collection



Les voix des temples, 1976
Oil on canvas
92 x 95 cm
Private collection



Surrealist composition, 1977
Oil on canvas
99 x 99 cm
Private collection



L'architêtre, 1979
Oil on canvas
200 x 300 cm
Private collection



N'oùs, 1980
Oil on canvas
66 x 65 cm
Private collection



La Follia (Opus 5, Corelli), 1980
Pastel on paper
78 x 74.5 cm
Private collection



Fingering Caprice (Homenaje a Paganini), 1982
Oil on canvas
88 x 100 cm
Private collection



Simposio o Composio, 1985
Oil on canvas
291 x 312 cm.
Private collection



Un verre de blanc, 1985
Oil on canvas
71 x 63 cm
Private collection



Mi-mosa, 1986
Oil on canvas
46 x 37 cm
Private collection



Une pierre qui regagnera le ciel, 1986
Mixed media on linen
195.6 x 205.7 cm
Private collection



Le forze del destino, 1990
Oil on canvas
240 x 300 cm
Private collection



Omnipuissance du rouge, 1990
Oil on canvas
200 x 240 cm.
Private collection



Eva Valliante, 1991
Oil on canvas
119.4 x 149.9 cm
Private collection



Équation de l'eau, 1992
Pastel
150 x 150 cm
Private collection



Leaving your grass, 1993
Oil on canvas
150 x 200 cm
Private collection



Un arbol montagna, 1994
Oil on canvas
147 x 153 cm
Private collection



Petites danseuses, 1995
Watercolor on paper
19.5 x 21 cm
Private collection



Morphologie du Ciel, 1996
Oil on paper on canvas
142 x 142 cm
Private collection



L'Eternité Hors du Moi, 1996
Mixed media on canvas
106.7 x 91.4 cm
Private collection



Untitled, 1997
Mixed media on paper mounted on canvas
153.7 x 321 cm
Private collection



My Infinite is the Instant, 1997
Oil on paper on canvas
152.4 x 135.9 cm
Private collection



L'onda m'onda, 1999
Oil on canvas
240 x 315 cm
Private collection

Matta died on Nov. 23, 2002 at a hospital near his home in Italy.
He was active and creating until the end, a sad loss for the world.



El Año de los Tres 000", 2000
Mixed media on canvas
200 x 300 cm



Artitre", 2000
Mixed media on canvas
44 x 61 cm



Post History Chicken Flowers", 2002
Mixed media on canvas
66 x 64 cm

Matta's final works were these Carborundum etchings:



La Dulce Acqua Vita, 2002
120 x 102 cm



The End of the World, 2002
120 x 102 cm

This Carborundum etching was Matta's final work:



La Source de Calm, 2002

.......................................................................................................
Em "Untitled, 1952", um grande número de figuras em forma de insecto e em tons púrpura preenchem a tela. No centro, um brilho amarelo-avermelhado constitui o foco desta construção luminosa. Estas estranhas formas orgânicas vêm directamente do subconsciente de Matta, geradas por uma técnica denominada "automatismo psíquico puro", através da qual o artista cria desenhos espontâneos guiado pelo seu instinto. Este interesse pelo subconsciente é típico do Surrealismo, um movimento com o qual Matta estava intimamente associado. Conheceu Dali durante uma viagem a Espanha e posteriormente tornou-se um dos membros principais do grupo. Os quadros místicos e perturbantes de Matta, que ele denominou como "morfologias psicológicas" ou "paisagens íntimas", sugerem cenas de violência caótica e de terror. Com um carácter orgânico e até extraterrestre, estes quadros preocupam-se com o espaço cósmico e infinito. Matta inicialmente estudou arquitectura e trabalhou como desenhista para Le Corbusier. As suas obras acabariam por influenciar de forma importante os quadros de Gorky e os surrealistas americanos. Roberto Matta nasceu em Santiago do Chile (CH) em 1911 e morreu em Civitavechia (IT) em 2002.
.....................................................................................................
Roberto Sebastian Antonio Matta Echaurren was born in Santiago, Chile in 1911. He studied architecture at the Universidad Catolica in Santiago. In 1933 Matta traveled to Paris and worked for two years as a draftsman in the Paris studio of famed architect Le Corbusier. While visiting his aunt in Madrid, he met Federico Garcia Lorca and Pablo Neruda. Neruda introduced Matta to Salvador Dali and Andre Breton. Impressed by Matta's drawings, Breton invited him to join the Surrealist group in 1937. Influenced by his association with the Surrealists and by Marcel Duchamp's theories of movement and process, Matta began to explore the realm of the subconscious and to develop an imagery of cosmic creation and destruction. His early works, the Psychological Morphologies and the Inscape series, were organic in style and content. By 1939 the war in Europe drove Matta to exile in New York, where he was an important influence on the young New York School artists, especially in his use of automatist techniques. In 1940 he held his first solo exhibition at the Julien Levy Gallery in New York City. A 1941 trip to Mexico with his wife and his friend Robert Motherwell intensified his interest in the pre-Columbian heritage of Latin America. In 1942 Matta was included in the New York exhibitions Artists in Exile at the Pierre Matisse Gallery and The First Papers of Surrealism at the Whitelaw-Reid Mansion. In the mid-1940s his early abstractions gave way to paintings in which mechanical and insect-like shapes float and collide in a cosmic space charged with dynamic tension. In 1948, Matta returned to Europe and broke with the Surrealist movement. He settled in Paris in 1954. During the 1960s and 1970s Matta traveled to Cuba, South America, Egypt, and Africa. Although known primarily as a painter, Matta has also explored the media of sculpture, ceramics, and tapestry. Matta's one person exhibitions include those at The Museum of Modern Art, New York, Nationalgalerie, Berlin, the Kestner-Gesellschaft, Hanover, the Hayward Gallery, London, Musee National d'Art Moderne, Centre Georges Pompidou, Paris, Museo de Bellas Artes, Santiago, Chile, and. Museo Yokohama, Japan. His work has been included in The Latin-American Collection of The Museum of Modern Art, New York, 1943; The Emergent Decade, Cornell University, Ithaca, New York, and the Solomon R. Guggenheim Museum, New York, 1965; Art of Latin America since Independence, Yale University Art Gallery, New Haven, 1966; Art in Latin America: The Modern Era, 1820-1980, Hayward Gallery, London, 1989; and Crosscurrents of Modernism: Four Latin American Pioneers Hirshhorn Museum, Washington, DC, 1992. A Matta retrospective was presented at the Centro Cultural Caixa in Barcelona and the Museo Nacional de Arte Reina Sofia in Madrid in 1999. Matta died in Civitavecchia, Italy, on 23 November 2002.
.........................................................................................................

Braque, Georges - Cubismo

Terça-feira, Agosto 14, 2007


Terrace of Hotel Mistral, L'Estaque [and Paris], autumn 1907
Oil on canvas
31 1/2 x 24 in. (80 x 61 cm.)
Private collection



Musical Instruments, Paris, autumn 1908
Oil on canvas
19 3/4 x 24 in. (50 x 61 cm.)
Private collection



Houses at L'Estaque, L'Estaque, [August] 1908
Oil on canvas
28 3/4 x 23 1/2 in. (73 x 60 cm.)
Kunstmuseum, Bern



Viaduct at L'Estaque, Paris, early 1908
Oil on canvas
28 5/8 x 23 1/4 in. (72.5 x 59 cm.)
Musee National d'Art Moderne, Centre Georges Pompidou, Paris



Large Nude, Paris, spring 1908
Oil on canvas
55 1/4 x 39 1/2 in. (140 x 100 cm.)
Collection Alex Maguy, Paris



Fruit Dish, [Paris, winter], 1908-09
Oil on canvas
21 1/4 x 25 1/2 in. (54 x 65 cm.)
Moderna Museet, Stockholm



Harbor in Normandy, Le Havre and Paris, May-June 1909
Oil on canvas
37 7/8 x 37 7/8 in. (96.2 x 96.2 cm.)
The Art Institute of Chicago



Castle at La Roche-Guyon, La Roche-Guyon, summer 1909
Oil on canvas
36 1/4 x 28 3/4 in. (92 x 73 cm.)
Stedelijk van Abbe Museum, Eindhoven



Fishing Boats, 1909
Oil on canvas
36 1/4 x 28 7/8 in. (92.1 x 73.3 cm)
Museum of Fine Arts, Houston, Texas



Violin and Pitcher, Paris, early 1910
Oil on canvas
46 x 28 3/4 in. (117 x 73 cm.)
Kunstmuseum Basel



Violin and Candlestick, Paris, spring 1910
Oil on canvas
24 x 19 3/4 in. (61 x 50 cm.)
San Francisco Museum of Modern Art



Bottle and Fishes, L'Estaque, autumn 1910
Oil on canvas
24 x 29 1/2 in. (61 x 75 cm.)
The Tate Gallery, London



Le Sacré-Coeur, 1910
Oil on canvas
55.5 x 41 cm
Musée d´ Art Moderne du Nord. Villeneuve d´ Asq



Woman with a Mandolin, 1910
Oil on canvas
80,5 x 54 cm
Museo Thyssen-Bornemisza, Madrid



The Glass of Absinth, c. 1910-1911
Oil on canvas
30.1 x 24.5 cm oval
National Gallery of Canada, Ottawa



Man with a Guitar, Ceret, summer 1911
Oil on canvas
45 3/4 x 31 7/8 in. (116.2 x 80.9 cm.)
The Museum of Modern Art, New York



Le Portugais (The Emigrant), Ceret [and Paris], autumn 1911-early 1912
Oil on canvas
46 x 32 in. (117 x 81 cm.)
Kunstmuseum Basel



Man with a Violin, Paris, spring 1912
Oil on canvas (oval)
39 1/2 x 28 3/4 in. (100 x 73 cm.)
Foundation E.G. Buhrie Collection, Zurich



Fruit Dish, "Quotidien du Midi", Sorgues, August-September 1912
Oil and sand on canvas
16 x 13 in. (41 x 33 cm.)
Thomas Ammann Fine Art, Zurich



Fruitdish and Glass, September 1912
Pasted papers and charcoal on paper
Private collection



Still Life with a Violin, Sorgues, autumn 1912
Charcoal and pasted paper
24 1/2 x 18 7/8 in. (62.1 x 47.8 cm.)
Yale University Art Gallery, New Haven, Connecticut



The Fruitdish, 1912
Oil and sand on canvas
Private collection



Still Life with Harp and Violin, 1912
Oil on canvas
116 x 81 cm
Kunstsammlung Nordrhein-Westfalen, Dusseldorf



Still Life BACH, 1912
Pasted paper and charcoal on paper
Kunstmuseum Basel



Fruit Dish, Ace of Clubs, Paris, early 1913
Oil, gouache, and charcoal on canvas
31 7/8 x 23 5/8 in. (81 x 60 cm.)
Musée National d'Art Moderne, Centre Georges Pompidou, Paris



Pedestal Table, Paris, early 1913
Oil and charcoal on canvas
25 3/4 x 36 1/4 in. (65 x 92 cm.)
Kunstmuseum Basel



Bottle, Newspaper, Pipe, and Glass, 1913
Charcoal and various papers pasted on paper
48 x 64 cm (18 7/8 x 25 1/4 in.)
Private collection



Tenora, 1913
Pasted paper, oil, charcoal, chalk, and pencil on canvas
37 1/2 x 47 5/8 in. (95.2 x 120.3 cm)
The Museum of Modern Art, New York



Woman with a Guitar, Sorgues, autumn 1913
Oil and charcoal on canvas
51 1/4 x 28 3/4 in. (130 x 73 cm.)
Musée National d'Art Moderne, Centre Georges Pompidou, Paris



Violin and Pipe: "Le Quotidien", Paris, after December 20, 1913
Chalk, charcoal, and pasted paper
29 1/8 x 41 3/4 in. (74 x 106 cm.)
Musée National d'Art Moderne, Centre Georges Pompidou, Paris



Still Life on a Table: "Gillette, Paris, early 1914
Charcoal, pasted paper, and gouache
Musée National d'Art Moderne, Centre Georges Pompidou, Paris



Glass, Carafe and Newspapers, 1914
Pasted papers, chalk and charcoal on cardboard
62.5 x 28.5 cm (24 5/8 x 11 1/4 in.)
Private collection



Fruit on a Tablecloth with a Fruitdish, 1925
Oil on canvas
51 3/16 x 29 1/2 in. (130 x 75 cm)
Musée National d'Art Moderne, Centre Georges Pompidou, Paris



The Bowl of Grapes (Le Compotier de raisins), 1926
Oil with pebbles and sand on fine linen canvas
39 3/8 x 31 1/4 inches
Guggenheim Museum, New York City



The Blue Mandolin, 1930
Oil with sand on canvas
46 x 35 in. (116.8 x 88.9 cm)
Saint Louis Art Museum, Missouri



Glass and Fruit, 1931
oil with sand on canvas
15 x 18 1/4 in. (38.1 x 46.4 cm)
Saint Louis Art Museum, Missouri



Woman with a Mandolin, 1937
Oil on canvas
51 1/4 x 38 1/4" (130.2 x 97.2 cm)
The Museum of Modern Art, New York City



The Pink Tablecloth, 1938
Oil on canvas
87,5 x 106 cm
Museo Thyssen-Bornemisza, Madrid



The Studio, 1939
Oil with sand on canvas
H. 44-1/2, W. 57-1/2 in. (113 x 146.1 cm)
The Metropolitan Museum of Art, New York City



Black Fish, 1942
Oil on canvas
33 x 55 cm
Musée national d'Art Moderne, Centre Georges Pompidou, Paris



Interior with Palette, 1942
Oil on canvas
55 5/8 x 77 in.
The Menil Collection, Houston, Texas



Still Life with Palette, 1943
Oil on canvas
23 5/8 x 31 7/8 in. (60 x 81 cm)
Saint Louis Art Museum, Missouri



Woman with Mandolin 1945
La Mandoline
Lithograph on paper
245 x 170 mm
Tate Gallery, London



Helios V, 1948
Lithograph on paper
502 x 425 mm
Tate Gallery, London



Studio I, 1949
Oil on canvas
92 x 73 cm
Private collection



Studio V. 1949-50
Oil on canvas
57 7/8 x 69 1/2" (147 x 176.5 cm)
The Museum of Modern Art, New York City



Poster, 1953
Print poster
60.5 x 41.6cm sheet
Art Gallery of New South Wales, Sydney, Australia

....................................................................................................
Em "Fruit Dish, Ace of Clubs, Paris, 1913", um cacho de uvas, cartas de jogare partes de instrumentos musicais parecem ter sido colocados na tela por acaso, embora, na realidade, a composição tenha sido cuidadosamente construída. Braque mostra uma mesa redonda, vista de cima. Contudo, a gaveta parece ter sido pintada de frente, tal como os ases de paus e de copas, em cima. O cacho de uvas pare flutuar na superfície e encontram-se letras espalhadas pela composição. Ao invés de recriar a ilusão de um espaço real na tela plana, através do recurso à perspectiva, luz e sombra, Braque sugeriu tridimensionalidade e profundidade ao mostrar simultaneamente a vista do topo e do lado da mesa. Invluiu também elementos pintados de forma a parecerem madeira sugerindo novamente uma forma real por detrás do plano do quadro. Junto com Picasso, Braque inventou o Cubismo em 1907, um movimento revolucionário que desafiava a abordagem tradicional à representação do espaço numa superfície bidimensional, abrindo caminho para a abstracção. Georges Braque nasceu em Argenteuil-sur-Seine (FR) em 1882 e morreu em Paris em 1963.
.........................................................................................................
Georges Braque was born on May 13, 1882, in Argenteuil-sur-Seine, France. He grew up in Le Havre and studied evenings at the École des Beaux-Arts there from about 1897 to 1899. He left for Paris to study under a master decorator to receive his craftsman certificate in 1901. From 1902 to 1904 he painted at the Académie Humbert in Paris, where he met Marie Laurencin and Francis Picabia. By 1906 Braque’s work was no longer Impressionist but Fauve in style; after spending that summer in Antwerp with Othon Friesz, he showed his Fauve work the following year in the Salon des Indépendants in Paris. His first solo show was at Daniel-Henri Kahnweiler’s gallery in 1908. From 1909 Pablo Picasso and Braque worked together in developing Cubism; by 1911 their styles were extremely similar. In 1912 they started to incorporate collage elements into their paintings and to experiment with the papier collé (pasted paper) technique. Their artistic collaboration lasted until 1914. Braque served in the French army during World War I and was wounded; upon his recovery in 1917 he began a close friendship with Juan Gris. After World War I Braque’s work became freer and less schematic. His fame grew in 1922 as a result of an exhibition at the Salon d’Automne in Paris. In the mid-1920s Braque designed the decor for two Sergei Diaghilev ballets. By the end of the decade, he had returned to a more realistic interpretation of nature, although certain aspects of Cubism [more] always remained present in his work. In 1931 Braque made his first engraved plasters and began to portray mythological subjects. His first important retrospective took place in 1933 at the Kunsthalle Basel. He won first prize at the Carnegie International, Pittsburgh, in 1937. During World War II Braque remained in Paris. His paintings at that time, primarily still lifes and interiors, became more somber. In addition to paintings, Braque also made lithographs, engravings, and sculptures. From the late 1940s he treated various recurring themes such as birds, ateliers, landscapes, and seascapes. In 1954 he designed stained-glass windows for the church of Varengeville. During the last few years of his life, Braque’s ill health prevented him from undertaking further large-scale commissions, but he continued to paint, make lithographs, and design jewelry. He died on August 31, 1963, in Paris.

Guggenheim Collection - Braque Biography
......................................................................................................

Hodgkin, Howard - Pós-modernismo / Arte Abstracta

Quinta-feira, Agosto 09, 2007


Interior of a Museum 1956-59
Oil on wood
1016 x 1270 mm
Tate Gallery



Gardening, 1963
Oil on canvas
600x800 mm
Birmingham Museum & Art Gallery



Dinner at West Hill, 1964-66
Oil on canvas
1067 x 1270 mm
Tate Gallery, London



Large Japanese Screen, 1964/66
Oil on canvas
102 X 132 cm
Private collection



Girl on a Sofa, 1968
Lithograph on paper
514 x 648 mm
Tate Gallery



Bedroom, 1968
Lithograph on paper
514 x 654 mm
Tate Gallery, London



Mr & Mrs E.J.P., 1972-73
Oil on wood
36 x 47 3/4 in. (91.2 x 121.5 cm)
Private collection, London



Small Durand Gardens, 1974
Oil on wood
565 x 660 mm
Private collection, London



In a Hotel Garden, 1974
Oil on wood
1070 x 1270 mm
Tate Gallery, London



Grantchester Road, 1975
Oil on wood
49 x 57 in. (124.5 x 144.8 cm)
Private collection



Small Henry Moore at the Bottom of the Garden, 1975-77
Oil on wood
20 3/4 x 21 in. (52.7 x 53.4 cm)
Private collection



The Green Chateau, 1976-80
Oil on wood
38 5/8 x 48 1/2 in. (98.2 x 123.1 cm)
Private collection



Paul Levy, 1976-80
Oil on wood
20 7/8 x 24 in. (53 x 61 cm)
Collection Doris and Charles Saatchi, London



A Storm, 1977
Gouache on paper
910 x 1105 mm
Birmingham Museum & Art Gallery



In Alexander Street, 1977-79
Oil on wood
17 3/4 x 20 in. (45.1 x 50.8 cm)
Private collection



Day Dreams, 1977-80
Oil on wood
23 1/8 x 32 1/8"
Private collection



Reading the Letter, 1977-80
Oil on wood
17 3/4 x 20 in. (45.2 x 50.8 cm)
Private collection



Interior with Figures, 1977-84
Oil on wood
54 x 60 in. (137.2 x 152.5 cm)
Collection the artist



After Corot, 1979-82
Oil on wood
14 1/2 x 15 in. (36.8 x 38.1 cm)
Private collection



Counting the Days, 1979-82
Oil on wood
21 3/4 x 25 1/4 in. (55.2 x 64.2 cm)
Private collection



Lotus, 1980
Screenprint on paper
724 x 908 mm
Tate Gallery, London



In the Bay of Naples, 1980-82
Oil on wood
54 x 60 in. (137.2 x 152.5 cm)
Private collection



None But the Brave Deserves the Fair, 1981-84
Oil on wood
24 3/4 x 30 in. (62.8 x 76.2 cm)
Private collection



Son et Lumière, 1983-84
Oil on wood
66.7 x 74.3 cm
Private collection



A Small Thing But My Own, 1983-5
Oil on wood
44.5 x 53.5 cm
Private collection



Mr. and Mrs. James Kirkman, 1984
Oil on wood
103,5 x 121,3 cm
Private collection



Dinner in Palazzo Albrizzi, 1984-88
Oil on wood
1175 x 1175 mm
Modern Art Museum of Fort Worth



In Bed in Venice, 1984/88
Oil on wood
38 5/8 x 48 7/8 in
UBS Financial Services Art Collection



Moroccan Door, 1990-1
Etching on paper
768 x 1140 mm
Tate Gallery, London



Venice, Night, 1995
Etching, aquatint and hand-colouring on paper
1590 x 1950 mm
Tate Gallery, London



After Matisse, 1995–99
Oil on wood
1102 x 1260 mm
Modern Art Museum of Fort Worth



Norwich, 1999
Etching and carborundum on paper
434 x 482 mm
Tate Gallery, London



Come into the Garden Maud, 2000-3
Oil on wood
1898 x 2508 mm
Tate Gallery, London



Strictly Personal, 2001
Etching, aquatint and carborundum on paper
302 x 350 mm
Tate Gallery, London

..................................................................................................
Howard Hodgkin nasceu em 6 Agosto de 1932 em Londres. Estudou pintura na Camberwell Art School e Bath Academy of Art. Hodgkin expôs pela primeira vez em 1962 na galeria de Arthur Tooth and Sons, em Londres. A sua obra, mostrada ao longo de anos em exposições indivuduais ou colectivas, ganhou o respeito do público e da crítica, tornando-se, nos anos 80 do século passado, num dos mais importantes pintores ingleses contemporâneo com obras representadas em muitos museus de todo o mundo. Para Hodgkin, o processo de pintura é longo. Pode demorar vários anos a completar um quadro. Trabalha geralmente em madeira, cobrindo a moldura, bem como o suporte, de cores exuberantes. Ganhou o Prémio Turner de pintura em 1985. Em 1992 foi agraciado pela raínha de Inglaterra com o título de Sir
...................................................................................................
Howard Hodgkin (born 1932) - Article provided by Grove Art Online www.groveart.com

English painter, printmaker and collector. He studied at the Camberwell School of Art (1949) and at the Bath Academy of Art, Corsham (1950–54). He did not seriously exhibit until he was 30. His preference was for emotionally charged figurative groupings in which the figures appeared embedded in the matrix of the picture, as if growing out of their surroundings, such as the Interior of a Museum (1956–9; London, Tate). The often manic humour helped place Hodgkin in the climate of Pop art, although he was not directly associated with the movement; early subjects included Joe Tilson in The Tilsons (1965–7; ex-Stuyvesant priv. col., London), whose goggle eyes stare out from his own gaudy carpentered constructions. Hodgkin was always concerned to make the picture an object, and from 1970 he worked not on canvas but on assertive wooden supports, such as drawing boards or door frames. Hodgkin's paintings are generally small in scale, consciously conceived within the tradition of European easel painting. They refer to memories of specific moments, but as Hodgkin insisted, ‘the most complete expression of such a subject would not necessarily involve description' (Reichardt, p. 140). He painted extremely slowly, sometimes taking up to four years or more on one work. During this process the clarity of the original imagery was often obscured, and the spectator was invited to decipher the finished image as a kind of riddle. A white line representing a table divides the composition of Dinner at West Hill (1966; London, Tate), the egg-like heads of the guests rising on the right and, from the red areas opposite, establishing the spectator's presence. The sense is of the social event having generated another level, evident in the painted flecks which dance like thoughts above the heads of the guests. Hodgkin's repeated dots or blobs stand for the vibrations of feeling, almost as metaphysical substance. In the 1970s Hodgkin's work shifted from a collaged geometric flatness to a more complex fluid patterning, from the exemplar of Matisse's Moroccans (1916; New York, MOMA) to Vuillard's intimist interiors. The decorative patterning, gorgeous colour and framing devices of paintings such as Dinner at Smith Square (1975–9; London, Tate; see fig.), as well as the eclectic mix of styles, owe much also to Pahari miniature paintings, of which Hodgkin was an avid collector, visiting India almost every year. He applied a restricted range of simple shapes and marks to a variety of moods: lyrical and poetic, as in The Moon (1978–80; Kitaj priv. col., see 1984 exh. cat., p. 55), painted on a bread board and marvellously evoking a lunar romance; humorous, as in A Small Henry Moore at the Bottom of the Garden (1975–7; priv. col., see 1984 exh. cat., p. 31), where the frame overpowers the subject; or openly erotic, as in Goodbye to the Bay of Naples (1980–82; priv. col., see 1984 exh. cat., p. 67), with a belly and penis in the foreground set into a frame representing repeated eruptions from Mount Vesuvius. Hodgkin's prints followed a similar development. In the late 1960s and early 1970s the artist favoured screen printing and lithography as suitable media for effects of flat printed colour, as in the series of 12 screen prints, Indian Views A–L (1971; London, Tate). The emphasis from the mid-1970s on the physical substance of layers of paint had a corresponding effect on his decision to change to intaglio methods such as etching and aquatint, emphasizing the textures and marks in prints such as Interior (Day) and Interior (Night) (both 1974; London, Tate). In later works, such as Bleeding (lithograph, 1982; see 1983 exh. cat., p. 45), he hand-coloured the image after printing. Hodgkin consistently stressed the self-sufficiency of the marks and formal structure of his work. The oblique and even mystificatory imagery, however, also entailed a defence of intimate values in expressing the most fugitive, human and vulnerable sensations.
.....................................................................................................



Soutine, Chaim - Expressionismo

Domingo, Agosto 05, 2007


Portait of a Nurse, c. 1916
Oil on canvas
Los Angeles County Museum of Art



Landschaft mit Häusern, 1918
Oil on canvaxs
54 x 64.5 cm
Kunstmuseum Lucerne, Switzerland



La Maison blanche, c. 1918
Oil on canvas
Musée de l’Orangerie, Paris



Paysage avec personnage, c.1918/19
Oil on canvas
Musée de l’Orangerie, Paris



Little Girl with Doll, 1919
Oil on canvas
73 x 59.7 cm
Alex Hillman Family Foundation, New York



Parisian Suburb - c. 1919
Oil on canvas
65.1 cm (25.63 in.), Width: 54 cm (21.26 in.)
Private collection



Flowers and Fish - 1919
Oil on canvas
65.3 cm (25.71 in.), Width: 50.2 cm (19.76 in.)
Private collection



Ceret Landscape - circa 1919/20
Oil on canvas
45.72 cm (18 in.), Width: 60.96 cm (24 in.)
Private collection



Le Mas Passe-Temps, Céret, 1920/21
Oil on canvas
62.80 x 86.30 cm
National Galleries of Scotland, Edinburgh



Polish Woman, 1922
Oil on canvas
81 x 65.1 cm
Private collection



The Old Mill, c. 1922/23
Oil on canvas
26 1/8 x 32 3/8" (66.4 x 82.2 cm)
The Museum of Modern Art, New York City



Paysage, c. 1922/23
Oil on canvas
Musée de l’Orangerie, Paris



Portrait d'homme (Emile Lejeune), c. 1922/23
Oil on canvas
Musée de l’Orangerie, Paris



Le Petit Pâtissier, c. 1922/23
Oil on canvas
Musée de l’Orangerie, Paris



Bœuf et tête de veau, c. 1923
Oil on canvas
Musée de l’Orangerie, Paris



Le sculpteur Miestchaninoff, 1923
Oil on canvas
65 cm x 83 cm
Pompidou Center, Paris



Landscape at Cagnes, 1923-24
Oil on paper mounted on canvas
21-1/2 x 25-3/4 in. (54.6 x 65.4 cm)
Norton Simon Museum, Pasadena, California



Arbre couché, c. 1923 - 1924
Oil on canvas
Musée de l’Orangerie, Paris



Green Trees, c.1923/24
Oil on canvas
59.1 x 71.8 cm
Teruyuki Yamazaki, Nagoya, Japan



Dead Fowl, c. 1924
Oil on canvas
43 1/2 x 32" (110.4 x 81.1 cm)
The Museum of Modern Art, New York City



Nature morte au faisan, c. 1924
Oil on canvas
Musée de l’Orangerie, Paris



Cook of Cagnes, 1924
Oil on canvas
61 x 51 cm
Kunstmuseum Bern. Switzerland



Woman in Pink, c. 1924
Oil on canvas
28 3/4 x 21 3/8 in. (73 x 54.3 cm)
Saint Louis Art Museum, Missouri



Garçon d'honneur, c. 1924/25
Oil on canvas
Musée de l’Orangerie, Paris



Le Poulet plumé, c. 1925
Oil on canvas
Musée de l’Orangerie, Paris



Le Dindon, c. 1925
Oil on canvas
Musée de l’Orangerie, Paris



Le Garçon d'étage, c. 1927
Oil on canvas
Musée de l’Orangerie, Paris



Enfant de chœur, c. 1927 - 1928
Oil on canvas
Musée de l’Orangerie, Paris



Lina, 1928
Oil on canvas
38 x 46 cm
Kunstmuseum Lucerne, Switzerland



Girl in Green, 1928
Oil on canvas
36.5 x 27.3 cm
Philadelphia Museum of Art, Pennsylvania



Portrait of a Boy, 1928
Oil on canvas
45.7 x 38.1 cm
Private collection



Madeleine Castaing, 1929
Oil on canvas
39 3/8 x 28 7/8 in. (100 x 73.3 cm)
The Metropolitan Museum of Art, New York City



Portrait of Maria Lani, 1929
Oil on canvas
28 7/8 x 23 ½” (73.3 x 59.7 cm)
The Museum of Modern Art, New York City



Portrait of a Woman, 1929
Oil on canvas
55.2 x 46.4 cm
Private collection



Still Life, Painted in the late 20s
Oil on canvas
50.5 x 61 cm
E.G. Bührle Collection, Zurich



Marie at the Bath, 1931
Oil on canvas
60 x 53 cm
Private collection



Female Nude (Eve), 1933
Oil on canvas
46 x 27 cm
The Colin Collection, New York



Waiting Maid, 1933
Oil on canvas
46.7 x 41 cm
Private collection



La Jeune Anglaise, c. 1934
Oil on canvas
Musée de l’Orangerie, Paris



Servant Girl in Blue, 1934
Oil on panel
51.4 x 52.4 cm
Private collection



Chartres Cathedral, 1934
Oil on panel
92.4 x 50.2 cm
The Museum of Modern Art, New York City



House at Oisème, 1934
Oil on canvas
42.9 x 51 cm
Private collection



Portrait of a Lady, Painted around 1935
Oil on canvas
73 x 60 cm
E.G. Bührle Collection, Zurich



Alley of Trees, 1935
Oil on canvas
75.9 x 69 cm
Private collection



English Girl in Blue, 1937
Oil on canvas
27 x 21.9 cm
Private collection



Portrait of Charlot, 1937
Oil on canvas
30 x 25.1 cm
Private collection



Woman Reading, 1937
Oil on canvas
53 x 53 cm
Private collection



Large Poplars at Civry, 1939
Oil on canvas
73 x 54 cm
Reuben and Edith Hecht Museum, University of Haifa, Israel



Return From School After the Storm, 1939
Oil on canvas
43.2 x 49.5 cm
The Phillips Collection, Washington



Children Playing at Champigny, 1942-1943
Oil on canvas
54.9 x 40 cm
Private collection



Two Children at Champigny, c. 1942/43
Oil on canvas
46 x 61 cm
Private collection

........................................................................................................
Em "Portrait of a Woman, 1929", uma mulher olha btristemente para nós. Colocada sobre um fundo escuro, a figura tem um ar persistense e melancólico. Soutine provoca fortes emoções areavés do uso de cores sombrias e pinceladas exageradas. Esta ênfase dada ao sentimento em vez da representação realista é típica do Expressionismo. Existe uma tristeza desoladora na obra de Soutine, uma sensação de isolamento transmitida pelos seus protagonistas, que é intensificada pelo uso frequente de muito impasto e pinceladas turbulentas. Soutine foi influenciado por Modigliani e Chagall, que conheceu em Paris nos anos 20. Soutine também é muito conhecido pelas suas paisagens, inspiradas em Cézanne e pelas suas naturezas-mortas onde muitas vezes representava carcaças em decomposição. Os seus emotivos retratos a três quartos inspiraram o pintor expressionista abstracto De Kooning. Chaim Soutine nasceu em Minsk (RUS) em 1893 e morreu em Paris (FR) em 1943.
........................................................................................................
Chaim Soutine (1893-1943) - Chaim Soutine was born near Minsk, Belarus, and attended art school in Vilnius, Lithuania. In 1913, with the generosity of a local art patron Soutine went to Paris where he enrolled at the Ecole des Beaux-Arts. He met Marc Chagall, Jules Pascin, and Amedeo Modigliani with whom he shared a studio. From 1919 until 1922, Soutine visited Ceret, a mountain town in the Pyrennes and painted apocalyptic, visionary landscapes. In Paris after 1922, Soutine painted portraits and figures using very thick impasto in a style distinguished by expressive, gestural brushstrokes. Among his favorite subjects were valets and maids, often rendered with twisted faces and distorted limbs. He also painted dark and brooding still lifes of unconventional subjects such as sides of beef. By the 1920’s the American collector Alfred Barnes began collecting Soutine’s work in great depth and it subsequently found an appreciative audience in the United States.
........................................................................................................