Sexta-feira, Setembro 28, 2007
Nature Morte à la Théière, 1906
Oil on canvas
96 x 104 cm
Private collection
Coiffeur d'Officiers, 1907
Oil on canvas
117 x 89 cm
Private collection
Vendeuse d'Eau Gazeuse, 1907
Oil on canvas
78 x 90 cm
Private collection
Bouquet aux Fleurs Jaunes, 1907
Oil on canvas
95 x 84 cm
Private collection
Nature Morte à l'Ecrevisse, 1907
Oil on canvas
80 x 95 cm
Private collection
Le Soldat, 1908
Oil on canvas
99 x 72 cm
Private collection
The Baker, 1909
Oil on canvas
107 x 102 cm
Museo Thyssen-Bornemisza, Madrid
La belle des soldats, 1909/10
Oil on canvas
88 x 97,5 cm
Von der Heydt-Museum, Wuppertal, Germany
Prostituée chez le Coiffeur, 1910
Oil on canvas
149 x 150 cm
Private collection
Autoportrait, 1910
Oil on canvas
104 x 89 cm
Private collection
Le Boeuf-Rayonnisme, 1910
Oil on canvas
85 x 67 cm
Private collection
Soldier in a Wood, about 1911
Oil on canvas
84.50 x 91.40 cm
National Galleries of Scotland, Edinburgh
Soldier at Rest, 1911
Oil on canvas
The Tretyakov Gallery, Moscow
Soldier on a Horse, circa 1911
Oil on canvas
870 x 991 mm frame: 1014 x 1131 x 65 mm
Tate Gallery, London
Femme sur le Boulevard, 1911
Oil on canvas
116 x 86 cm
Private collection
Portrait de Vladimir Tatlin, 1911
Oil on canvas
90 x 72 cm
Private collection
Rayonnisme Rouge, 1911
Gouache on board
27 x 33 cm
Private collection
Rayonnisme Brun-Jaune, 1912
Oil on canvas
49 x 61 cm
Private collection
Coq, étude rayonniste, 1912
Centre Georges Pompidou. París. France
L'été, 1912
Oil on canvas
138 x 117 cm
Private collection
L'Automne, 1912
Óleo sobre tela
136 x 114 cm
Private collection
Still Life with Carafe and Curtains, c. 1914
Oil on canvas
41 x 29 cm
Museo Thyssen-Bornemisza, Madrid
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Em "Soldier in a Wood, about 1911", um soldado faz uma pausa furtiva no seu trabalho para fumar um cigarro. Olhando-nos directamente, com a mão na anca e as rédeas do cavalo sobre o braço direito, parece a estar prestes a dizer algo. O cavalo foi pintado com uma simplicidade infantil e o bosque em que se encontra, de bétulas e pinheiros, tem um encanto mágico. O estilo naif lembra as gravuras tradicionais da Rússia, país natal de Larionov. Simples, e no entanto, cativante, o quadro faz parte de uma série intitulada "Soldados", iniciada cerca de 1909, na qual Larionov cultivou deliberadamente o estilo primitivo, rudimentar, por vezes adicionando piadas e obscenidades verbais, numa reacção deliberada contra o "bom gosto". Mais tarde inventaria o Raionismo, um movime3nto que pretendia redeuzir a forma a uma série dinâmica de linhas, evocando os raios de luz reflectidos pelos objectos. Em 1914, ele a sua mulher, Gontcharova, partiram rumo a Paris, onde trabalharam para o coreógrafo Sergei Diaghilev, no Ballet Russe. Mais tarde, instalaram-se definitivamente em França. Mikhail Larionov nasceu em Tiraspol (UCR) em 1881 e morreu em Fontenay-aux-Roses (FR) em 1964.
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Mikhail Fyodorovich Larionov Biography (1881–1964) - Painter and stage designer, born in Tiraspol, SE Moldova. He studied sculpture and architecture at the Moscow Institute of Painting until 1908. He worked closely with his future wife, Natalia Goncharova, and together they developed Rayonism (1912–14), a style akin to Italian Futurism. They held a joint exhibition in Paris 1914, and from 1915 were renowned for their work on ballet designs for Diaghilev.
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Sábado, Setembro 15, 2007
The Battle of Hastings, 1961-2
Oil on canvas
1829 x 1829 mm
Tate Gallery, London
Thinking about Women, 1961/62
Oil on canvas
152 cm x 151.8 cm
Norwich Museums, England
3rd Big Bus, Red, 1962
Oil on canvas
2027 x 2027 mm
Birmingham Museums & Art Gallery, UK
Something like sisters, 1962
Oil on canvas
2135 x 213.5 cm
Hamburger Kunsthalle. Hamburg, Germany
Hermaphrodite, 1963
Oil on canvas
213.5 x 122cm
National Museums Liverpool, UK
Man Woman, 1963
Oil on canvas
2146 x 1886 mm
Tate Gallery, London
Buses, 1964
Acrylic on cotton duck
275.0 x 305.1 cm
National Museums and Galleries of Wales
Dream T-Shirt, 1964
Screenprint on paper
737 x 552 mm
Tate Gallery, London
Untitled, 1964
Lithograph on paper
800 x 571 mm
Tate Gallery, London
Exciting Women, 1964
Lithograph on paper
409 x 438 mm
Tate Gallery, London
Miss America, from the portfolio 11 Pop Artists, Volume I, 1965
Lithograph
24 x 20 in. (61.0 x 50.8 cm)
Smithsonian American Art Museum, Washington D.C.
Shoe Wheel, 1965/66
Oil on canvas
93 x 91,5
Royal Museums of Fine Arts of Belgium
Wet Seal, 1966
Oil on canvas, wood and melamine
934 x 915 x 100 mm
Tate Gallery, London
Large Bus, 1966
Lithograph
102.5 X 107.5 CM
British Council Arts Group
Shoe, from portfolio "Shoebox", 1968
Lithograph
The University of Michigan Museum of Art
2 (Touching Shoe, Pink) Life Class Portfolio, 1968
Lithograph
82.8 X 56.4 cm
British Council Arts Group
3 (Suit, Green) Life Class Portfolio, 1968
Lithograph
82.8 X 56.4 cm
British Council Arts Group
Chair, 1969
Painted plastic and mixed media
775 x 571 x 991 mm
Tate Gallery, London
Left Hand Lady, 1970
Lithograph on paper
575 x 762 mm
Tate Gallery, London
Leg-Splash, 1970-1
Lithograph on paper
660 x 505 mm
Tate Gallery, London
Cafe Noir 1973
Screenprint on paper
600 x 797 mm
Tate Gallery, London
One Way Traffic 1974
Screenprint on paper
340 x 632 mm
Tate Gallery, London
Untitled 1974
Screenprint on paper
190 x 149 mm
Tate Gallery, London
Hatstand, 1974
Black and white argentic print on baryted paper laid-down on aluminum
h: 80 x w: 120 cm / h: 31.5 x w: 47.2 in
Kleenex Box, 1975
Oil on canvas
91.4 X 91.4 CM
British Council Arts Group
III (from The Magician Suite), 1976
Lithograph on paper
832 x 411 mm
Tate Gallery, London
Crazy Horse, 1976
Screenprint on paper
629 x 775 mm
Tate Gallery, Londonj
Cut-a-Way, 1976
Screenprint on paper
686 x 549 mm
Tate Gallery, London
[no title], 1976-7
Screenprint on paper
502 x 702 mm
Tate Gallery, London
[no title] from Ways and Means , 1976-7
Screenprint on paper
502 x 702 mm
Tate Gallery, London
[no title] from Ways and Means, 1976-7
Screenprint on paper
502 x 702 mm
Tate Gallery, London
[no title] from Ways and Means, 1976-7
Screenprint on paper
502 x 702 mm
Tate Gallery, London
Santa Monica Shore, 1977
Oil on canvas
1835 x 1835 mm
Tate Gallery, London
Printed Object, 1982
Oil on canvas
h: 60 x w: 60 in / h: 152.4 x w: 152.4 cm
Party Time, 1984-1985
Screenprint on paper
h: 108 x w: 87.5 cm / h: 42.5 x w: 34.4 in
High Key, 1996
Oil on canvas
h: 50 x w: 48 in / h: 127 x w: 121.9 cm
Refrigerator, 2002
Sculpture in mixed media
h: 188 x w: 84 x d: 34 cm / h: 74 x w: 33.1 x d: 13.4 in
Three Part Invention, 2002
Oil on canvas
h: 181.6 x w: 273 cm / h: 71.5 x w: 107.5 in
Standby, 2003
Watercolor on paper
h: 77 x w: 58.5 cm / h: 30.3 x w: 23 in
Enchanteresse, 2006
Polychromed bronze with patina and leather on stainless steel base
h: 116 cm / h: 45.7 in
Pitch, 2006
Oil on canvas
h: 130 x w: 122 cm / h: 51.2 x w: 48 in...................................................................................................................
O quadro "Man Woman, 1963", que pertence a uma série com o título hermafrodita, os corpos sem cabeça de um homem e uma mulher fundem-se um no outro. A figura masculina com gravata às riscas claras é, de facto, um auto-retrato do artista. Na sua preocupação com a sexualidade, Jones quis mostrar aqui a união entre seres humanos que só pode ser atingida pelo acto sexual. Foi profundamente influenciado pela Psicologia de Jung e pela Filosofia de Nietzsche, que acreditava que a criação da arte dependo do artista ser capaz de integrar os seus próprios elementos masculino e feminino. Homem-Mulher, um dos primeiros exemplos de Arte Pop de Jones, é uma representação visual desta teoria. As suas pinturas contam muitas vezes uma história. Nos finais dos anos 60 e na década de 1970, o seu trabalho exploraria ainda mais as ideias associadas ao erotismo e, consequentemente, muitas das suas imagens de mulheres são tidas como sexualmente provocadoras. Allen Jones nasceu em Southampton (GB) em 1937
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Allen Jones was born in Southampton in 1937. He studied at Hornsey College of Art, London (1955-59), and the Royal College of Art (1959-60) and returned to Hornsey to take a teacher training course (1960-61). The early 1960s at the Royal College of Art witnessed the birth of British Pop Art (Pop Art first emerged in America in 1960). Allen Jones was one of a group of students which included Derek Boshier, David Hockney, RB Kitaj and Peter Phillips, who radically changed the face of British art with their precocious, unconventional and irreverent work which was based in popular culture, embracing new subject-matter and new materials. Jones's preference was for glamour and style, and his aesthetic centred on beautiful women visualised erotically and stereotypically as in glossy magazines, advertisements and cartoon strips. Underpinned with a great mastery of colour and a consummate painting technique, Jones's work fluctuates between painting and sculpture. On a flat canvas painted forms appear sculptural and his three-dimensional works are painterly. He uses colour to describe form, at times with graphic precision, or conversely with an energy and freedom of gesture which is close to direct expression. Similar developments are evident in his printmaking. Having sustained a long and successful career as an artist, developing his work at a consciously measured pace, Jones has remained central to British art. His work may be seen in many public places including the most fashionable restaurants. He has carried out commissions for the City of London (1987), the British Airport Authority, Heathrow Airport (1991), Chelsea and Westminster Hospital (1992-93) Taikoo Place, Hong Kong (1997), Chatsworth, Derbyshire (2000), Glaxo SmithKline World Headquarters, London (2001) and Taikoo Place, Hong Kong (2002 – 3). Allen Jones lives and works in London.
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