O SÉCULO PRODIGIOSO

A arte no século XX

Hodler, Ferdinand - Simbolismo / Arte Nova

Segunda-feira, Outubro 29, 2007


Die Uhrmacherwerkstätte in Madrid, 1879
Oil on canvas
82 x 93 cm
Kunstmuseum Lucerne, Switzerland



The Convalescent, 1880
Oil on canvas
Oskar Reinhart Foundation, Winterthur



Portrait einer Frau, 1884-1890
Oil on canvas
55 x 46 cm
Wallraf-Richartz-Museum, Cologne, Germany



Lesender Mann (Man Reading), 1885
Oil on canvas
28 5/8 x 23 3/8 inches (73 x 59.5 cm)
Private collection



Surprised by the Storm, 1886-87
Oil on canvas
Oskar Reinhart Foundation, Winterthur



Der Salève im Herbst, 1891
Oil on canvas
70 x 51 cm
Kunstmuseum Lucerne, Switzerland



Tired of Life, 1892
Oil on canvas
149,7 x 294,0 cm
Neue Pinakothek, Munich, Germany



The Disillusioned One, 1892
Oil on canvas
22 1/8 x 17 3/4 in. (56.2 x 45.08 cm)
Los Angeles County Museum of Art



Herbstlandschaft bei Solothurn, circa 1893
Oil on canvas
33 x 46 cm
Kunstmuseum Lucerne, Switzerland



The Chosen One, 1893-94
Tempera and oil on canvas
Kunstmuseum, Berne



Porträt der Berthe Jacques, Frau des Künstlers, 1894
Oil on canvas
33,5 × 28 cm
Private collection



Frauenbildnis, 1895
Oil on canvas
42 x 38 cm
Kunstmuseum Lucerne, Switzerland



Study for Day, 1898/1899
Oil on canvas
41 7/8 x 39 3/8 in. (106.3 x 100.0 cm)
Detroit Institute of Arts, Michigan



Sadik Belig, 1900
Oil on canvas
Meadows Museum at Southern Methodist University, Dallas, Texas



Der Tag III, circa 1900/1910
Oil ,on canvas
170 x 368 cm
Kunstmuseum Lucerne, Switzerland



Emotion, 1901-02
Oil on canvas
Private collection



Jüngling mit Blume, circa 1902
Oil on paper
42 x 29,5 cm
Private collection



Spring, 1904
Oil on canvas
102.5 x 129.5 cm.
Museum Folkwang, Essen



Calme de soir, 1904/05
Oil on canvas
Kuntsmuseum of Winterthur Hall



The Lac Léman, 1905
Oil on canvas
80 x 99 cm.
Stiftung für Kunst, Winterthur



Lied aus der Ferne, 1. Fassung, 1906
Oil on canvas
140 x 120 cm
Kunstmuseum St.Gallen, Switzerland



Landscape on Lake Geneva, C. 1906
Oil on canvas
59,8 x 84,5 cm
Neue Pinakothek, Munich, Germany



Die heilige Stunde, 1906/07
Oil on canvas
H: 193 cm, B: 113,5 cm
Schleswig-Holstein Museums, Germany



James Vibert, Sculptor, 1907
Oil on canvas
25 1/2 x 26 in. (64.7 x 66 cm)
The Art Institute of Chicago



Andey Peak, Arve Valle in Haute Savoie, 1909
Oil on canvas
H. 67.5; W. 90.5 cm
Musée d'Orsay, Paris



Stockhorn von Oberhofen aus, 1910
Oil on canvas
63.4 x 80 cm
Kunstmuseum Lucerne, Switzerland



The Woodcutter (Der Holzfäller), 1910
Ink, paper; lithograph
Sheet dimensions: 21 1/2 x 16 1/4 in. (54.61 x 41.275 cm)
Dallas Museum of Art, Texas



Der Holzfäller (The Woodcutter), 1910
Oil on canvas
H.130; B.101cm
Musée d'Orsay, Paris



Der Holzfäller, circa 1910
Oil on canvas
130 x 105 cm
Kunstmuseum Lucerne, Switzerland



Lake Thun and the Stockhorn Mountains, 1910
Oil on canvas
83.00 x 105.40 cm
National Galleries of Scotland, Edinburgh



The Sacred Hour (Die Heilige Stunde), Circa 1907-Circa 1911
Oil on canvas
72 x 89 in. (182.9 x 226.1 cm)
Cincinnati Art Museum, Ohio



Lake, 1910-1912
Oil on canvas
44.5x64.5 cm
Hermitage Museum, Saint Petersburg, Russia



Das Breithorn, circa 1911
Oil on canvas
67 x 89 cm
Kunstmuseum Lucerne, Switzerland



The Grand Muveran, c. 1912
Oil on canvas
27 3/4 x 37 in. (70.5 x 94 cm)
The Art Institute of Chicago



Autoportrait avec les yeux ouverts III, 1912
Oil on canvas
Kuntsmuseum of Winterthur
Beckmann, Hodler, Lehmbruck



Madame Valentine Godé-Darel malade, 1914
Oil and gouache on canvas
H. 0.47 ; L. 0.4
Musée d'Orsay, Paris



Bildnis Carl Spitteler, 1915
Oil on canvas
65 x 80 cm
Kunstmuseum Lucerne, Switzerland



Self-Portrait, smiling, 1916
Oil on canvas
Kuntsmuseum of Winterthur
Beckmann, Hodler, Lehmbruck



Genfersee mit Salève und Montblanc-Kette im Hintergrund, 1918
Oil on canvas
61 x 80,5 cm
Kunstmuseum Lucerne, Switzerland

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No quadro "The Grand Muveran, c. 1912" os elementos formais foram cuidadosamente equilibrados para criar uma sensação de calma. Este quadro surge ao nosso olhar restringido, condensado e simplificado, como se para nos apresentar apenas a essência da cena; com todos os detalhes eliminados, foi composto num desenho rítmico de camadas de formas e de cor. Hodler desenvolveu um estilo de pintura de paisagem muito decorativo, com contornos e cores fortes, utilizando motivos paralelos para obter determinados efeitos. Foi influenciado por Camille Corot e Gustave Courbetno início da sua carreira, mas, posteriormente, as pinturas de Hodler demonstram o interesse do artista pelo Simbolismo e a Arte Nova. O estilo lenear e simples que ele foi desenvolvendo, usando a cor como um elemento importante, é exemplo do movimento expressionista. Ferdinand Hodler nasceu em Berna em 1853 e morreu em Genebra em 1918.
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Ferdinand Hodler, born March 14, 1853, near Bern, died May 20, 1918, Geneva - one of the most important Swiss painters of the late 19th and early 20th century. He was orphaned at the age of 12 and studied first at Thun under an artist who painted landscapes for tourists. After 1872, however, he worked in a more congenial atmosphere at Geneva, under Barthélémy Menn. By 1879, when Hodler settled in Geneva, he was producing massive, simplified portraits owing something to the French realist painter Gustave Courbet. By the mid-1880s, however, a tendency to self-conscious linear stylization was visible in his subject pictures, which dealt increasingly with the symbolism of youth and age, solitude, and contemplation, in such works as “Die Nacht” (1890; “The Night,” Kunstmuseum, Bern), which brought him acclaim throughout Europe. From this time his serious work can be divided between landscapes, portraits, and monumental figural compositions. The latter works present firmly drawn nudes who express Hodler's mystical philosophy through grave, ritualized gestures. These pictures are notable for their strong linear and compositional rhythms and their clear, flat, decorative presentation.
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Rivers, Larry - Arte Pop

Quinta-feira, Outubro 18, 2007


Portrait of Edwin Denby, 1953
Pencil on paper
16 3/8 x 19 3/4" (41.5 x 50.1 cm)
The MUseum of Modern Art, New York City



Bedroom, 1955
Oil on canvas
85 x 71 1/2 in. (85 1/2 x 72 x 1 3/4 in. overall)
Museum of Fine Arts, Boston



Birdie and Joseph, 1955
Oil on canvas
13 x 25 in. (14 1/4 x 26 1/4 x 1 3/4 in. overall)
Museum of Fine Arts, Boston



Frank O’Hara, 1955
Oil paint on paper
28 1/2 x 21 inches
Kemper Museum of Contemporary Art, Kansas City, Missouri



Europe I, 1956
Oil on canvas
152 x 102 cm
The Minneapolis Instuitute of Arts. Minneapolis



The Last Civil War Veteran, 1959
Oil and charcoal on canvas
6' 10 1/2" x 64 1/8" (209.6 x 162.9 cm)
The Museum Of Modern Art, New York City



Poetry of K. Koch, 1961
Oil and crayon on paper mounted on board
47½ x 61 in
Private collection



Parts of the Face: French Vocabulary Lesson, 1961
Oil on canvas
749 x 749 mm
Tate Gallery, London



Kennedy and de Gaulle, 1961-62
Oil on canvas
130 x 194.4 x 11.1 cm
Marlborough Gallery Inc, New York



Camels, c.1962
Oil with collage on canvas
Fitzwilliam Museum, Cambridge, UK



Africa and animals, 1962
Graphite, gouache, collage on paper
Height: 29.6 cm; Width: 25 cm
Courtauld Institute of Art, London, UK



Identification Manual, 1964
Mixed media and collage on fiberboard
73 5/8 x 84 3/8 x 19 in. (187.0 x 214.3 x 48.3 cm.) Remarks: overall: 73
Smithsonian American Art Museum, Washington D.C.



Money, 1965
Mixed media: color serigraph, plexiglass and paperboard
30 x 32 x 3/8 in. (76.3 x 81.2 x 0.8 cm)
Smithsonian American Art Museum, Washington D.C.



Fraser, 1966
Screenprint and mixed media on paper
591 x 521 mm
Tate Gallery, London



Map with Fraser, 1966
Screenprint and mixed media on paper
638 x 514 mm
Tate Gallery, London



Underground with Two Frasers, 1966
Screenprint and mixed media on paper
902 x 772 mm
Tate Gallery, London



Study for the Last Civil War Veteran, 1970
Mixed media
41 x 23 x 1 1/2 inches
Seavest Collection of Contemporary American Realism



Ready-Aim, 1970
Screenprint on paper
unconfirmed: 489 x 708 mm
Tate Gallery, LOndon



Confederate Soldier, 1970
Screenprint and mixed media on paper
730 x 502 mm
Tate Gallery, London



Girlie, 1970
Screenprint on paper
756 x 457 mm
Tate Gallery, London



Living At The Movies, 1974
Silkscreen on paper
24 3/4 x 35"
Canton Museum of Art, Ohio



Big Ben Signs Up, 1976
Lithograph
19-1/2 x 26 inches
Block Museum of Art at Northwestern University, Illinois



Madama Butterfly, from the portfolio Metropolitan Opera Fine Art Series, 1978
Mixed planographic media on paper
22 5/8 x 30 5/8 in. (57.5 x 77.8 cm) irregular
Smithsonian American Art Museum, Washington D.C.



Open Camel, 1978
Color pochoir and lithograph on acetate
h: 22 x w: 30 in / h: 55.9 x w: 76.2 cm



Work & Portrait of Red Grooms, 1986
Foamcore construction on canvas
h: 65 x w: 62 x d: 6 in / h: 165.1 x w: 157.5 x d: 15.2 cm



Roots, 1994
Pencil and colored pencil on paper
27 5/8 x 23 1/2 inches
Marlborough Gallery Inc., New York




On the Phone, 1995
Oil on canvas mounted on sculpted foamcore
46 1/2 x 49 1/3 x 6 inches
Seavest Collection of Contemporary American Realism

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Em "Parts of the Face: French Vocabulary Lesson, 1961", um rosto pintado de forma imprecisa tem anotações em letras reproduzidas por meio de escantilhão, como se tratasse de uma aula de vocabulário francês. A obra situa-se algures entre um retrato e uma ilustração educativa e objectiva. As pinceladas expontâneas são típicas do estilo de pintura expressionista abstracto e revelam a influência de De Kooning. No entanto, nesta combinação de imagens e clichés visuais da sociedade consumista, que se assemelha a uma colagem, Rivers demonstra a sua individualiadade e a sua associação à Arte Pop. Abandonando a sua prática anterior como um artista abstracto em prol da figuração, Rivers está mais interessado em manipular a relação entre a imagem e o processo do que no verdadeiro conteúdo da sua obra. Além de ser um saxofonista profissional, Rivers também fez vídeos e esculturas, escreveu poesia, trabalhou como cenografista e artista gráfico e viajou por todo o mundo. A sua obra eclética que não se adequa a nenhuma escola, reflete esta diversidade.
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Larry Rivers (1923-2002) - This American artist was born in New York City, in 1923, as Yitzroch Loisa Grossberg. He began his artistic career as a jazz saxophonist and changed his name to Larry Rivers. He turned to visual art in the 1940s. Responding to the Abstract Expressionists, Rivers explored figurative work as evidenced in a series of nude studies from 1954. He was an excellent draftsman inclined towards the culturally provocative. He was one of the first artists to include popular images in his paintings placing him at the forefront of the Pop Art movement. At the height of his career, the 1960s, he continued to paint the figure, often including elements of stenciled lettering and photography. His artistic contributions are marked by clever irony with subject matter ranging from the erotic to social concerns, and is not confined to fine art alone. Rivers is also recognized as a stage set designer, musician, documentary filmmaker and University of California at Santa Barbara professor. The artist died in 2002.
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