O SÉCULO PRODIGIOSO

A arte no século XX

Pechstein, Max - Expressionismo / Neo-Primitivismo

Sábado, Novembro 24, 2007


Man with Pipe, date unknown
Color woodcut
29 3/4 x 22 1/4 in. (75.565 x 56.515 cm)
Dallas Museum of Art, Texas



Still Life with Winter Cherry and Red Peppers, 1906
Oil on canvas
Sprengel Museum, Hanover





Bridge over the Seine with small steamer (recto);
Portrait of a woman (verso), 1908
Oil on canvas
46.3 (h) x 54.9 (w) cm
National Gallery of Australia, Canberra



Landscape with Farmhouse, 1909
Oil on canvas
29 1/2 x 35 1/4 inches (74.9 x 89.5 cm) (framed)
Philadelphia Museum of Art



House on the Kuhrische Nehrung, 1909
Oil on canvas
50 x 50 cm
Museo Thyssen-Bornemisza, Madrid



Girl in Red with a Parasol, 1909
Oil on canvas
Hessisches Landesmuseum, Darmstadt



Max Raphael, c. 1910
Watercolor on paper
22 5/8 x 18 3/8" (57.3 x 46.7 cm)
The MUseum of Modern Art, New York City



Horse Fair, 1910
Oil on canvas
70 x 81 cm
Museo Thyssen-Bornemisza, Madrid



Reclining Nude with Cat, c. 1910
Ink and watercolor on paper
Sheet (irreg.): 13 3/4 x 18 3/8" (34.9 x 46.7 cm)
The Museum of Modern Art, New York City



Seated Nude, 1910
Oil on canvas
Nationalgalerie, Berlin



Girl Combing Her Hair, 1910
Oil on canvas
28 9/16 x 28 13/16 inches (72.5 x 73.2 cm)
Philadelphia Museum of Art



Indian and Woman, 1910
Oil on canvas
32 1/2 x 26 1/8 in. (82.6 x 66.4 cm)
framed: 36 3/4 x 30 5/8 in. (93.3 x 77.8 cm)
Saint Louis Art Museum, Missouri



The Big Indian, 1910
Oil on canvas
35 1/4 x 35 1/4 in. (89.5 x 89.5 cm)
Saint Louis Art Museum, Missouri



Three Nudes in a Landscape, 1911
Oil on cavnas
Musée National d'Art Moderne, Centre Georges Pompidou, Paris



Early Morning, 1911
Oil on canvas
Private collection



Day of Steel, 1911
Oil on canvas
39 1/2 x 39 1/2 in. (100.3 x 100.3 cm)
Saint Louis Art Museum, Missouri



The Bathers, 1912
Oil on canvas
76,2 x 101,5 x 0 cm
Museo Thyssen-Bornemisza, Madrid



Artischocken, c. 1912
Oil on canvas
69 x 80 cm
Kunstmuseum Lucerne, Switzerland



Somme, 1916/18
Etching
19 5/8 x 15 5/8 in. (49.848 x 39.688 cm)
Dallas Museum of Art, Texas



Fischerpferde, 1919
Oil on canvas
90.5 x 120.5 cm
Kunstmuseum Lucerne, Switzerland



Frauen mit buntem Teppich, 1920
Oil on canvas
117 x 91.5 cm
Kunstmuseum Lucerne, Switzerland



Hagar, 1920
Oil on canvas
91.5 x 117 cm
Kunstmuseum Lucerne, Switzerland



Tales of the sea, 1920
Oil on canvas
120 x 90,5 cm
Private collection



Sunset, 1921
Oil on canvas
32 1/8 x 40 in. (81.6 x 101.6 cm)
Saint Louis Art Museum, Missouri



Sunlight, 1921
Oil on canvas
47 5/16 x 36 in. (120.02 x 91.44 cm)
Private collection



Dancer in the Mirror (Tänzerin im Spiegel), 1923
Woodcut
composition: 19 7/16 x 15 3/4" (49.4 x 40 cm); sheet (irreg.): 31 11/16 x 22 13/16" (80.5 x 58 cm)
The Museum of Modern Art, New York City



Steinträger, 1924
Watercolor on paper
89 x 64.3 cm
Kunstmuseum Lucerne, Switzerland



Convent von Monterosso al mare, 1924
Oil on canvas
80 x 100 cm
Wilhelm Lehmbruck Museum, Duisberg, Germany



Einholen des Bootes, 1925
Oil on canvas
81 x 100.5 cm
Kunstmuseum Lucerne, Switzerland



Porträt Dr. Minnich, 1925
Oil on canvas
73.9 x 55.4 cm
Kunstmuseum Lucerne, Switzerland



Feierabend, 1925
Watercolor on paper
45.5 x 59.2 cm
Kunstmuseum Lucerne, Switzerland



Modellpause, 1925
Oil on canvas
64.3 x 78.2 cm
Kunstmuseum Lucerne, Switzerland



Ohne Titel, 1925
Watercolor on paper
44.5 x 59 cm
Kunstmuseum Lucerne, Switzerland

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No quadro "Tales of the sea, 1920", uma mulher com um vestido vermelho inclina-se para a frente para falar com uma jovem que está de costas para nós, enquanto que outra mulher observa. O título da obra sugere que ela está a contar uma história sobre as aventuras no mar. O artista utiliza contornos pretos e fortes e cores contrastantes e dramáticas, colocando o vermelho do vestido sobre o verde e o azul do mar. A cor e a linha eram fundamentais para a obra de Pechstein, o que o associa ao grupo dos expressionistas alemães denominado Die Brüke. Pechstein era o único membro do grupo que tinha formação académica em arte. Pintando muitas vezes figuras nuas em cenários paisagistas, ele procurou evocar uma sensação de homem em harmonia com a natureza. A obra deste autor desenvolveu-se em especial sob a influência de Matisse e de Vincent van Gogh mas, na altura em que fez este quadro, ele tinha desenvolvido um interesse pela Arte Primitiva, uma fonte de inspiração que se reflecte na angularidade semelhante a uma máscara e nos olhos arregalados da mulher. Max Pechstein nasceu em Zwickau (ALE) em 1881 e morreu em Berlim (ALE) em 1955.
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(1881-1955) Max Pechstein's artistic talent was discovered and encouraged at a very early age. His conventional career, first as an apprentice with a Zwickau painting master, then at the Dresden Kunstgewerbeschule and finally at the Dresden Akademie under the decorative painter Otto Gußmann, provided Pechstein with a sound craftsmanship. His ceiling painting at the Dresden Arts and Crafts Exhibition in 1906, with such an unconventional colour scheme that the organisers had it sprayed with grey paint to soften the colours, attracted Erich Heckel's attention. He then invited Pechstein to join the artist group ,Die Brücke' which had been founded the year before in opposition to Impressionism. The group's aim was to "attract all revolutionary and restless forces" (Schmidt-Rottluff) and an emphasis of the power of colour in painting. In this environment Pechstein's Expressionist style developed further, concentrating on elaborating the focal point of the painting with a sparse painting technique. The artist moved to Berlin in 1908 and became a co-founder of the ,Neue Sezession'. He painted figures, still lifes and landscapes in a moderately Expressionist style. Perhaps it was this, which lead to the artist's early and continuing success. From 1945 Pechstein taught at the Berlin Akademie der Künste. Before that time, during the Third Reich, he was slandered as a "degenerate" artist. Apart from paintings his oeuvre includes more than 850 woodcuts, lithographs and engravings.
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Brancusi, Constantin - Escultura

Quarta-feira, Novembro 07, 2007


The Sleeping Muse, c. 1910
Gelatin silver print
6 1/2 x 8 5/8 in. (16.51 x 21.91 cm)
Dallas Museum of Art, Texas



Prometheus, 1911
Polished bronze
5 3/8 x 6 3/4 x 5 3/8in. (13.5 x 17.2 x 13.7cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Three Penguins, 1911-12
White marble
22 1/4 x 20 3/4 x 13 1/2 inches (56.5 x 52.7 x 34.3 cm)
Philadelphia Museum of Art



Maiastra, 1912 (?)
Polished brass
Height: 28 3/4 inches (73.1 cm), including base.
Peggy Guggenheim Collection, New York City



Muse (La Muse), 1912
White marble
Sculpture: 17 3/4 x 9 x 6 3/4 inches
Solomon R. Guggenheim Museum, New York City



Mlle Pogany. version I, 1913 (after a marble of 1912)
Bronze with black patina 17 1/4 x 8 1/2 x 12 1/2" (43.8 x 21.5 x 31.7 cm), on limestone base 5 3/4 x 6 1/8 x 7 3/8" (14.6 x 15.6 x 18.7 cm)
The Museum of Modern Art, New York City



Danaïde, 1913
Kunstmuseum Winterthur, Switzerland



Adam and Eve, Adam and Eve executed separately ca. 1916
Chestnut (Adam) and oak (Eve), on limestone base
94 x 18 3/4 x 18 1/4 inches overall
Solomon R. Guggenheim Museum, New York City



The Kiss, 1916
Limestone
23 x 13 1/4 x 10 inches (58.4 x 33.7 x 25.4 cm)
Philadelphia Museum of Art



The Sorceress, 1916-1924
Walnut on limestone base
44 7/8 x 19 x 25 1/4inches
Solomon R. Guggenheim Museum, New York City



Torse de jeune femme, 1918
Marble
H 33 x B 20.5 x T 18.5 cm
Kunstmuseum Basel, Switzerland



A Muse, 1918
Bronze with stone base
size (cm): 29(w) x 25(h) x 23(d)
size (inch): 11.25(w) x 9.75(h) x 9(d)
Portland Art Museum, Oregon



Beginning of the World, c. 1920
Marble, metal, and stone
30 x 20 x 20 in. (76.2 x 50.8 x 50.8 cm)
Dallas Museum of Art, Texas



The Newborn. version I, 1920 (close to the marble of 1915)
Bronze
5 3/4 x 8 1/4 x 5 3/4" (14.6 x 21 x 14.6 cm)
The Museum of Modern Art, New York City



Sculpture for the Blind [I], c. 1920
Veined marble
6 11/16 x 11 7/16 x 7 1/8 inches (17 x 29 x 18.1 cm)
Philadelphia Museum of Art



Bird in Space, 1923
Marble
H. (with base) 56 3/4 in. (144.1 cm), Diam. 6 1/2 in. (16.5 cm)
The Metropolitan Museum of Art, New York City



Torso of A Young Man, 1924
Polished bronze on stone and wood bases
18 1/8 x 11 1/2 x 9 1/8 in. (46.1 x 29.2 x 23.0 cm.) on stone base: 6 1/4 x 8 1/2 x 6 3/4 in. (15.8 x 21.5 x 17.1 cm.); on wood base: 34 1/8 x 11 1/2 x 11 1/2 in. (86.6 x 29.0 x 29.0 cm.)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



The beginning of the world, 1924
Bronze
Kröller-Müller Museum, Otterlo, Netherlands



Fish. Paris 1930
Blue-gray marble
21 x 71 x 5 1/2" (53.3 x 180.3 x 14 cm), on three-part pedestal of one marble 5 1/8" (13 cm) high, and two limestone cylinders 13" (33 cm) high and 11" (27.9 cm) high x 32 1/8" (81.5 cm) diameter at widest point
The Museum of Modern Art, New York City



Bird in Space (L’Oiseau dans l’espace), 1932-1940
Polished brass, Height, including base
59 7/16 inches; Maximum circumference: 13 15/16 inches
Peggy Guggenheim Collection, New York City



King of Kings, ca. 1938
Oak
Sculpture Overall: 118 3/8 x 19 x 18 1/8 inches; Base, Height: 1/8 inches; Base, Approximate Diameter: 29 1/2 inches.
Solomon R. Guggenheim Museum, New York City

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Em "The Kiss, 1916" dois amantes exteitamente enlaçados beijam-se apaixonadamente. A força natural desta obra advém do volume da pedra, da qual as formas emergem apenas em esboço, como se nascidas de um sono infinito. Brancusi reduziu as suas esculturas ao mais básico, ao mais abstracto, emprestando-lhes uma vitalidade rudimentar. Este artista teve um influência extraordinária na escultura e arte abstracta em geral do século XX. A grandiosidade simples das suas obras provoca uma sensasão de liberdade e de força. Em 1904 deixou a Roménia (o seu país natal) e foi para Paris deslocando-se a pé, feito que lhe grangeou uma admiração generalizada. A sua fama foi mais tarde alimentada pela acção judicial que lançou contra os serviços alfandegários dos EUA; estes serviços pretendiam cobrar impostos sobre a importação de uma escultura em branze que consideraram apenas matéria-prima. Constantin Brancusi nasceu em Hobitza (ROM) em 1879 e morreu em Paris (FR) em 1956.
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The Romanian sculptor Constantin Brancusi, (1876-1957) was a central figure of the modern movement and a pioneer of abstraction. His sculpture is noted for its visual elegance and sensitive use of materials, combining the directness of peasant carving with the sophistication of the Parisian avant-garde. After attending the Bucharest School of Fine Arts and learning of the sculpture of August Rodin, Brancusi traveled to Paris in 1904. Brancusi created his first major work, The Kiss, in 1908. From this time his sculpture became increasingly abstract, moving from the disembodied head of Sleeping Muse to the virtually featureless Beginning of the World and from the formal figure of the legendary bird Maiastra to numerous versions of the ethereal Bird in Space. Brancusi's sculpture gained international notoriety at the 1913 Armory Show in New York, a city that he visited four times and where his work frequently would be exhibited. In his Paris studio at 8 Impasse Ronsin Brancusi devoted great attention to the arrangement of his sculptures, documenting individual works and their installation in an important body of photographs. Isamu Noguchi worked as a studio assistant for Brancusi in 1927, and Brancusi taught him to carve stone and wood. In the 1930s Brancusi worked on two ambitious public sculpture projects, an unrealized temple in India for the Maharajah of Indore and the installation at Tirgu Jiu, Romania, of his Gate of the Kiss, Table of Silence and a 100-foot tall cast iron version of Endless Column. On his death Brancusi left the contents of his studio to the Museum of Art of the City of Paris, on condition that the studio be installed in the museum in its entirety.
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