O SÉCULO PRODIGIOSO

A arte no século XX

Denis, Maurice - Arte Nabis / Simbolismo

Domingo, Dezembro 30, 2007


Portrait de l'artiste à l'âge de dix-huit ans, 1889
Huile sur toile
H. 0.33 ; L. 0.25
Musée Départemental du Prieuré, Saint-Germain-en-Laye, France



Montée au calvaire, 1889
Huile sur toile
H. 0.41 ; L. 0.325
Musée d'Orsay, Paris, France



Soir d'octobre [panneau pour la décoration d'une chambre de jeune fille], 1891
Oil on canvas
Musée d'Orsay, Paris, France



Easter Mystery (Mystère de Pâques), 1891
Oil on canvas
41 x 40 1/8 in (104 x 102 cm)
Art Institute of Chicago



Le menuet de la Princesse Maleine, 1891
Huile sur toile
H. 0.95 ; L. 0.6
Musée d'Orsay, Paris, France



The Two Sisters, 1891
Oil on Canvas
40.5 x 32.5 cm
Van Gogh Museum, Amsterdam



The Breton Dance, about 1891
Oil on canvas
15 3/8 x 13 in.
Indianapolis Museum of Art, Indiana



Ladder in Foliage, or Poetic Arabesques for the Decoration of a Ceiling, 1892
Oil on canvas, mounted on cardboard
92 1/2 x 67 3/4 in. (235 x 172 cm)
The Metropolitan Museum of Art, New York City



La Depeche de Toulouse, 1892
Oil on canvas
51 3/4 x 35 1/4 in. (131.45 x 89.5 cm)
Detroit Institute of Arts, Michigan



Encounter, 1892
Oil on cardboard
37.5 x 33 cm
Hermitage Museum, Saint Petersburg, Russia



Tenderness, 1893
Print colour lithograph
40.6 x 29.5cm sheet
Art Gallery of New South Wales, Sydney, Australia



The Cowgirl, about 1893
Oil on canvas
7 7/8 x 11 in.
Indianapolis Museum of Art, Indiana



Paysage aux arbres verts, 1893
Huile sur toile
H. 0.46 ; L. 0.43
Musée d'Orsay, Paris, France



Les muses, 1893
Huile sur toile
H. 1.715 ; L. 1.375
Musée d'Orsay, Paris, France



Visitation, 1894
Oil on canvas
103 x 93 cm
Hermitage Museum, Saint Petersburg, Russia



Springtime, ca. 1894–99
Oil on canvas
31 1/2 x 38 1/2 in. (80 x 97.8 cm)
The Metropolitan Museum of Art, New York City



Mother and Child, 1895
Oil on canvas
45 x 38.5 cm
Hermitage Museum, Saint Petersburg, Russia



Noli Me Tangere, 1895-96
Oil on board
Musée du Prieure, Saint Germain-en-Laye, France



Martha and Mary, 1896
Oil on canvas
77 x 116 cm
Hermitage Museum, Saint Petersburg, Russia



Figures In A Spring Landscape (Sacred Grove), 1897
Oil on canvas
Private collection



Amour - Nos âmes en des gestes lents, 1898
Lithograph
29,3 x 40,3 cm
Van Gogh Museum, Amsterdam



On the Beach of Trestrignel, 1898
Oil on board
27 5/8 x 39 3/8" (70.0 x 99.8 cm)
The Museum of Modern Art, New York City



Esquisse pour l'Oratorio, panneau central de la décoration L'éternel été, 1900
Fusain, gouache sur papier vélin marouflé sur toile
H. 1.5 ; L. 1.577
Musée d'Orsay, Paris, France



Picnic at Le Pouldu, 1900
Oil on canvas
74 x 85 cm
The National Gallery, London



Hommage à Cézanne, 1900
Huile sur toile
H. 1.8 ; L. 2.4
Musée d'Orsay, Paris, France



Landscape with Hooded Man, 1903
Oil on canvas
63.6 x 53.5 cm
National Gallery of Canada, Ottawa



Sacred Spring at Guidel, 1905
Oil on cardboard
39 x 34.5 cm
Hermitage Museum, Saint Petersburg, Russia



Nazareth, 1905
Oil on canvas
Collection of Modern Religious Art, Vatican Museums, Vatican City



The Crown of Daisies, c. 1905-1906
Oil on canvas
73 x 54,5 cm
Museo Thyssen-Bornemisza, Madrid



Gaulish Goddess of Herds and Flocks, 1906
Oil on Cardboard
79,5 x 67,5 cm
Neue Pinakothek, Munich, Germany



Bacchus and Ariadne, 1907
Oil on canvas
81x116 cm
Hermitage Museum, Saint Petersburg, Russia



The Story of Psyche Series, 1908
Oil on canvas
180x265 cm
Hermitage Museum, Saint Petersburg, Russia



Panel 1. Eros is Struck by Psyche's Beauty, 1908
"The Story of Psyche"
Oil on canvas
394 x 269.5 cm
Hermitage Museum, Saint Petersburg, Russia



Panel 2. Zephyr Transporting Psyche to the Island of Delight, 1908
The Story of Psyche Series
Oil on canvas
395 x 267.5 cm
Hermitage Museum, Saint Petersburg, Russia



Panel 3. Psyche Discovers that Her Mysterious Lover is Eros, 1908
The Story of Psyche Series
Oil on canvas
395 x 274.5 cm
Hermitage Museum, Saint Petersburg, Russia



Panel 4. The Vengeance of Venus, 1908
The Story of Psyche Series
Oil on canvas
395 x 272 cm
Hermitage Museum, Saint Petersburg, Russia



Panel 5. In the Presence of the Gods Jupiter Bestows Immortality on Psyche and Celebrates Her Marriage to Eros, 1908
The Story of Psyche Series
Oil on canvas
399 x 272 cm
Hermitage Museum, Saint Petersburg, Russia



Study of the First Pannel from the Series 'The Story of Psyche', 1908/1909
Pencil
72.5x50.2 cm
Hermitage Museum, Saint Petersburg, Russia



The Story of Psyche Series, 1909
Oil on canvas
200 x 275 cm
Hermitage Museum, Saint Petersburg, Russia



Verkündigung an Maria, 1913
Oil on canvas
1000 x 1260 cm
Musee National d’art Moderne, Paris

.....................................................................................................
Em "Hommage à Cézanne, 1900", um grupo de artistas reúne-se para admirar uma natureza morta de Cézanne. Entre eles encontram-se Redon, Vuillard, Bonnard - à direita, com óculos e um cachimbo - e o próprio Denis comk a sua mulher na extrema direita, partilhando uma adulação por Cézanne. Eram todos membros do grupo Nabis, cujo nome deriva da palavra hebraica "profeta". Estes autores centravam-se no uso da cor e do desenho nas suas obras. «Lembrem-se que uma pintura, antes de ser um cavalo, um nu ou qualquer outra figura, é uma superfície plana coberta de cores distribuidas com uma determinada ordem». Esta famosa definição de Denis aponta para uma abordagem fundamentalmente decorativa da arte. Paradoxalmente, o estilo deste quadro não é particularmente influenciado por Cézanne. A gama subtil de cores rosadas e as ténues nuances de tom são caracteríticas de Denis neste período. Católico convicto, Denis pintava frequentemente obras de uma natureza espiritual intensa, que combinam sensações ligadas ao sonho com a realidade concreta. Maurice Denis nasceu em Granville (FR) em 1870 e morreu em Paris (FR) em 1943.
........................................................................................................
Maurice Denis received a classical education in the Lycée Condorcet where he met Vuillard, Roussel and Lugné-Poë. While studying in the Lycée he took drawing lessons and copied paintings by the old masters. In 1888 he enrolled at the Académie Julian and then at the Ecole des Beaux-Arts. In the same year Paul Sérusier showed his friends at the Académie Julian the famous landscape, which he had painted at the suggestion of Gauguin at Pont-Aven and which, for this reason, was considered a "talisman" of Gauguin's doctrine of Synthetism. This was a decisive revelation for Denis who found himself attracted by the new idea of Synthetism and by Gauguin's paintings, which he first saw at the exhibition of the Impressionist and Synthetist Group at the Café Volpini in 1889. Denis joined the Nabis (a Hebrew word meaning 'prophets') and in 1890, in the review Art et Critique, he published his famous article in which he stated the artistic credo of the group. During this period he became associated with the Symbolist writers, illustrating the books of André Gide and Paul Verlaine's Sagesse, and designing front-pieces for Maurice Maeterlinck's Pelléas et Mélisande and for musical scores of Claude Debussy. Like the other Nabis, Denis experimented in various fields of art, designing carpets, painting cartoons for stained-glass and mosaic panels, and decorating ceramics. The 1890s saw his first large-scale decorative works, the painted ceiling in the house of the French composer Chausson (1894) and a cycle of panels on the theme The Legend of St. Hubert (1897) in the house of the collector Cochin. His early work as a painter is marked by originality, though he was strongly influenced by the art of the Italian Renaissance, especially after his trips to Tuscany and Umbria in 1895 and 1897. Though his paintings and mural decorations of subsequent years can now seem rather anaemic and sugary, his fame continued to grow. He received numerous commissions: from 1899 to 1903 he decorated the Church of Sainte-Croix at Vésinet; in 1908 he produced his Eternal Spring for Thomas; and in 1908-9 he was commissioned by Ivan Morozov, Russian industrialist and famous patron of art, to make a series of decorative panels, The Story of Psyche, which he brought to Moscow in January 1909 to install in Morozov's house. In 1913, Denis did ceiling paintings for the Théâtre des Champs-Elysées; in 1917, he worked in the Church of St. Paul at Geneva; in 1924, he decorated the dome of the Petit Palais in Paris; and in 1928, he painted the ceiling above the staircase in the Senate building. Between 1936 and 1939, he did a number of decorative panels for the Palais des Nations in Geneva. In addition to his work as a painter, Denis was one of the most prominent art theoreticians of the time. His articles on contemporary art, published in various magazines, were later collected in Théories (1912) and Nouvelles theories (1922).
......................................................................................................

Parks, Gordon - Fotografia

Quarta-feira, Dezembro 12, 2007


Langston Hughes, Chicago
1941



American Gothic
1942



Ella Watson and her Grandchildren
1942



Bill Walker
1943



Duke Ellington at the Hurricane Club. New York, N.Y.
May 1943.



Two young girls at Camp Christmas Seals
1943



Dinner Time at Mr. Hercules Brown's Home, Somerville, Maine
1944



Red Jackson and Herbie Levy Study Wounds of Slain Gang Member Maurice Gaines
1948



Ingrid Bergman at Stromboli
1949



Death Room, Fort Scott
1949



Beggar Man, Paris
1950



Beggar Woman and Child, Estoril, Portugal
1950



Countess, Paris
1950



Woman Portrait
1950



Drugstore Cowboys, Blind River, Ontario
1955



Department Store, Birmingham, Alabama
1956



Chain Gang, Alabama
1956



Still Life, New York
1958



Gloria Vanderbilt, New York
1960



Flavio da Silva, Rio de Janeiro, Brazil
1961



Red Dress
Circa 1962



Malcolm X Addressing Black Muslim Rally in Chicago
1963



Nurses, Ethel Shariff in Chicago
1963



Muhammad Ali in Training, Miami, Florida
1966



Norman Jr. Reading in Bed
1967



The Fontanelle Family
Bessie and Kenneth, Little Richard, Norman Jr. and Ellen at the Poverty Board in New York City
1967



Bangkok
c. 1967



James Galanos Fashion
circa 1967



Muhammad Ali
1970



A Memory
1993



The Bridge
1995



Toward Infinity
1995



Front Cover, A Star For Noon
September 2000

.......................................................................................................
Gordon Parks era filho de um jornaleiro, sendo o mais novo de 15 filhos. Cresceu em casa da irmã, em Minneapolis, até o cunhado o pôr fora aos 16 anos. Foi empregado de mesa e músico até, ao ver fotografias da Farm Security Admninistration e um jornal semanal com o fotógrafo Norma Alley, comprar uma máquina fotográfica usada e começar a tirar fotografias. Começou pela fotografia de moda e, a partir de 1942, trabalhou também para a Farm Security Admninistration. Entre 1949 e 1970, trabalhou como foto jornalista para a revista Life. Retratou a vida das pessoas no sul dos Estados Unidos e nas favelas brasileiras, bem como a de gente rica e elegantemente vestida em Nova Iorque e Washington. Retratou artistas e produziu uma reportagem comovente sobre o lider negro Maolcolm X. As suas reportagens pictóricas dos bairros pobres de Harlem, a que teve acesso por ele próprio ser negro, abriram os olhos dos americanos brancos para o país dividido em que viviam. Tornou-se muito popular graças aos seus filmes, em particular "The Learning Tree", de 1969, e às suas histórias misteriosas que tiveram pela primeira vez um negro como herói. Ao longo da sua carreira exemplar, Parks, que não pôde ser contratado por Alexei Brodovitch devido à cor da sua pele, contribuiu enormemente para o reconhecimento dos negros na vida americana. Gordon Parks nasceu em Fort Scott, Kansas, em 1912 e morreu em Nova Iorque em Março de 2006.
...........................................................................................................
Gordon Parks, born November 30, 1912, Fort Scott, Kansas, U.S.,died March 7, 2006, New York. The son of a tenant farmer, Parks grew up in poverty. After dropping out of high school, he held a series of odd jobs, including pianist and waiter. In 1938 he bought a camera and initially made a name for himself as a portrait and fashion photographer. After moving to Chicago, he began chronicling life on the city's impoverished South Side. These photographs led to a Julius Rosenwald Fellowship, and in 1942 he became a photographer at the Farm Security Administration (FSA). While with the FSA, he took perhaps his best-known photograph, American Gothic, which featured an African American cleaning woman holding a mop and broom while standing in front of an American flag. In 1948 Parks became a staff photographer for Life magazine, the first African American to hold that position. Parks, who remained with the magazine until 1972, became known for his portrayals of ghetto life, black nationalists, and the civil rights movement. A photo-essay about a child from a Brazilian slum was expanded into a television documentary (1962) and a book with poetry (1978), both titled Flavio. Parks also was noted for his intimate portraits of such public figures as Ingrid Bergman, Barbra Streisand, Gloria Vanderbilt, and Muhammad Ali. Parks's first work of fiction was The Learning Tree (1963), a coming-of-age novel about a black adolescent in Kansas in the 1920s. He also wrote forthright autobiographies—A Choice of Weapons (1966), To Smile in Autumn (1979), and Voices in the Mirror (1990). He combined poetry and photography in A Poet and His Camera (1968), Whispers of Intimate Things (1971), In Love (1971), Moments Without Proper Names (1975), and Glimpses Toward Infinity (1996). Other works included Born Black (1971), a collection of essays, the novel Shannon (1981), and Arias in Silence (1994). In 1968 Parks became the first African American to direct a major motion picture with his film adaptation of The Learning Tree. He also produced the movie and wrote the screenplay and musical score. He next directed Shaft (1971), which centred on a black detective. A major success, it helped give rise to the genre of African American action films known as “blaxploitation.” A sequel, Shaft's Big Score, appeared in 1972. Parks later directed the comedy The Super Cops (1974) and the drama Leadbelly (1976) as well as several television films.
.....................................................................................................