Avery, Miltom - Figurativismo / Abstraccionismo
Quinta-feira, Março 13, 2008
Vermont Hills, 1936
Oil on canvas
32x 48 in
Rose Art Museum, Brandeis University, Waltham, Massachusetts
Gaspe - Pink Sky, 1940
Oil on canvas
32 x 44 in
Private collection
Bridge to the Sea, 1944
Oil on canvas
32 x 48 in
Private collection
Self-Portrait, 1947
Oil on canvas
55 x 36 inches
Milton Avery Trust
Adolescence, 1947
Oil and graphite on canvas
30 x 40 inches
Terra Foundation for the Arts, Chicago, USA
Nude in Black Robe, 1950
Oil on canvas
36 x 28 inches
Private collection
Maternity, 1950
Oil on canvas
32 x 46 in
Private collection
Chair with Lilacs, 1951
Oil on canvas
36 x 28 inches
Private collection
Orange Vase, 1951
Oil on canvas
40 x 30 inches
Private collection
Sheep, 1952
Oil on canvas
30 x 40 in
Private collection
March on the Balcony, 1952
Oil on canvas
44 x 34 inches
The Phillips Collection, Washington, USA
Breaking Sea, 1952
Oil on canvas
30 x 40 inches
The Baltimore Museum of Art, USA
Shapes of Spring, 1952
Oil on canvas
34 x 38 inches
Private collection
Excursion on the Thames, 1953
Oil on canvas
40 x 50 inches
Milton Avery Trust
Advancing Sea, 1953
Oil on canvas
42 x 48 inches
Milton Avery Trust
Harvest, 1953
Oil on canvas
33 x 44 inches
Private collection
Dark Still Life, 1954
Oil on canvas
38 x 46 inches
Norton Museum of Art, West Palm Beach. Florida. USA
Bicycle Rider by the Loire, 1954
Oil on canvas
38 x 55 inches
Funt Institute of Arts, Michigan, USA
Nude Combing, 1954
Oil on canvas
50 x 34 inches
Private collection
White Moon, 1957
Oil on canvas
50 x 38 inches
Private collection
Madonna of the Rocks, 1957
Oil on canvas
50 x 40 inches
Private collection
Green Sea, 1958
Oil on canvas
18 x 24 in.
Private collection
Dark Forest, 1958
Oil on canvas
40 x 53 in
Private collection
Onrushing Wave, 1958
Oil on canvas
54 x 72 inches
Milton Avery Trust
Black Sea, 1959
Oil on canvas
50 x 58 in
The Phillips Collection, Washington, USA
Tangerine Moon and Wine Dark Sea, 1959
Oil on canvas
60 x 75 inches
Private collection
Boathouse by the Sea, 1959
Oil on canvas
72 x 60 inches
Milton Avery Trust
Spring Orchard, 1959
Oil on canvas
50 x 60 in
National Collection of Fine Arts, Smithsonian Institution, Washington
Interlude, 1960
Oil on canvas
68 x 58 inches
Philadelphia Museum of Art, USA
Robed Nude, 1960
Oil on canvas
68 x 58 inches
Private collection
White Vasses, white Figure, 1960
Oil on canvas
40 x 32 inches
Collection Borgenicht
Blue Bay and Dunes, 1961
Oil on canvas
40 x 50 inches
Milton Avery Trust
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Em "Green Sea, 1958", duas figuras humans caminham pesarosamente so longo de uma prais deserta. Ao lado delas, o mar e uma faixa de céu criam um muro invisível e impenetrável. As figuras foram reduzidas à escala da natureza. Esta obra data de um período intermédio de Avery e, embora ele pintasse frequentemente paisagens marítimas, este quadro distingue-se pela coloração e ambiente melancólico. Pintor autodidacta, Avery começou a sua carreira como fauvista, pintando quadros figurativos com áreas lisas de cor brilhante. Mais tarde, desenvolveu um estilo que oscila agradavelmente entre a figuração e o abstraccionismo, em que as figuras reconhecíveis são reduzidas a formas simples e lançadas contra as manchas decorativas de cor. A simplificação da cor até ao essencial e a organização da tela em faixas lisase cor, viriam a exercer influência sobre a geração seguinte de artistas americanos, como foram o caso de Gottlieb e Rothko, com quem Avery estabeleceu amizade nos anos 30 do século passado. Milton Avery nasceu en Altmar, NY (EUA) em 1893 e morreu em Nova Iorque em 1964.
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Milton Avery was born at Sand Bank, New York, today known as Altmar, on 7 March 1893 (1885?). After studying for a while at the Connecticut League of Art Students in Hartford under Charles Noel Flagg and at the Art Society School there under Albertus Jones, Avery worked in manufacturing and with an insurance company until 1924. He moved to New York in 1925 and married the artist Sally Michel, an illustrator, a year later. He had his first one-man show as early as 1928 at the Opportunity Gallery in New York. The decades that followed saw him show work at numerous exhibitions mounted by New York galleries and American museums. Avery's preoccupation with French Fauvism and German Expressionism led him to develop a simplified formal idiom distinguished by clarity of line and an expressive palette. Whereas Avery's early figurative drawings and paintings from the 1930s attest to affinities primarily with the work of Ernst Ludwig Kirchner, by the 1940s he was discernibly close to Henri Matisse. As the American upholder of Matisse's colouristic doctrine, Avery developed the French artist's decorative colour surfaces into subtly toned colour zones, thus breaking the ground for the Colour Field painting of Mark Rothko and Adolph Gottlieb, both of whom were friends of his. Even though his style was close to abstraction, Avery nonetheless clung to representation throughout his entire career. Classical motifs and subject matter in portraits, still lifes and coastal landscapes were his main thematic areas and genres. Prolific as a painter, graphic artist and ceramist, Avery received numerous awards from American art institutions before he died in 1965 although he only really became famous posthumously. Now he is acclaimed as one of the most influential US 20th-century artists.
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