Quarta-feira, Abril 30, 2008
Erik Andriesse, 1980
Watercolor, pencil on paper
Aprox. 30 x 25 cm
Private Collection
Fear of Babies, 1986
Colour pencil, watercolour on paper
Collection Haags, Gemeentemuseum, The Hague
Caught Red Handed, 1986
Watercolor, pencil and colored pencil on paper
12 1/4 x 9 inches / 31.1 x 22.9 cm
The Face of the Painter, 1987
Oil on canvas
160 x 200 cm
Private collection
The Teacher (sub a), 1987
Oil on canvas
160 x 200 cm
Private collection
A Dead Man, 1988
Oil on canvas
50 x 60 cm
Private Calloection
The Human Tripod, 1988
Oil on canvas
180 x 90 cm
Collection Central Museum, Utrecht
How to kill your mother, 1989
Ink and colored pencil on paper
17 1/2 x 12 3/8" (44.5 x 31.4 cm)
The Museum of Modern Art, New York City
The First People (I-IV), 1990
Oil on canvas
4 parts, each 180 x 90 cm
De Pont Foundation for Contemporary Art, Netherlands
Untitled, 1991
Oil on canvas
23 3/4 x 19 3/4 inches, 60.3 x 50.2 cm
In the Beginning, 1991
Oil on canvas
145 x 200 cm
Private collection
Black Drawings, 1991-92
Ink wash, watercolor on paper slate
25 x 17,5 cm each
Child with Lipstick, 1992
Oil on canvas
50 x 40 cm
Private collection
Give the People What They Want, 1992
Oil on canvas
40 x 30 cm
Private collection
The Black Woman, 1992
Oil on canvas
30 x 40 cm
Collection The Flemish Ministry of Culture, Brussels, Belgium
Faceless, 1993
Silk screen print
29x21 cm (11,4x8,3 in)
The Painter, 1994
Oil on canvas
6' 7" x 39 1/4" (200.7 x 99.7 cm)
The Museum of Modern Art, New York City
Cupid, 1994
Oil on canvas
160 x 140 cm
Private collection
The Passion, 1994
Gouache and ink on paper
61.00 x 49.00cm
The Cover-up, 1994
Oil on canvas
200 x 100 cm
The Supermodel, 1995
Watercolor on paper
26 x 19 3/4" (66 x 50.2 cm)
The MUseum of Modern Art, New York City
Naomi, 1995
Oil on canvas
150 x 110 cm
Private collection
Honey, 1996
Watercolor and ink on paper
h: 21.6 x w: 17.7 in / h: 54.9 x w: 45 cm
Drunk, 1997
Oil on canvas
200 x 100 cm
Private collection
We Were All in Love with the Cyclops, 1997
Oil on canvas
180 x 300 cm
Private collection
Ryman’s Brides, 1997
Oil on canvas
51.18 x 43.3 inches, 130 x 110 cm
Dorothy, 1998
Ink wash. Watercolor on paper
125 x 70 cm
Private collection
Velvet and Lace, 1999
Oil on canvas
49 x 33.5 inches, 124.5 x 85.1 cm
Ladies, Please, 1995-2000
Ink, watercolor, and pencil on paper
11 1/4 x 9 1/2" (28.6 x 24.1 cm)
The Museum of Modern Art, New York City
Œ, 1999-2000
Watercolor on paper
20 x 24 inches, 50.8 x 61 cm
Head Rest, 2001
Watercolor on paper
26 x 19.5 inches, 66 x 49.5 cm
The Blindfolded,2002
Oil on canvas, 3 panels
51.18 x 43.31 inches (each), 130 x 110 cm
Stern, 2004
Oil on canvas
1101 x 1302 x 24 mm
Tate Gallery, London
Lucy, 2004
Oil on canvas
1103 x 1303 x 24 mm
Tate Gallery, London
Jen, 2005
Oil on canvas
43 3/8 x 51 1/4" (110.2 x 130.2 cm)
The Museum of Modern Art, New York City
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Em "The First People (I-IV), 1990", quatro Bebés recém-nascidos foram captados em estranhas posições de vulnerabilidade descoordenada e ampliados até à altura de adultos totalmente desenvolvidos. Ao retratá-los desta maneira, Dumas demonstra tanto a sua vulnerabilidade como a natureza estranha dos seus corpos rugosos e expressões incontroladas. A sua pele é pintada com cores decadentes, como se a autora antevisse o expectro da morte nos seus rostos. Apesar de ter sido feita depois do nascimento do primeiro filho de Dumas, esta obra está longe de ser sentimental. Dumas produz quadros inquietantes que procuram compreender a condição humana, confrontando as suas emoções com uma honestidade dura. Partindo da sua própria experiência, ela mantem-se distante da sua realidade imediata através da fotografia, utilizando uma Polaroidara gravar os seus modelos. Também trabalha sobre fotografias de jornais, revistas e postais e tem interpretado textos e quadros de outros artistas. Marlene Dumas nasceu na Cidade do Cabo (AFS) em 1953.
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Marlene Dumas was born on 1953 in Cape Town and graduated from the University of Cape Town with a Bachelor of Fine Arts in 1975. She studied psychology in Holland for two years (1979--1980). Since then she has had numerous exhibitions and her reputation has steadily grown.Marlene Dumas makes paintings with no concept of the taboo. Racism, sexuality, religion, motherhood and childhood are all presented with chilling honesty. Undermining universally held belief systems, Dumas corrupts the very way images are negotiated. Stripped of the niceties of moral consolation, Marlene Dumas's work provokes unmitigated horror. She offers no comfort to the viewer, only an unnerving complicity and confusion between victims and oppressors.
‘I don't have any conception of how big an average head is, I've never been interested in anatomy. In that respect I relate like children do. What is experienced as most important is seen as the biggest, irrespective of actual or factual size. In the movies everything is larger than life and yet you experience that as real(istic); all my faces are much bigger than human scale. From blowing up to zooming in, for me the “close-up” was a way of getting rid of irrelevant background information and by making the facial elements so big, it increased the sense of abstraction concerning the picture frame. The elimination of the background also did away with the place of being and environmental context.'
‘As the isolation of a recognisable figure increases and the narrative character decreases (contrary to what one might initially assume that this lack of illustrative information would bring about), the interpretative effects are inflamed. The titles re-direct the work, however, they do not eradicate the inherent ambiguity. One cannot interpret the painting of Jule-die Vrou without entangling some of the root metaphors applied not only to the female, but to the idea of portrayal in general'. Marlene Dumas, 1992.
Marlene Dumas's provocative paintings of women, children, celebrities and people of colour are as psychologically disturbing as they are violently beautiful. Championing the under-represented classes, her characters occupy an unholy ground where the viewer's individual morality, ethics and adherence to ideological convention are questioned.
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Terça-feira, Abril 22, 2008
Study for "The Garden of Love", 1909
Oil on paper
81 cm x 65 cm
Private collection
The Party of Pleasure, 1910
Oil on canvas
247.6 x 241.3 cm
Private collection
Eglise de Normandie, 1911
Oil on canvas
Private collection
Cordes, 1912
Oil on canvas
Private collection
L'Escale, 1913
Musée d'Art Moderne de la Ville de Paris, París
Seated Nude, circa 1917
Watercolor, gouache and pencil on paper
37.7 cm x 32.5 cm
Private collection
Study for `Homage to Watteau' 1918
Oil on canvas
333 x 360 mm
Tate Gallery, London
Hommage à Watteau, 1918
Musée du Petit Palais, Genève
Boats in Port, 1918-1920
Oil on canvas
55.88 x 46.04 cm
Private collection
Green Landscape, 1920 - 1921
Oil on canvas
55 x 46.5 cm
Hermitage Museum, Saint Petersburg, Russia
Near Boissierette, 1921
Oil on canvas
100 cm x 65 cm
Private collection
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André Lhote foi um dos integrantes do grupo do Cubismo. Trabalhou quando jovem em um atelier de móveis de madeira. Autodidata, foi para Paris em 1906, onde teve oportunidade de apreciar a pintura de Gauguin, bem como uma exposição de esculturas africanas que incentivaram muito sua opção pela pintura. No mesmo ano, participou do Salão dos Independentes e, em 1907, do Salão de Outono. Em 1910, teve sua primeira exposição individual, causando grande impacto. Em 1911, tornou-se amigo íntimo de Raoul Dufy e de Jean Marchand. Nesse mesmo ano, manteve contato com os cubistas, aderindo ao movimento : na fase analítica, e depois, na fase sintética, que foi o elo forte de sua produção. Jacques Villon, Marcel Duchamp, Albert Gleizes e Francis Picabia organizaram, em outubro de 1912, o famoso Salão da Section d’Or, onde estavam representadas as tendências artísticas mais heterodoxas e as mais opostas. Ligando-se imediatamente ao grupo, André Lhote propôs conciliar o Cubismo com a tradição artística. A tradição é, em suas palavras, aquilo que "...resiste a todas as épocas e aos trejeitos, maneirismos e afetações de todos os tipos, são os valores que eu nomeio, por falta de melhor termo, invariants plastiques, de que um certo coeficiente é necessário à vida da obra." André Lhotte nasceu em 1885, em Bordeaux (FR) e morreu em 1962, em Paris (FR)
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Born in 1885 in Bordeaux, André Lhote entered the studio of a furniture maker at age 12 to be trained as a sculptor in wood. In 1905, he abandoned sculpture for painting, and two years later in 1907, he participated in the Salon des Indépendants and the Salon d’Automne. The following year he established residence in Paris, where he had his first one-man show at the Galérie Druet in 1910. Charles Morice, a friend of Verlaine and Gauguin, wrote the preface to the catalogue: “Lhote brings to his observations of life a passion rooted in his inner life, and this intimate ardour augurs great things. He is developing fast.” Charles Morice’s predictions, as well as those of André Gide, André Salmon, Jacques Rivière, and Alain Fournier, became a reality in experiments that would lead Lhote to Cubism. In 1912, he participated in the myth-making Section d’Or exhibit rue la Boétie that brought together the fathers of modern art – Gleizes, Villon, Duchamp, Metzinger, Picabia, La Fresnaye, and others. He founded his own school in 1922 where he encouraged and helped develop the talents of many young artists. One of his teaching techniques was to make them rethink the classical problems in the light of an ingenious interpretation of optical phenomena. An outstanding personality in contemporary art, Lhote for many years was an art critic at the Nouvelle Revue Française, and he has written several books analysing the aims and technique of art. His paintings, geometric in concept, are based on analysis and construction. He is represented in the Musée d’Art Moderne in Paris and in many other museums in France and abroad.
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Sábado, Abril 12, 2008
L'Arlequin [Harlequin]
about 1929 - 1930 (posthumous cast)
Bronze
40.80 x 27.50 x 29.50 cm
National Galleries of Scotland, Edinburgh
Mask: Reclining Head (Masque: Tête couchée), ca. 1930
Iron
6 1/4 x 7 1/4 x 4 1/2 in. (15.9 x 18.4 x 11.4 cm.) Base: 2 1/2 x 9 3/4 x 5 3/8 in. (6.4 x 24.8 x 13.7 cm.)
Raymond and Patsy Nasher Collection, Dallas, Texas
Cabeza llamada "El conejo", 1930
Iron
33 x 17,5 x 11,5 cm
Reina Sofía National Museum, Madrid
La Prière (Prayer), 1932
Iron
Kröller-Müller Museum, Otterlo, Netherlands
Sculpture, 1932
Silver
9 7/8 x 3 x 2 inches (25.1 x 7.6 x 5.1 cm) Base: 1 x 2 1/4 x 2 1/8 inches (2.5 x 5.7 x 5.4 cm)
Philadelphia Museum of Art
Head called "The Tunnel", 1933-4
Tête dite `Le Tunnel'
Steel
467 x 216 x 308 mm
Tate Gallery, London
Reclining Figure. 1934
Welded wrought iron
18 x 37 x 16 3/4" (45.6 x 94 x 42.5 cm) Base: 37 1/4" x 11 1/2" (94.6 x 29.2 cm)
The Museum of Modern Art, New York City
Head. c. 1935
Wrought iron
18 1/4 x 17 x 8 1/2" (46.4 x 43.2 x 21.6 cm), on base 3/4 x 6 1/4 x 6 1/4" (1.9 x 15.9 x 15.9 cm)
The Museum of Modern Art, New York City
Female Bust, 1935-1936
Wrought, cut and bended iron
Museu Nacional d'Art de Catalunya, Barcelona, Spain
Woman Combing Her Hair. 1936
Wrought iron
52 x 23 1/2 x 24 5/8" (132.1 x 59.7 x 62.4 cm)
The Museum of Modern Art, New York City
Torso. c. 1936
Hammered and welded iron
24 3/8 x 14 1/4 x 10 5/8" (61.9 x 36.2 x 27 cm)
The Museum of Modern Art, New York City
Woman with a Mirror (Femme au miroir), ca. 1936-37 (cast ca. 1980)
Bronze,
80 15/16 x 26 3/8 x 14 3/16 in. (205.6 x 67 x 36 cm.)
Raymond and Patsy Nasher Collection, Dallas, Texas
Daphné, 1937
Wrought iron
142 x 71 x 52 cm
Centre Pompidou, Paris
Main aux piquants, 1937
Forged iron and nails
9 3/8 x 5 5/8 x 3 1/8 in. (23.8 x 14.3 x 7.9 cm.)
Raymond and Patsy Nasher Collection, Dallas, Texas
Máscara de Montserrat gritando, 1938
Bronze and patine
22,5 x 15,2 x 12 cm
Reina Sofía National Museum, Madrid
Masque Montserrat criant, 1938-1939
Wrought iron and patine
22 x 15,5 x 12 cm
Centre Pompidou, Paris
“Monsieur” Cactus (Cactus Man I),
Iron original completed August 24, 1939, Arceuil; cast 1953-1954.
Bronze and patina
23 5/16 x 9 13/16 x 6 11/16 inches
Guggenheim Museum, New York City
Two hands, 1942
Bronze, two pieces
44 x 15 x 14 cm; 37 x 18 x 15 cm
Art Collection of the Biblioteca Luis Ángel Arango, Colombia
Head of Montserrat Shouting, c. 1492
Bronze
Museu Nacional d'Art de Catalunya, Barcelona, Spain
Tête de Montserrat criant, 1942
Bronze
32 x 19 x 28 cm
Centre Pompidou, Paris
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Em "Head of Montserrat Shouting, c. 1492", uma camponesa com um lenço na cabeça inclina-a para trás e grita de dor. Ao chamá-la «Montserrat», o nome da montanha perto de Barcelona, González relaciona o sofrimento do povo durante a Guerra Civil de Espanha com a natureza agrete e resistente da própria paisagem espanhola. Esta obra em particular, concebida durante a Segunda Guerra Mundial, exprime o sofrimento e a angústia durante o período da guerra. González trabalhou como serralheiro na oficina do seu pai, mas frequentou aulas de pintura durante a noite. A família mudou-se para Paris em 1900 e González tornou-se amigo do seu compatriota Picasso, a quem ensinou a soldar. Por seu turno, González também assimilou as técnicas cubistas com Picasso, que se refletem no seu estilo crescentemente abstracto. Começou por criar máscaras de metal, influenciado pela arte africana e prosseguiu com a construção de figuras feitas a partir de chapas de metal. Mais próximo do final da sua vida, em finais dos anos 30 e principios dos anos 40, produziu obras e natureza mais realista, de que este busto é exemplo. Julio González nasceu em Barcelona (ES) em 1876 e morreu em Arcueil (FR) em 1942.
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Julio González was born in Barcelona on September 21, 1876. With his older brother Joan he worked in his father's metalsmith shop; during the evenings they took classes at the Escuela de Bellas Artes. González exhibited metalwork at the Exposición de bellas artes e industrias artísticas in Barcelona in 1892, 1896, and 1898, and at the World�s Columbian Exposition in Chicago in 1893. In 1897 he began to frequent Els Quatre Gats, a café in Barcelona, where he met Pablo Picasso. In 1900 González moved to Paris; there he began to associate with Pablo Gargallo, Juan Gris, Manolo Hugué, Max Jacob, and Jaime Sabartés. His first embossed metalwork was produced in 1900. He exhibited with the Société Nationale des Beaux-Arts in 1903, 1909, and frequently during the early twenties. González participated in the Salon des Indépendants in 1907 and occasionally thereafter. He first exhibited paintings at the Salon d'Automne in 1909, and showed both sculpture and paintings there regularly during the teens and twenties. In 1918 González worked at the Renault factory at Boulogne-Billancourt, where he learned techniques of autogenous welding he used later in iron sculptures. In 1920 he became reacquainted with Picasso. González's first solo exhibition, which included paintings, sculpture, drawings, jewelry, and objets d'art, was held in 1922 at the Galerie Povolovsky in Paris. The following year he was given a solo show of works in similarly varied media at the Galerie du Caméléon in Paris. In 1923 González participated in the first Salon du Montparnasse, Paris, with Raoul Dufy, Paco Durrio, Friesz, and others. In 1924 he was included in the exhibition Les Amis du Montparnasse at the Salon des Tuileries and the Salon d'Automne in Paris. He made his first iron sculptures in 1927. From 1928 to 1931 González provided technical assistance to Picasso in executing sculptures in iron. In 1930 he was given a solo sculpture exhibition at the Galerie de France in Paris, and the following year showed at the Salon des Surindépendants for the first time. In 1937 he contributed to the Spanish Pavilion of the World's Fair in Paris and Cubism and Abstract Art at the Museum of Modern Art in New York. That same year he moved to Arcueil, near Paris, where he died on March 27, 1942.
Guggenheim Collection - González Biography
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Terça-feira, Abril 01, 2008
Guitar and Bottles (Guitare et bouteilles), 1920
Oil on canvas
31 11/16 x 39 5/16 in
Guggenheim Museum, New York City
Still Life. Dishes, 1920
Oil on canvas
72x60 cm
Hermitage Museum, Saint Petersburg, Russia
Glasses and Bottles circa 1922-6
Verres et bouteilles
Oil on canvas
727 x 603 mm
Tate Gallery, London
Still Life, 1923
Oil on canvas
73 x 60,3 cm
Private collection
Nacres [Mother of pearl] c.1926
Oil on canvas
130.0 (h) x 97.4 (w) cm
National Gallery of Australia, Canberra
L'ombre de la main, 1929
Oil on canvas
81,5 x 105 cm
Royal Museums of Fine Arts of Belgium
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Em "Still Life, 1923", um cachimbo fino, emitindo uma crescente nuvem de fumo negro, está colocado ao lado de duas tijelas brancas, uma delas dentro da outra. O fumo move-se em curvas e mistura-se com o turbulento fundo cor-de-fogo. Os objectos formam uma composição deliberada e simplificada comk um considerável encanto. O contraste entre as simples tijelas brancas, o vórtice preto de fumo e as relativas posições de cada tópico foram cuidadosamente considerados. Nesta obra, o uso de formas com curvas sinuosas é único, mas a redução dos diferentes elementos é típico do Purismo, um movimento do qual ele foi um membro fundador. Este quadro pertence a uma série de naturezas mortas que datam da década de 20, que mostra a sua transição gradual de um estilo mais decorativo para as formas bem definidas do Purismo. Amédée Ozenfant nasceu em Saint-Quentin (FR) em 1886 e morreu em Cannes (FR) em 1966.
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Amédée J. Ozenfant was born on April 15, 1886, in Saint-Quentin, Aisne, France. At age fourteen he began painting, and in 1904 he attended the Ecole Municipale de Dessin Quentin-La Tour in Saint-Quentin. The following year he moved to Paris, where he entered an architecture studio. At this time he also studied painting with Charles Cottet at the Académie de la Palette, where he became a friend of Roger de La Fresnaye and André Dunoyer de Segonzac. Ozenfant's first solo exhibition was held in 1908 at the Salon de la Nationale in Paris. In 1910 he contributed works to the Salon d’Automne and in 1911 he participated in the Salon des Indépendants. From about 1909 to 1913 he made trips to Russia, Italy, Belgium, and the Netherlands and attended lectures at the Collège de France in Paris. In 1915 Ozenfant founded the magazine L'Elan, which he edited until 1917, and began to formulate his theories of Purism [more]. In 1917 the artist met the Swiss architect and painter Charles-Edouard Jeanneret (Le Corbusier); together they articulated the doctrines of Purism in their book Après le cubisme. Its publication coincided with the first Purist exhibition, held at the Galerie Thomas in Paris in 1917, in which Ozenfant was represented. Ozenfant and Le Corbusier collaborated on the journal L'Esprit nouveau, which appeared from 1920 to 1925. Ozenfant participated in the second Purist exhibition at the Galerie Druet, Paris, in 1921. In 1924 he and Fernand Léger opened a free studio in Paris, where they taught with Alexandra Exter and Marie Laurencin. Ozenfant and Le Corbusier wrote La Peinture moderne in 1925. During that year Ozenfant exhibited at the controversial Pavillon de l'Esprit Nouveau at the Exposition des arts décoratifs in Paris. The artist was given a solo show at Galerie L. C. Hodebert, Paris, in 1928. His book Art was published in French in 1928; an English edition appeared as The Foundations of Modern Art in 1931. Ozenfant taught at the Académie Moderne in 1929 and founded the Académie Ozenfant in 1932. From 1935 to 1938 he operated the Ozenfant Academy in London, also teaching at the French Institute in that city. From 1939 to 1955 he taught at the Ozenfant School of Fine Arts in New York. His solo show at the Arts Club of Chicago was held in 1940. Ozenfant taught and lectured widely in the United States until 1955, when he returned to France. He remained there the rest of his life and died in Cannes on May 4, 1966.
Guggenheim Collection - Ozenfant Biography
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