O SÉCULO PRODIGIOSO

A arte no século XX

Dumas, Marlene - Neo-Expressionismo / Figurativismo

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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Lhote, André - Cubismo

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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