Golup, Leon - Figurativismo
Burnt Man, 1953-1954
Lacquer and oil on canvas
h: 46 x w: 32 in / h: 116.84 x w: 81.28 cm
Private collection
Siamese Sphinx, 1954
Lacquer and oil on canvas
h: 30 x w: 48 in / h: 76.2 x w: 121.92 cm
Private collection
Two Heads, 1954
Lacquer on canvas
h: 20 x w: 30 in / h: 50.8 x w: 76.2 cm
Private collection
Father and Son, 1955
Sanguine on paper
h: 24.24 x w: 39.5 in / h: 61.57 x w: 100.33 cm
Private collection
Parturition, 1955
Lacquer on canvas
h: 48 x w: 36 in / h: 121.92 x w: 91.44 cm
Private collection
The Boar Hunt, 1955
Sanguine on paper
h: 39.5 x w: 24.25 in / h: 100.33 x w: 61.6 cm
Private collection
Columnar Head, 1958
Lacquer and oil on canvas
45 1/8 x 48 1/2”
University of Kentucky Art Museum
Head XVIII, August 12, 1959
Oil and lacquer on canvas
25 x 23 1/16 in (63.5 x 58.5 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Head IX, December 18, 1960
Oil and lacquer on canvas
34 1/8 x 31 1/8 in (86.7 x 79.3 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Head I, 1961
Oil and lacquer on canvas
52 1/4 x 38 5/8 in. (132.7 x 98.1 cm)
Smithsonian American Art Museum, , Washington D.C.
Head, 1962
Oil on canvas
31 x 31"
Guilford College Art Gallery, North Carolina
Orator II, 1965
Lithograph (stone) in pink-orange, red and gray-violet on white Arches paper
sheet: 50 x 75 cm (19 11/16 x 29 1/2 in)
The National Gallery of Art, Washington D.C.
Wounded Sphinx, August 16-20, 1965
Lithograph, composition 29 13/16 x 41 1/16" (75.8 x 104.3 cm); sheet 29 13/16 x 41 1/16" (75.8 x 104.3 cm)
Museum of Modern Art, New York City
Wounded Sphinx II, 1965
Lithograph (stone) in dark blue and red on white Arches paper
sheet: 75.5 x 57 cm (29 3/4 x 22 7/16 in)
The National Gallery of Art, Washington D.C.
Napalm Head, 1969
Oil on canvas
40 x 29 in. (101.6 x 73.7 cm.)
Smithsonian American Art Museum, Washington D.C.
Napal II, 1969
Acrylic on linen
114x176 in
The Broad Art Foundation, Santa Monica
Napalm V, 1969
Acrylic on canvas
59 5/8 x 43 in. (151.3 x 109.2 cm)
Smithsonian American Art Museum, Washington D.C.
The Burnt Man, 1969
Offset lithograph on paper
38 1/8 X 50 1/8 in (96.8 X 127.3 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Combat (I), 1970
Offset lithograph on paper
50 1/8 X 35 1/4 in (127.3 X 89.6 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Winged Sphinx (I), 1972
Offset lithograph on paper
50 1/8 X 38 1/8 in (127.3 X 96.8 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Merceneries I, 1976
Acrylic on linen
116x186 1/2 in
The Broad Art Foundation, Santa Monica
Francisco Franco (1975), 1976
Acrylic on linen
20x17 in
The Broad Art Foundation, Santa Monica
Portait of Ho Chi Minh (1945), 1976
Acrylic on linen
35x26 in
The Broad Art Foundation, Santa Monica
Portait of Ho Chi Minh (1950), 1976
Acrylic on linen
19x15 in
The Broad Art Foundation, Santa Monica
Portait of Ho Chi Minh (1967), 1976
Acrylic on linen
21x15 in
The Broad Art Foundation, Santa Monica
Portrait of Nelson Rockefeller, 1976
Acrylic on linen
18x17 in
The Broad Art Foundation, Santa Monica
Portrait of Nelson Rockefeller (1941), 1976
Acrylic on linen
23x18 in
The Broad Art Foundation, Santa Monica
Portrait of Nelson Rockefeller (1960), 1976
Acrylic on linen
14x14 in
The Broad Art Foundation, Santa Monica
Castro 3 (1964), 1977
Acrylic on linen
24x16 in
The Broad Art Foundation, Santa Monica
Mao Tse Tung (1968), 1978
Acrylic on linen
18x18 1/4 in
The Broad Art Foundation, Santa Monica
Mao Tse Tung in Sarcophagus (1977) l, from Portraits of Power, 1978
Acrylic on canvas
Madison Museum of Contemporary Art, Wisconsin
Mercenaries II, 1979
Acrylic on canvas
305x366 cm
Musée des Beaux-Arts de Montréal, Québec
Mercenaries III, 1980
Acrylic on linen
120x198 in
The Broad Art Foundation, Santa Monica
Interrogation I, 1980/81
Acrylic on linen
120x176 in
The Broad Art Foundation, Santa Monica
Interrogation III, 1981
Acrylic on linen
120x169 in
The Broad Art Foundation, Santa Monica
Horsing Around, 1983
Acrylic on linen
86x90 in
The Broad Art Foundation, Santa Monica
White Squad V, 1984
Acrylic on linen
120x161 in
The Broad Art Foundation, Santa Monica
Merc, 1984
Lithograph
Irreg. composition 24 5/16 x 22 5/16" (61.7 x 56.7 cm) sheet 30 1/8 x 22 5/16" (76 x 56.7 cm)
Museum of Modern Art, New York City
Four Blacks, 1985
Oil on linen
121x183 in
The Broad Art Foundation, Santa Monica
Four Black Men, 1985
Oil on linen
121 3/8 x 190 1/4 in (308.2 x 483.2 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Threnody, 1986
Oil on linen
120x167 in
The Broad Art Foundation, Santa Monica
White Squad, 1987
Lithograph
Composition: 29 5/8 x 40 5/8" (75.2 x 103.2 cm); sheet: 29 5/8 x 41 1/2" (75.2 x 105.4 cm)
Museum of Modern Art, New York City
Wounded Sphinx, 1988
Oil on linen
120x154 in
The Broad Art Foundation, Santa Monica
Like Yeah, 1994
Acrylic on linen
244cm x 272cm.
Collection of The Leon Golub Family
Exhumed, 2002
Oil stick and ink on Bristol
10x8 inches
Private collection
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Na obra "Mercenaries II, 1979" o duro realismo reflete graficamente a natureza agressiva do mercenarismo e do mundo de assassinos, terrorismo e atrocidade a ele associado. O quadro apresenta uma superfície crua e porosa, oibtida través da dissolução de áreas de tinta, raspando-as - muitas vezes com um cutelo - e da sua posterior reconstrução. Nota-se uma grande tensão na composição. Instalados no espaço carregado de fundo abstracto, mercenários munidos da mesma artilharia num momento habitual de hostilidade. Golup recorre a imagens dos media para garantir o realismo do vestuário, armamento e gestualidade. O local, talvez em África ou América Latina, não é especificado, o que implica uma crítica à violência enquanto fenómeno social universal. A violência é o tema central de Golup e durante muitos anos ele foi visto como um autor marginal, cujo trabalho ia contra as tendências do mundo da arte. Contudo, nos finais dos anos 70, à medida que crescia o interesse por uma arte mais política e pela pintura figurativa, Golup foi reconhecido como um artista fundamental da sua época. Leon Golup nasceu em Chicago (EUA) em 1922 e morreu em 2004.
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Was born in 1922 in Chicago. After studying art history at the University of Chicago, and art at the Art Institute of Chicago, Golub made a name for himself with politically charged works leading the Windy City’s figurative movement of the era, contrasting with the Abstract Expressionism and Pop Art of the New York art scene. By the end of the 1950s, his paintings had been shown in New York at the Guggenheim Museum, the Museum of Modern Art and the Whitney Museum of American Art. The political content of Golub’s work became increasingly relevant throughout the Civil Rights and anti-Vietnam War movements, in which the artist was actively involved. He lived for a time in Europe, returning in 1964 to live in New York.— Died 2004.
"I have always dealt with stress and violence. This comes from my own state of mind. Now, what I have tried to do since I've always dealt with subjects like this, is try to understand what this means, and I have tried to make this an instrument for viewing...a probe into the nature of the world. In other words, if I find that I'm dealing with, let's say stress, vulnerability--actions of this kind--then I want to understand what this means in terms of events outside of myself, how this influences me, how this influences others and what I can say about the modern world through these meanings. Mercenaries, interrogations, the white squads: they all deal with this kind of thing brought up to date, brought into the immediate, into what I think of as our immediate, instantaneous, contemporary world.
Now, I do not claim, as an artist, that I represent the whole world. The world is too complex, too many things going on. I can only tell a bit of the factual situation about one aspect of the world. It is, I think, a relatively true aspect and an aspect that I have studied as extensively as I know how. So I deal with certain kinds of subject matter, which I try to do as intensely and extensively as I know how. I try to do it to emphasize a point, almost instantaneously, to make it a direct, perceptual thing, easily recognizable, something we are totally cognizant of, and something which operates immediately upon our lives. So it is an attempt to comment on the world in which we exist."
Excerpt: "Leon Golub Talks of Painting," Interview, Arts Insight Magazine,
Indianapolis, Part I, May and Part II, June 1982
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on Domingo, Maio 17, 2009 at 11:21 PM.
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9:41 PMUma boa seleção do artista!Eu não o conhecia e gostei muito do que vi!
5:16 AM
Gustounos moito este blog. A galería amosa obras de moi boa calidade. Un saudo
5:49 PM
Ola!!
Gostei muito de visitar este blog! :)
Bastante Imagem sobre varios artistas! é bom estar "perto" da arte!
Fiquei curiosa pela musica que toca enquanto visitamos... de quem é?
bj
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