O SÉCULO PRODIGIOSO

A arte no século XX

Weber, Max - Cubismo / Expressionismo

Quinta-feira, Abril 23, 2009


Portrait of Abraham Walkowitz, 1907
Oil on canvas
Framed: 30 1/2 x 25 1/2 in. (77.5 x 64.8 cm)
Brooklyn Museum of Art, New York City



Path in the Woods, 1907
Oil on canvas
40.96 x 33.02 cm (16 1/8 x 13 in.)
Museum of Fine Arts, Boston



Chardenal Dictionary, 1908
Oil on canvas
Height: 54.93 cm (21.63 in), Width: 46.36 cm (18.25 in)
Private collection



Summer, 1909
Oil on canvas
40 1/4 x 23 7/8 in. (102.2 x 60.6 cm.)
Smithsonian American Art Museum, Washington D.C.



Burlesque #2, 1909
Oil on canvas
Height: 51.44 cm (20.25 in), Width: 36.83 cm (14.5 in)
Private collection



Soloist at Wanamaker's, 1910
Gouache on three joined sheets on board
Height: 74.3 cm (29.25 in), Width: 46.99 cm (18.5 in)
Private collection



Three Nudes in a Forest, 1910
Gouache on paper
Height: 47.63 cm (18.75 in), Width: 62.23 cm (24.5 in)
Private collection



Connecticut Landscape, 1911
Oil on canvas mounted on board
Private collection



Figure Study, 1911
Oil on Canvas
Albright-Knox Art Gallery, Buffalo



Figures in a Landscape, 1911
Watercolor
Height: 24 cm (9.45 in), Width: 19 cm (7.48 in)
Private collection



Landscape with Church Spires and Trees, 1911
Gouache on board
Height: 120.65 cm (47.5 in), Width: 59.69 cm (23.5 in)
Private collection



Mother and Children, 1911
Gouache and pastel on board
Height: 74.93 cm (29.5 in), Width: 46.99 cm (18.5 in)
Private collection



New York (The Liberty Tower from the Singer Building), 1912
Oil on canvas
46.35 x 33.34 cm (18 1/4 x 13 1/8 in)
Museum of Fine Arts, Boston



Chinese Bowl, 1912
Oil on canvas
Height: 22 cm (8.66 in), Width: 18 cm (7.09 in)
Private collection



Female Figure Standing, 1913
Pen and ink and watercolor on paper
18 3/4 x 11 7/8 in (47.6 x 30.1 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.




Bather, 1913
Oil on canvas
60 5/8 x 24 3/8 in (154.0 x 61.9 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Interior of the Fourth Dimension, 1913
oil on canvas
Overall: 75.7 x 100.3 cm (29 13/16 x 39 1/2 in.) framed: 87.9 x 112.4 x 4.4 cm (34 5/8 x 44 1/4 x 1 3/4 in.)
The National Gallery of Art, Washington D.C.



Athletic Contest, 1915
Oil on canvas
Metropolitan Museum of Art, New York



Chinese Restaurant, 1915
Chinese restaurant
Whitney Museum of American Art, New York



Woman Reading, 1916
Pastel on paper
Height: 62.87 cm (24.75 in), Width: 47.63 cm (18.75 in)
Private collection



Two musicians, 1917
Oil on canvas
102 x 77 cm
The Museum of Modern Art, New York City



Solo, 1918
Oil on canvas
Height: 60.96 cm (24 in), Width: 45.72 cm (18 in)
Private collection



Standing Nude, 1919-1920
Color woodcut on paper
3 1/4 x 1 5/8 in. (8.2 x 4.1 cm)
Smithsonian American Art Museum, Washington D.C.



Figure, 1919-1920
Color woodcut on paper
4 1/4 x 1 7/8 in. (10.7 x 4.9 cm)
Smithsonian American Art Museum, Washington D.C.



Suspense, 1920
Oil on canvas
Private collection



Landscape, circa 1920-1928
Watercolor
11 x 14 15/16 in (28 x 38 cm)
Los Angeles County Museum of Art Database



On the Sofa (Seated Figure), 1928
Lithograph on paper
9 x 12 in. (22.9 x 30.5 cm)
Smithsonian American Art Museum, Washington D.C.



Bathers and Sails, 1928
Lithograph on paper
8 x 9 1/2 in. (20.3 x 24.1 cm)
Smithsonian American Art Museum, Washington D.C.



Still Life with Two Tables, circa 1934
Oil on canvas
28 1/4 x 36 3/8 in. (71.76 x 92.39 cm); framed: 34 3/4 x 44 7/16 in. (88.27 x 112.87 cm)
Los Angeles County Museum of Art Database



Discourse, 1940
Oil on canvas
27 in. x 22 in. (68.58 cm x 55.88 cm)
Memorial Art Gallery of the University of Rochester, New York



Adoration of the Moon, 1944
Oil on canvas
Whitney Museum of American Art, New York



Spiral Rhythm, 1915 - Enlarged and cast 1958-1959
Bronze
24 1/8 x 14 1/4 x 14 7/8 in (61.1 x 36.1 x 37.6 cm)
WT. 72 lb (32.7 kg)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



New York at Night, 1915
Oil on canvas
87 cm x 55.9 cm (34 1/4 in. x 22 in)
Blanton Museum of Art at the University of Texas, Austin



Slide Lecture at the Metropolitan Museum, 1916
Pastel on paper
H. 24-1/2, W. 18-3/4 in. (62.2 x 47.5 cm)
The Metropolitan Museum of Art, New York City



Russian Ballet, 1916
Medium Oil on canvas
Dimensions 30 x 36 in. (76.2 x 91.4 cm)
Brooklyn Museum of Art, New York City



The Cellist, 1917
Oil on canvas
16 1/8 x 20 1/8 in. (41.0 x 51.1 cm)
Brooklyn Museum of Art, New York City



The Visit, 1917
Oil on paperboard
36.25 x 30 in
Corcoran Gallery of Art, Washington D.C.



The Visit, 1919
Oil on canvas
40 x 30 in. (101.6 x 76.2 cm)
Brooklyn Museum of Art, New York City



Three Literary Gentlemen, 1945
Oil on canvas
73.66 x 92.71 cm (29 x 36 1/2 in)
Museum of Fine Arts, Boston



Still Life With Palette - 1947
Oil on canvas
30 1/8 x 36 1/8 in (76.5 x 91.7 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Portrait of William Zorach, 1948
Charcoal and brush and ink on paper
18 3/4 x 12 1/8 in. (47.5 x 30.9 cm)
Smithsonian American Art Museum, Washington D.C.



Pacific Coast, 1952
Oil on canvas
63.18 x 76.2 cm (24 7/8 x 30 in.)
Museum of Fine Arts, Boston



Trio, 1953
Oil on canvas
25 1/4 x 30 1/8 in. (64.1 x 76.5 cm.)
Smithsonian American Art Museum, Washington D.C.



Red Poppies, 1953
Oil on canvas
68.58 x 48.58 cm (27 x 19 1/8 in)
Museum of Fine Arts, Boston



The Duet, 1956
Oil on Canvas
81.28 x 65.72 cm (32 x 25 7/8 in)
Museum of Fine Arts, Boston

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Na tela "Tow musicians, 1917" um pianista e um tocador de contrabaixo são visíveis através de uma teia de formas geométricas. Vestidos em traje formal e representados num interior em verde escuro, são o epítome dos músicos de cocktail, talvez entretendo os clientes num bar. Podem ver-se ao mesmo tempo diferentes lados das suas cabeças, dando a ilusão de uma actividade constante à medida que vão tocando. Esta técnica é exemplo das primeiras obras cubistas de Picasso e de Braque e do mecanismo mais tarde conhecido como simultaneudade, onde os objectos são representados de diferentes ângulos para sugerir movimento ou tridimensionalidade. Os tons suavizados de verdes e castanhos também revelam as origens cubistas de Weber. Nascido na Rússia, Weber mudou-se para Nova York em 1891 e, em 1905, foi para Paris onde estabeleceu contacto com o Cubismo. Posteriormente libertou-se das cores sombrias do cubismo, aplicando outras mais clares e mais vibrantes. Tal facto tornou-se cada vez mais marcante nas suas últimas obras que focavam temas da vida judia. Max Weber nasceu em Blalystok (RUS) em 1881 em morreu em Nova Iorque (EUA) em 1961.
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Max Weber was born in Russia and at age ten emigrated with his family to the United States, settling in New York City. From 1898 to 1900 he studied art at Pratt Institute in Brooklyn with the noted painter and printmaker Arthur Wesley Dow, and from 1905 to 1908 he attended art classes in Paris, including those at Matisse's newly opened academy. Returning to New York in 1909, Weber developed an important, though short-lived, friendship with Alfred Stieglitz, whose gallery, 291, promoted European and American modernism.
Weber is considered one of America's earliest modernists, and his long career witnessed many stylistic changes. Through the 1920s his work paid homage to such European artists as Paul Cézanne, Henri Matisse, Pablo Picasso, and Henri Rousseau as well as to tribal African art. After 1930, when he developed a consistently identifiable style, one that was lyrical and Expressionistic, his imagery focused on romanticized landscapes, docile domestic scenes, and emotional religious themes. Throughout his career Weber exhibited consistently at galleries and museums, and in 1930 he was honored with a retrospective at the recently opened Museum of Modern Art.
From 1914 to 1918 Weber taught classes in art history, art appreciation, and design at the Clarence H. White School of Photography in New York. The experience of sitting in a darkened auditorium during a slide talk is amply conveyed in this pastel, about which he wrote: "A lecture on Giotto was given at the Metropolitan Museum. The late hastening visitor finds himself in an interior of plum-colored darkness . . . upon which one discerns the focusing spray-like yellowish-white light, the concentric, circular rows of seats, [and] a portion of the screen." In other paintings and drawings of the period, he evoked the illuminated stages at music and dance performances and the shimmering screens of the cinema. In a 1915 newspaper article he stated that his aim at the time was to express "not what I see with my eye but with my consciousness . . . mental impressions, not mere literal matter-of-fact copying of line and form. I want to put the abstract into concrete.
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Rainer, Arnulf - Surrealismo

Terça-feira, Abril 07, 2009


Vertikale - 1963
Mischtechnik auf Leinwand
73,5 x 105 cm
Österreichische Galerie Belvedere, Vienna



Christus - 1969
Charcoal, watercolor, gouache, ink, and oilstick on paper
11 7/8 x 7 7/8" (30 x 20 cm
Museum of Modern Art, New York City



Dunkle Wellen/Traum - 1970
Ultraphan (übermalte Radierung)
H: 42,7 cm, B: 59,5 cm
Schleswig-Holstein Museums, Germany



Untitled - (1969-74)
Oilstick on gelatin silver print
23 x 19" (58.4 x 48.4 cm).
Museum of Modern Art, New York City



Untitled - (1969-74)
Oilstick on gelatin silver print
23 x 19" (58.4 x 48.3cm)
Museum of Modern Art, New York City



Destituition - 1970
oil on photo
67x50 cm
Galerie Ulysses, Vienna



Bartwuchs - 1970
oil crayons and oil on photograph
52,5x44 cm
Museo di Arte Moderna e Contemporanea, Trento, Italy



Untitled (Face Farce) - 1970-1
Ohne Titel (Face Farce)
Drawing and photograph on paper
support: 590 x 417 mm
on paper, unique
Tate Gallery, London



Untitled (Face Farce) - 1971
Ohne Titel (Face Farce)
Oil, pastel and photograph on paper
support: 608 x 507 mm
on paper, unique
Tate Gallery, London



A Nose Adjustment (Face Farce) - 1971
Eine Nasenkorrektur (Face Farce)
Oil, pastel and photograph on paper
support: 608 x 507 mm
on paper, unique
Tate Gallery, London



Hacke - 1971
Gelatin-silver print, painted over
59.5 x 49.3 cm
Fotomuseum Winterthur, Switzerland



Splitter - 1971
Pastel and oil on photograph
60,5 x 50,5 cm
Museo di Arte Moderna e Contemporanea, Trento, Italy



Untitled, c. 1972
Photograph
Gelatin silver print
48.5 x 60 cm (19 1/8 x 23 5/8 in.)
Harvard Art Museum



Face Farces - 1972
Mixed Media Photo overpainted
h: 60 x w: 50 cm / h: 23.6 x w: 19.7 in



Backbone - 1972-9
Rückgrat
Intaglio print on paper
image: 530 x 786 mm
on paper, print
Tate Gallery



from Five Reds (P07709-P07713; complete)
Violet Furrows - 1972-9
Violette Furchen
Intaglio print on paper
image: 530 x 786 mm
on paper, print
Tate Gallery, London



Untitled (Body Language) - circa 1973
Ohne Titel (Body Language)
Pastel, oil and photograph on paper
support: 595 x 501 mm
on paper, unique
Tate Gallery, London



Bundle in Face - 1974
Gelatin silver photograph with ink and oil crayon
20 1/16 x 23 13/16
San Francisco Museum of Modern Art



Untitled - 1975
Photogravure, etching and drypoint
plate: 15 3/4 x 12 1/8" (40 x 30.8cm); sheet: 21 1/4 x 15" (54 x 38.1cm)
Museum of Modern Art, New York City



Untitled, 1975
Photograph, Gelatin-silver print with hand-applied color and graphite pencil, Unframed: 7 x 9 3/8 in. (17.78 x 23.81 cm)
Los Angeles County Museum of Art Database



Body Language, 1975-1976
Photograph; Painting, Oil on photograph
Image and sheet: 18 1/2 x 23 3/4 in. (47 x 60.3 cm)
Los Angeles County Museum of Art Database



Rest (Remnants)- 1978
Offset reproductions and letterpress
Indianapolis Museum of Art, Indiana



Untitled - 1978
Etching
Indianapolis Museum of Art, Indiana



Untitled (Death Mask) - 1978
Ohne Titel (Totenmaske)
Oil, pastel and photograph on paper
support: 594 x 425 mm
on paper, unique
Tate Gallery, London



Untitled (Death Mask) 1978
Ohne Titel (Totenmaske)
Oil, pastel and photograph on paper
support: 609 x 505 mm
on paper, unique
Tate Gallery, London



Van Gogh 4 - 1980
Technique mixte sur photographie / mixed media on photograph
h: 60 x w: 50.5 cm / h: 23.6 x w: 19.9 in



Kreuz - 1980/83
Oil on canvas
H: 73 cm, B: 51 cm
Schleswig-Holstein Museums, Germany



Red Cross (Rotes Kreuz) - 1980-85
Drypoint, irreg
plate: 45 9/16 x 19 5/8" (115.7 x 49.8 cm); sheet: 52 13/16 x 24 5/8" (134 x 62.6 cm)
Museum of Modern Art, New York City



Cristo - 1982-84
Gessetto ad olio, olio su foto, su tavola
121 x 80 cm
Collezione Rainer



Cristo - 1982-84
Gessetto ad olio, olio su foto, su tavola
121 x 80 cm
Collezione Rainer



Untitled - 1983
Oil, collage
H: 102 cm, B: 73,5 cm
Schleswig-Holstein Museums, Germany



No, Daphne, No! 1984
Nein, Daphne, Nein!
Drawing on paper
support: 577 x 402 mm
on paper, unique
Tate Gallery, London



Fra Angelico Serie 1 - 1985
Technique mixte sur photographie / mixed media on photograph
h: 59.5 x w: 50 cm / h: 23.4 x w: 19.7 in



Angelika Kaufmann - 1985
Print overpainted
h: 40 x w: 30 cm / h: 15.7 x w: 11.8 in



Cross - 1991-92
Oil on wood
198 x 121,5 cm
Rainer Collection




Greens - 1997
Etching and drypoint
Plate: 12 15/16 x 9 3/4" (32.8 x 24.8 cm); Sheet: 25 1/2 x 19 5/8" (64.8 x 49.9 cm)
Museum of Modern Art, New York City



Untitled - 2000
Acrylique sur contreplaqué
h: 80.5 x w: 60 cm / h: 31.7 x w: 23.6 in

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Por desbaixo das marcas violentas a pastel colorido está uma fotografia do artista, com uma expressão exagerada de dor estampada no rosto cuja origem é indicada pelo título da obra. Rainer é mais conhecido hoje em dia por estes auto-retratos fotográficos, que muitas vezes têm sido quase completamente destruídos desta forma. As suas fotografias suas cuidadosamente encenadas e depois decoradas para sugerirem novos ângulos e novas formas de olhar para o corpo. O interesse de Rainer pelas nuances da linguagem corporal surgui quando notou que fazia caretas enquanto desenhava e, por isso, decidiu documentar as suas expressões faciais na série "Face Farces". Ele também tem usado o vídeo e o filme para explorar as expressões físicas da emoção e os temas fundamentais da vida e da morte, conduzindo estas ideias a um fim dramático na sua série "Death Masks". No fim da década de 70, Rainer esteve ligado aos accionistas vienenses que usavam os seus corpos de uma forma extrema e ritualista para realçar a vio~lência do homem.
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Arnulf Rainer, n. 1929, austrian painter, printmaker and photographer. He began painting as a self-taught artist in the mid-1940s, after leaving school, and first came into contact with contemporary art through a British Council exhibition in 1947 that included work by Paul Nash, Francis Bacon, Stanley Spencer, Henry Moore and Edward Burra. Around this time he produced his first portraits, such as Rainer Dying (pencil, 1949; Vienna, Helmut Weis priv. col., see 1984 exh. cat., p. 10). While attending the Staatsgewerbeschule at Villach from 1947 to 1949 he became interested in theories of Surrealism. He had almost no academic training as an artist, leaving the Hochschule für Angewandte Kunst in Vienna in 1949 after only one day because of an argument with a teacher, and lasting little longer at the Akademie der Bildenden Künste in Vienna in 1950. From 1948 to 1951 he produced Surrealistic drawings representing underwater scenes and mystical forms, rendering these fantastic images in pencil as a densely worked surface. In 1950 he produced the first of his prints; over the next 20 years he explored a variety of media, including etching, drypoint, lithography and screenprinting. In works such as Winnetou (pencil, 920×745 mm, 1950; see 1988 exh. cat., p. 10) he explored microstructures and sought to expose repressed impulses in defiance of bourgeois hypocrisy. Deeply suspicious of rationality, he investigated the potential of dreams, madness and the subconscious; to these ends he co-founded the Hundsgruppe, whose members also included Ernst Fuchs, under the influence of French Surrealism in 1950.

During a visit to Paris in 1951 he first saw gestural abstractions by painters such as Georges Mathieu, Jackson Pollock, Jean-Paul Riopelle and Wols; the spontaneous marks and physical interaction with the surface characteristic of Art informel and Abstract Expressionism were emulated by him in his subsequent work, although he remained attached to representational subject-matter. Although he met André Breton during this stay in Paris, he began to turn away from fantastic Surrealism. From 1951 to 1954 he worked on a series entitled Blind Drawings (e.g. 1952; see 1988 exh. cat., p. 27), in which he studied optical disintegration and the destruction of form, replacing pictorial composition and illusion with the immediacy of accidentally encountered textures. Basing his methods in part on the Surrealist technique of Automatism, he produced paintings such as Atomization (oil on hardboard, 1950–51; see 1988 exh. cat., p. 13) and drawings dominated by clusters of strokes and sometimes worked over with coloured chalk crayon. After moving to the countryside at Gainfarn, near Vienna, in 1953, where he remained until 1959, he sought to counter this exploration of irrational and arbitrary impulses by producing works based on objective mathematical principles, beginning with a series of Proportion Studies in 1953–4 (e.g. Proportion Study, 1953; see 1988 exh. cat., p. 19). During these same years he produced black-and-white pictures and the first of his many works painted over photographs for which he himself often served as the model (e.g. Dead Self-portrait, 1955; see 1984 exh. cat., p. 11). From 1953 to 1965 he devoted himself principally to a series of Overpaintings, in which he obliterated his early expressive drawings or pictures by friends with whose work he was in sympathy, to produce almost monochrome paintings dominated by black or red, for example Red Overpainting (1958; see 1988 exh. cat., p. 42). In building up a rough and encrusted relief-like surface that shows the trace of the brush and blobs of paint, he gradually asserted the predominance of the reworked surface over the virtually invisible original below.

From 1956 Rainer became concerned with religious theories and practices, particularly in a group of paintings dominated by cruciform shapes, such as Black Cross (1956; Munich, Lenbachhaus). The interest in extreme emotional states hinted at in such works became even more pronounced in 1963, when he began to collect paintings by the insane, and in 1964, when he experimented with hallucinogenic drugs. From 1968 he used photographs of his hands and often grimacing face as the basis of partly overpainted works, such as Face in Face (1968–70; see 1975–6 exh. cat., no. 59). His concern with the variety of facial expression and from 1969 with the expressiveness of body language was a conscious means of breaking taboos against what is ugly, absurd or instinctual. As with the Austrian performance artists associated with Aktionismus, in deliberately calling forth extreme emotional states Rainer sought to convey a sustained and intense experience to the viewer. Eschewing the ‘good manners’ of conventional techniques, from 1973 he also exploited the ‘primitive’ and inarticulate energy of finger-painting, as in Finger Smear (1974; see 1988 exh. cat., p. 120).

From the mid-1970s Rainer reworked photographs on a variety of subjects, including rocks (1974–5), caves (1975–7), women (1977) and the work of a number of other artists including Gustave Doré, Leonardo da Vinci, Franz-Xavier Messerschmidt, Vincent van Gogh, Rembrandt van Rijn and Francisco de Goya; he also used images of Greek sculptures and of mummies, death-masks and corpses to similar ends. From 1973 he collaborated on a series of works with Dieter Roth (see 1976 exh. cat.). His return to the image of the cross in a series of monumental paintings (e.g. Cross, oil on mixed medium on cardboard, 1020×730 mm, 1980–83; see 1988 exh. cat., p. 114) attested to his interest in the relationship between life and death, between the physical and the spiritual, redemption and sacrifice. Such themes were also broached in his Hiroshima series of 72 overpainted photographs (1982; e.g. see 1984 exh. cat., pp. 73–6), in which he drew over photographs taken after the city was destroyed by an atomic bomb in 1945. Constantly adding to his repertory of images—for example, by making use from 1985 of botanical and zoological illustrated books produced in the 18th century and 19th—Rainer continued to exploit the interaction of intellectual meditation and bodily expression.

Ingrid Severin
From Grove Art Online

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