O SÉCULO PRODIGIOSO

A arte no século XX

Delaunay-Terk, Sonia - Arte Abstracta

Domingo, Maio 24, 2009


Portrait of Philomene, 1907
Oil on canvas
Height: 40.64 cm (16 in.), Width: 42.55 cm (16.75 in.)
Private collection



Platter, 1912
Earthenware with slip decoration
H: 2 1/4 x W: 15 13/16 x D: 12 5/16 in (H: 6 x W: 40 x D: 33 cm)
Carnegie Museum of Art, Pittsburgh, Pennsylvania



Contrastes simultáneos, 1913
Oil on canvas
55 x 46 cm
Museo Thyssen-Bornemisza, Madrid



La Prose du Transsibérien et de la petite Jehanne de France, 1913
Huile sur cuir / Oil on leather
h: 22.8 x w: 19.6 cm / h: 9 x w: 7.7 in



Prismes électriques, 1914
Oil on canvas
2,50 m x 2,50 m
Pompidou Center, Paris



Flamenco dancer, 1916
Oil on canvas
448x600 mm
Private collection



Marché au Minho, 1916
Wax painting on canvas
2,16 m x 1,97 m
Pompidou Center, Paris



Portugese Still Life, 1916
Oil and wax on paper, laid down on canvas
Height: 66.04 cm (26 in.), Width: 92.08 cm (36.25 in.)
Private collection



Projet de couverture pour Vogue, 1916
Aquarelle, crayon, crayon de couleur, gouache
0.345 x 0.235 m.
Musée National d'Art Moderne - Centre Georges Pompidou, Paris



Projet de couverture pour Vogue, 1916
Aquarelle, crayon, crayon de couleur, gouache
0.345 x 0.235 m.
Musée National d'Art Moderne - Centre Georges Pompidou, Paris



Rythme sans fin, 1923
Aquarel en Oost-Indische inkt op papier
29 x 19 cm
Collection Charles Delaunay, Paris



Three women, 1925
Oil on canvas
146 x 114 cm
Museo Thyssen-Bornemisza, Madrid



"Robe-spirale", Kledingontwerp voor het Carnaval van Rio de Janeiro, 1928
Aquarel
27,5 x 13 cm
Collection Bibliothèque National, Paris



Les filles en maillot de bain, 1928
Aquarel on paper
20x27 cm
Private collection



Rythme, 1938
Oil on canvas
1,49 m x 1,82 m
Pompidou Center, Paris



Untitled, 1945
Gouache and collage on paper
61 x 50 cm
Art Collection of the Biblioteca Luis Ángel Arango, Colombia



Composition, 1955
Oil on canvas
2,16 m x 1,60 m
Pompidou Center, Paris



Rythme couleur, 1958
Oil on canvas
143x100 cm
Musée National d'Art Moderne - Centre Georges Pompidou, Paris



Montjoie, July 25, 1968
Handmade book with oil on leather binding, and pages of pen & ink on paper
Book: 16 1/4 x 11 1/4 x 3/4 in (41.0 x 28.4 x 1.8 cm)
Box: 17 x 11 3/4 x 1 1/2 in (43.0 x 30.0 x 3.8 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Les Robes Poèmes, 1969
Lithographs
h: 11.2 x w: 8 in / h: 28.4 x w: 20.3 cm



Composition, circa 1970
Lithography
55 x 43 cm



Composition, Circa 1970
Lithograph after a composition of 1933, signed in pencil
50 x 65 cm



Signal, circa 1970
Original lithograph, signed in pencil
50 x 65 cm



Geometric Composition with Blue & Red Circles, circa 1970
Etching
h: 54.5 x w: 40.5 cm / h: 21.5 x w: 15.9 in



Avec Moi-meme, 1970
Etching and aquatint
66,0 x 50,0 cm (26.0 x 19.7 in)



Untitled, 1970
Etching
45,0 x 31,0 cm (17.7 x 12.2 in)



Rhythmes-Couleurs, 1971
Lithograph in colours
Signed and numbered 32/75.
On wove paper by Arches (with watermark)
50,5 : 37,7 cm (19,8 : 14,8 in). Sheet: 64,7 x 49,6 cm (25,4 x 19,5 in)
Private collection




La Plage, 1973
Lithograph
83,0 x 65,0 cm (32.7 x 25.6 in)



Diagonale X, 1975
Original lithograph, signed in pencil
58,6 x 75,7 cm



Black snake, 1978
Silk scarf after a composition by Sonia Delaunay. Artcurial Ed., Paris.
88 x 185 cm

....................................................................................................
na obra "Les filles en maillot de bain, 1928", por detrás de três raparigas, vestidas com fatos de banho com desenhos geométricos constratantes, encontra-se um fundo de cores radiantes plenas de luz. Estya obra caracteriza a abordagem de Sonia Delaunay relativamente ao Cubismo lírico que ela e o seu marido - Robert Delaunay - desenvolveram, no seu caso com ligação à moda. O Cubismo Órfico, como foi denominado pelo poeta Guillaume Apollinaire, foi fundado com o pressuposto de que a luz e cor eram idênticas e pretendia alcançar uma pureza de expressão equivalente è da música. Anteriormente, Gauguin e os fauves tinham impulsionado em Delaunay o gosto pela cor expressiva. A prtir destas influências, Delaunay desenhou figurinos e guarda-roupas com uma grande repercussão internacional. Chamou aos seus tecidos pintados à mão "contrastes simultâneos", uma expressão que reflectia o seu interesse pela relação entre as cores. Foi Sonia Delaunay quem criou o guarda-roupa para o bailado Cleópatra, produzido pelo bailarino e coreógrafo russo Sergei Diaghilev. Sonia Delaunay-Terk nasceu em Gradižsk (UCR) em 1885 e morreu em Paris (FR) em 1979.
...................................................................................................
Sonia Delaunay-Terk, maiden name Stern, was born in Gradižsk in the Ukraine in 1885. She discovered her vocation for art at an early age and studied drawing at the Akademie der Bildenden Künste in Karlsruhe between 1903 and 1905. Then she moved to Paris. During her schooling there at the Académie de la Palette she made works which are clearly influenced by Paul Gauguin, Vincent van Gogh and the Fauves . Her marriage with Robert Delaunay, an ambitious artist of the Parisian Avant-garde, was determined by a mutual inspiration to colourful compositions. Both artists intensively dealt with the depiction of light and movement and found a new artistic form of expression on the base of a simultaneous contrast. Sonia Delaunay's paintings were preceded by numerous colour studies, which dealt with the problem of light, colour and movement. Her painting 'Bal Bullier' from 1913 transferred the image of rhythmic dance moves into circling forms, which were mixed in the centre of the painting with pure colours. The transfer of this artistic aim to every-day life, from fashion design, interior decoration to book design made the artist one of the most important members of the Art-Déco movement. In 1913 the first so-called 'simultaneous dresses' were executed, which inspired the poet Blaise Cendrars to her poem 'Sur la robe elle a un corps'. After spending some time in Portugal in 1914 Delaunay and her family lived in Madrid. Here she met Sergei Diaghilew (1872-1929), for whose 'Ballets Russes' she designed the costumes and the stage sets. She returned to Paris after the end of World War I., where she made the sets for Dadaist plays and films. The decoration of a pavilion at the World Exhibition in 1937 was a joint highlight in the couple's artistic career. Sonia Delaunay received the gold medal for her fresco 'Portugal' at the 'Pavillon des Chemins de Fer'. After world war II. she attended increasingly to painting and painted during an intensive and powerful period of creativity the large series 'Rhythme', 'Rhythme coloré' and 'Rhythmes-couleurs'. Sonia Delauney died in Paris in 1979.
......................................................................................................

Golup, Leon - Figurativismo

Domingo, Maio 17, 2009


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

.....................................................................................................
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.
................................................................................................
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
.................................................................................................

Indiana, Robert - Arte Pop

Sexta-feira, Maio 08, 2009


Year of Meteors, 1961
Oil on canvas
228,5 x213,3 cm
Private collection



The Green Diamond Eat The Red Diamond Die, 1962
Oil on canvas
60.25 x 60.25 x 1.875 inches
Walker Art Center, Minnesota



Coenties Slip, 1962
Oil on canvas
60 x 48 in (152.4 x 121.92 cm)
Oklahoma City Museum of Art, Oklahoma



Self-portrait 62, 1962
Oil on canvas
183x183 cm
Private collection



The Figure Five, 1963
Oil on canvas
60 x 50 in. (152.4 x 127.0 cm) frame: 62 x 51 7/8 x 2 in. (157.5 x 131.
Smithsonian American Art Museum, Washington D.C.



Eternal Hexagon, from the portfolio Ten Works x Ten Painters, 1964
Color serigraph on paper
17 1/2 x 16 1/8 in. (44.6 x 40.8 cm)
Smithsonian American Art Museum, Washington D.C.



1, 1968
Screenprint
Indianapolis Museum of Art, Indiana

(outros números aqui)
(other mumbers here)



The American Dream, 1960
Screenprint
Indianapolis Museum of Art, Indiana



The Calumet, 1961
Screenprint
Indianapolis Museum of Art, Indiana



The Eateria, 1962
Oil on canvas
60 1/4 x 47 7/8 in. (152.9 x 121.8 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Yield Brother, 1962
Screenprint
Indianapolis Museum of Art, Indiana



Beware-Danger American Dream #4, 1963
Oil on canvas
four panels, each: 36 1/8 x 36 in. (91.6 x 91.5 cm);
diagonal: 102 1/4 x 102 1/4 in. (259.5 x 259.5 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



The Figure 5, 1963
Screenprint
Indianapolis Museum of Art, Indiana



Stable New York, 1964
Offset lithograph
45 1/2 x 30 3/4" (115.5 x 78.1 cm)
Museum of Modern Art, New York City



Paris Review, 1965
Silkscreen
24 3/4 x 26" (62.8 x 66.0 cm)
Museum of Modern Art, New York City



Terre Haute No. 2, 1969
Screenprint
Indianapolis Museum of Art, Indiana



Mississippi (Decade Series), 1971
Serigraph
h: 34.9 x w: 29.9 in / h: 88.6 x w: 75.9 cm



Route 666 (Decade Series), 1971
Serigraph
h: 35.7 x w: 29.8 in / h: 90.7 x w: 75.7 cm



Self-portrait 69, 1973
Lithograph
Sheet size: 310 x 240 mm
Image size: 212 x 212 mm



Love, 1973
Serigraph on paper
30 x 30 in. (76.2 x 76.2 cm)
Smithsonian American Art Museum, Washington D.C.



The Golden Future of America, 1976
Screenprint
26 x 20 in.; 66.04 x 50.8 cm
DePaul University Museum, Chicago



South Bend, 1978
lithograph
The National Gallery of Art, Washington D.C.



Love (Blue/Green), 1980
Sculpture
Polychrome aluminum, painted with polymer resin
Wichita State University Outdoor Sculpture Collection, Kansas



An Honest Man has been President, 1980
Serigraph in color on off-white wove paper
Image size: 21 x 18 inches; 53.3 x 45.7 cm
Sheet size: 23 1/2 x 19 9/16 inches; 59.7 x 49.7 cm



Decade Autoportrait 1969, V/H, 1982
Serigraph in colors on white BFK Rives paper
Image: 24 x 24 inches (61 x 51 cm)
Sheet: 30 1/2 x 30 inches (77.5 x 76.2 cm)



Five, 1984
painted wood ceiling beam, wood dowel, wood block, and metal wheels
69 1/8 x 26 3/4 x 18 1/2 in. (175.6 x 67.9 x 47.0 cm.)
Smithsonian American Art Museum, Washington D.C.



The Wall Freedom, 1990
Original lithograph in colours, hand-signed and dated in pencil.
56 X 76 cm
Private collection



Ahava, 1993
Original silk-screen in colours, hand-signed in pencil
84 x 79 cm
Private collection



Amor (Red Yellow), 1998
Polychrome aluminum
h: 41 x w: 38 x d: 20 in / h: 104.1 x w: 96.5 x d: 50.8 cm
Private collection



25 (The American Dream Portfolio), 1998
Screenprint on paper
h: 19 x w: 16 in / h: 48.3 x w: 40.6 cm



US 66 (Cities), 2002
Painting
101.5 x 101.5 inches diamond

.........................................................................................................
Na obra "Self-portrait 62, 1962", colocada dentro de um círculo, uma grande estrela com o número dois é o centro deste quadrado-poster. O estilo decorativo plano, combinado com as áreas de cor pura, torna a obra simultaneamente imediata e reflexiva. Esta composição faz parte de uma série de dez, feitas para cada um dos anos de vida de Indiana, entre 1960 e 1970. O título é um trocadilho que joga com as palavras "automóvel" (um símbolo da sociedade de consumo americana) e "auto-retrato", apesar de a representação do artista ser abstracta. Indiana nutre uma obsessão pelos números, situação que o próprio explica com o facto de ter mudado 21 vezes de casa quando era criança. Na sua obra, números, emblemas e palavras são temas recorrentes, imagens das pequenas cidades da América - bombas de gasolina, motéis e diners - percorrem as suas obras descritivas, nas quais Indiana transforma tabuletas e anúncios urbanos em declarações pessoais hedónicas, algures entre os quadros de Hopper e a Arte Pop,. Indiana também fez escultura, sobretudo a partir de nadeira e rodas. Robert Indiana nasceu em New Castle. Indiana (EUA) em 1928.
............................................................................................................
Robert Indiana, American (1928 - )

"There have been many American SIGN painters, but there never were any American sign PAINTERS." This exercise in emphasis sums up Robert Indiana's position in the world of contemporary art. He has taken the everyday symbols of roadside America and made them into brilliantly colored geometric pop art. In his work he has been an ironic commentator on the American scene. Both his graphics and his paintings have made cultural statements on life and, during the rebellious 1960s, pointed political statements as well. Born Robert Clark in New Castle, Indiana, in 1928, he adopted the name of his native state as a pseudonymous surname early in his career. During his typically Midwestern boyhood, highway signs had a symbolic importance for him. His father worked for Phillips 66 gas and, when he left his wife and son, he did so down Route #66. And the diner which his mother subsequently operated had the familiar "EAT" sign looming overhead. Indiana studied first at the Herron School of Art in Indianapolis and then at the Munson-Williams-Proctor Institute in Utica, New York. From there he went to the School of the Art Institute of Chicago where he received a degree in 1953 and won a traveling fellowship to Europe. In 1954, he attended Edinburgh University and Edinburgh College of Art in Scotland. Back in America, Indiana settled in the historic Coentes Slip area on the New York waterfront in 1956 and showed his first hard-edged paintings the following year. From the start he worked with bold, contrasting, sometimes clashing, colors that mirror familiar signs along the highways. A moralist at heart and an admirer of Longfellow, Whitman and Melville, Indiana often wryly prods his viewers. In a billboard4ike triptych dedicated to Melville, for example, he reminds them of Manhattan's past and suggests they walk around the island-city. He also feels a strong kinship with such earlier precisionist painters as Charles Demuth and showed his admiration in The Demuth American Dream No.5 (1963, Art Gallery of Ontario, Toronto). Although painted in Indiana's own idiom, it was clearly inspired by Demuth's well-known I Saw the Figure 5 in Gold (1928, Metropolitan Museum of Art). The American dream has been a recurring theme in Indiana's work, and he has used it to both celebrate and criticize the national way of life. In the midst of all the gaudy, star-spangled color of The American Dream #J (1961, Museum of Modern Art), for instance, he highlights the words "Take All" and "Tilt" as reminders both of Americans' materialism and of the tendency of some to cheat, as they do on pinball machines. In his paintings and constructions he has given new meaning to such basic words as "Eat", "Die" and "Love" . Using them in bold block letters in vivid colors, he has enticed his viewers to look at the commonplace from a new perspective. One indication of his success was the appearance of his immensely popular multi-colored "Love" on a United States postage stamp in 1973.
.............................................................................................................

Giacometti, Alberto - Escultura

Segunda-feira, Maio 04, 2009


Spoon Woman, 1926; cast 1954
Bronze
56 5/8 x 20 1/4 x 8 1/2 inches
Solomon R. Guggenheim Museum, New York City



Man And Woman (Construction), 1926-1927 /cast 1954-1956
Bronze
12 3/8 X 7 5/8 X 5 1/8 in (31.5 X 19.3 X 12.9 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Composition (Man and Woman) 1927 /cast ?1964
Composition (Homme et femme)
Bronze
395 x 455 x 150 mm
Tate Gallery, London



The Couple, 1927 /cast 1955
Bronze
23 3/8 x 14 7/8 x 7" (59.6 x 38 x 17.5 cm)
Museum of Modern Art, New York City



Woman, 1928 /cast 1929
Bronze
16 1/8 X 14 7/8 X 3 1/2 in (40.9 X 37.8 X 8.7 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Reclining Woman Who Dreams, 1929 /cast 1959-60
Painted bronze
9 1/4 X 16 7/8 X 5 3/4 in (23.5 X 42.6 X 14.5 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Man, 1929 /cast ca. 1950-1956
Bronze
15 1/2 X 12 1/2 X 3 5/8 in (39.4 X 31.7 X 9.3 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Standing Man, 1929-1930
Painted plaster
26 3/4 X 19 1/2 X 7 3/4 in (68.0 X 49.4 X 19.7 cm)
incl. wood base: 1 3/8 X 16 X 7 3/4 in (3.4 X 40.5 X 19.7 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Objet désagréable à jeter [Disagreeable Object to be Thrown away], 1931
Wood
19.60 x 31.00 x 29.00 cm
National Galleries of Scotland, Edinburgh



Woman Walking (Femme qui marche), 1932
Plaster and iron wire
150 cm high, including base
Peggy Guggenheim Collection, New York City



Woman with Her Throat Cut (Femme égorgée), 1932 /cast 1940
Bronze
9 1/8 x 35 1/16 inches
Peggy Guggenheim Collection, New York City



Walking Woman (Femme qui marche), 1933–34 /cast in 1955
Bronze
151 x 11.25 x 38.1 cm (59 7/16 x 4 7/16 x 15 in)
Museum of Fine Arts, Boston



Head/Skull, 1934
Plaster
7 1/4 X 8 X 8 3/4 in (18.2 X 20.2 X 22.3 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Hands Holding the Void, 1934
Plaster
61 1/2 x 13 1/2 x 11 1/2 in. (156.2 x 34.3 x 29.2 cm)
Yale University Art Gallery, New Haven, Connecticut



Hands Holding the Void (Invisible Object), 1934 /cast c. 1954-55
Bronze
59 7/8 x 12 7/8 x 10" (152.1 x 32.6 x 25.3 cm)
Museum of Modern Art, New York City



Head of Isabel, 1936 /cast ca: 1950-1959
Terracotta
10 7/8 X 8 1/4 X 9 1/8 in (27.7 X 20.8 X 23.2 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Head of Colonel Henri Rol-Tanguy, 1946 /cast ca. 1955-1959
Bronze
10 5/8 X 5 1/8 X 5 1/8 in (27.1 X 13.0 X 12.9 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.





Head of a Man on a Rod, 1947
Bronze
23 1/2" high (59.7 cm), including bronze base 6 3/8 x 5 7/8 x 6" (16.0 x 14.9 x 15.1 cm)
Museum of Modern Art, New York City



Nose, 1947, cast 1965
Bronze, wire, rope, and steel
31 7/8 x 38 3/8 x 15 1/2 inches overall
Solomon R. Guggenheim Museum, New York City



Standing Woman (“Leoni”) (Femme debout [“Leoni”]), 1947 (cast November 1957)
Bronze
Height including base: 60 1/4 inches; Base: 4 3/4 x 11 13/16 x 19 5/16 inches
Peggy Guggenheim Collection, New York City



Piazza, 1947-1948 (cast 1948-49)
Bronze
8 1/4 x 24 5/8 x 16 7/8 inches
Peggy Guggenheim Collection, New York City



Walking Man II, 1948
Bronze
26 1/2 X 4 1/2 X 11 5/8 in (67.1 X 11.4 X 29.3 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Three Men Walking, 1948-1949
Bronze
Overall: 29 3/4 x 12 1/2 x 13 1/8 in. (75.57 x 31.75 x 33.35 cm)
Dallas Museum of Art, Texas



Three Men Walking II, 1949
Bronze
30 1/8 x 13 x 12 3/4 in. (76.5 x 33 x 32.4 cm)
The Metropolitan Museum of Art, New York City



City Square: Three Figures And A Head (La Place: Trois Figures Et Une Tête), 1950
Bronze
21 3/4 X 22 1/4 X 16 1/2 in (55.3 X 56.3 X 41.9 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Dog, 1951/ cast 1957)
Bronze
17 1/2 X 38 1/8 X 6 1/4 in (44.2 X 96.8 X 15.7 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Standing Nude III, 1953
Bronze
19 3/8 X 4 3/4 X 6 3/8 in (49.0 X 12.0 X 16.2 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Annette, 1953
Bronze
58.4 x 15 x 11 cm (23 x 5 7/8 x 4 5/16 in.)
Museum of Fine Arts, Boston



Bust of Diego with Arms, 1953-1957
Bronze
22 3/4 X 12 7/8 X 9 in (57.8 X 32.5 X 22.7 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Bust of Diego, 1954
Bronze
15 1/4 X 13 1/4 X 8 in (38.6 X 33.7 X 20.3 cm )
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Woman of Venice, 1956
Painted bronze
H. 47 7/8 in (121.6 cm)
The Metropolitan Museum of Art, New York City



Seated Woman, 1956 /cast 1957)
Bronze
19 7/8 X 6 1/8 X 9 1/4 in (50.5 X 15.5 X 23.6 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Bust of Diego, 1957
Bronze
23 7/8 X 9 3/4 X 6 3/8 in (60.6 X 24.8 X 16.0 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Bust of Diego on a Stele II, 1958
Bronze
65 X 8 3/4 X 7 3/8 in (165.1 X 22.2 X 18.8 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Monumental Head, 1960
Bronze
37 X 11 3/4 X 14 3/8 in (94.0 X 29.7 X 36.3 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Tall Figure IV, 1960
Bronze, Edition of 6, Cast No. 1
106-1/2 x 12 x 22 in. (270.5 x 30.5 x 55.9 cm)
Norton Simon Museum, Pasadena, California



Standing Woman, 1961
Bronze
30 1/2 X 5 X 7 5/8 in (77.4 X 12.8 X 19.5 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Annette IV 1962/ cast 1965
Bronze
578 x 236 x 218 mm, 13 kg
Tate Gallery, London

...............................................................................................................
O irmão do autor, Diego, (Bust of Diego, 1954) olha em frente com ima intensidade determinada. A cabeça alongada e a manipulação irrequieta da superfície são características de Giocometti, que passou toda a sua vida tentando obsessivamente reproduzir a forma humana, tanto na pintura como na escultura. A textura áspera e irregular das suas esculturas reflete o método desassossegado de construção e destruição do trabalho até se sentir incapaz de continuar. Encarando o espaço como um abismo infinito no qual se situavam as suas personagens solitárias, Giacometti reduzia-as dramáticamente até se tornarem macilentas. Estas personagens definhadas, por vezes sozinhas, por vezes paradas ou a caminhar em grupos silenciosos, expressam uma vulnerabilidade dolorosa. Este sentido de individualismo isolado levou o escritor Jean-Paul Sartre a identificar Giacometti como o principal artista existencialista. Apesar de se ter associado desde cedo aos Impressionismo, Cubismo e Surrealismo, Giacometti não pode ser encaixado em nenhum movimento artístico. Alberto Giacometti nasceu em Borgonovo (SUI) em 1901 e morreu em Chur (SUI) em 1965.
..............................................................................................................
ALBERTO GIACOMETTI'S YOUTH

Alberto Giacometti was born on October 10, 1901 in Borgonovo in Val Bregaglia, Switzerland near the Italian border. His father was a painter who encouraged his son's interest in sculpture.

After finishing high school, he moved to Geneva to attend the School of Fine Arts. In 1922 he moved to Paris to study at the Académie de la Grande Chaumière in Montparnasse under Auguste Rodin's associate, the sculptor Antoine Bourdelle. It was there that Giacometti experimented with the cubist method. Drawn more to the surrealist movement, after his brother, Diego Giacometti, joined him as his assistant by 1927 Alberto displayed his first surrealist sculptures at Salon des Tuileries. Before long, he was regarded as one of the leading surrealist sculptors of the day.

ALBERTO GIACOMETTI AS AN ARTIST

Living in the creative community of Montparnasse, he associated with artists Joan Miró, Max Ernst and Pablo Picasso, plus writers Samuel Beckett, Jean-Paul Sartre, Paul Eluard and André Breton, and wrote and drew for Breton's magazine Le Surréalisme au Service de la Révolution.

From 1935 to 1940 Giacometti concentrated his sculpting on the human head, focusing on the model's gaze, followed by a unique artistic phase in which his statues became stretched out — their limbs elongated.

During World War II, he lived in the safety of Geneva where he met Annette Arm. In 1946 he and Arm returned to Paris where in 1949 they married. Giacometti's most productive period followed the marriage. His wife provided him with the opportunity to constantly to be in touch with another human body, particularly a feminine one. Models who had posed for him found it a difficult job, but Arm patiently sat for him for hours until he achieved what he wanted.

He soon had an exhibition of his works at the Gallery Maeght in Paris and at the Pierre Matisse Gallery in New York City for which his friend, Jean-Paul Sartre, wrote the catalogue's preface.

By the early 1950s, the use of bronze had become affordable (metals were in short supply during World War II) and Giacometti began to cast his works in bronze.

Obsessed with creating his sculptures exactly as he envisioned through his unique view of reality, to his own consternation and because of his drive for perfection, he carved them very small — many no larger than a pack of cigarettes and almost as thin as nails. A friend of his once said that if Giacometti decided to carve you, he would make your head look like the blade of a knife. However, after his marriage, he was able to make tiny sculptures larger. But the larger that they grew, the thinner they became. Giacometti said that was the way he wanted to represent the sensation he felt when he looked at a naked woman.

Commissioned to design a medallion depicting Henri Matisse in 1954, he created numerous masterful drawings of the great painter in the last months of Matisse's life.

1956 saw a further development in his work when he began to produce paintings of recognizable likenesses.

In 1962, he was awarded the grand prize for sculpture at the Venice Biennale, and the award brought with it worldwide celebrity. Even when he had achieved popularity and his works were in demand, he still reworked models, often destroying them or setting them aside to be returned to years later.

The prints produced by Giacometti are often overlooked but the catalogue raisonné Giacometti - The Complete Graphics and 15 Drawings by Herbert Lust (Tudor 1970) comments on their impact and gives details of the number of copies of each print. Some of his most important images were in editions of only 30 and many were described as rare in 1970.

In his later years, Giacometti creations displayed at a number of large exhibitions throughout Europe. Riding a wave of international popularity, in 1965, despite being in poor health, he traveled to the United States for an exhibition of his works at the New York Museum of Modern Art.

As his last work he prepared the text for the book Paris sans fin, a sequence of 150 lithographs containing memories of all the places where he had lived.


ALBERTO GIACOMETTI'S DEATH

Alberto Giacometti died January 11, 1966 of heart disease and chronic bronchitis at the Kantonsspital in Chur, Switzerland. His body was returned to his birthplace in Borgonovo, where he was interred close to his parents.
.................................................................................................................