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Danish painter, ceramist, printmaker, sculptor and writer. Born Asger Jørgensen (a name he changed to Asger Jorn in 1945) at Vejrum near Struer in Denmark; he and his family moved to Silkeborg in 1929. Began to paint in 1930. Went to Paris in 1936 and attended Léger's academy for 10 months, then worked for Le Corbusier on a large mural for the 1937 Paris International Exhibition. First one-man exhibition (with Wemaëre) at Dam & Fønns, Copenhagen, 1938. Lived in Denmark throughout the war, and during the German Occupation printed a banned periodical; was trying in his paintings to achieve a freer and more spontaneous style.
After the war travelled to Lapland and Tunisia, and also to France, Holland, Belgium, where he met Constant, Wemaëre, Appel and other artists and writers with whom he founded the COBRA group 1948-51. While in Silkeborg Sanatorium with tuberculosis 1951-2 painted the series 'The Wheel of Life' and 'On the Silent Myth'. Left Denmark in 1953 for Switzerland, Italy and France. From 1954 regularly spent the summer months at Albisola Marina in Northern Italy, where he made a huge ceramic mural in 1959 for a school at Aarhus in Denmark. Settled in Paris in 1958 and helped to found the International Situationist movement. From 1959 presented a large number of modern works, including many of his own, to the Silkeborg Museum. His writings include La Langue verte et la Cuite 1968, written with Noel Arnaud. Died in Aarhus.
Published in:
Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, p.376
Oil on cardboard; 70 x 49 cm.
Wassily Wassilyevich Kandinsky was a Russian painter, and art theorist. He is credited with painting the first modern abstract works. He started painting studies (life-drawing, sketching and anatomy) at the age of 30.
In 1896 he settled in Munich and studied at the Academy of Fine Arts. He went back to Moscow in 1914 after World War I started. He was unsympathetic to the official theories on art in Moscow and returned to Germany in 1921. There he taught at the Bauhaus school of art and architecture until the Nazis closed it in 1933. He then moved to France and became a French citizen.
The She-Wolf, 1943
Oil, gouache, and plaster on canvas, 41 7/8 x 67" (106.4 x 170.2 cm)
Jackson Pollock (American, 1912-1956)
When Pollock painted The She-Wolf he had not yet arrived at his so-called "drip" style, one of the great inventions of Abstract Expressionism. The canvas's traces of multicolored washes and spatters show that a free-form abstraction and an unfettered play of materials were already parts of his process; but in this work and others his focus is a compound of mythology and an iconography of the unconscious. (He was influenced here both by Surrealism and his own Jungian analysis.) Perhaps Pollock's she-wolf is the legendary foster-mother to Romulus and Remus, the founders of ancient Rome. But he himself refused to identify her, saying, "She-Wolf came into existence because I had to paint it. Any attempt on my part to say something about it, to attempt explanation of the inexplicable, could only destroy it."
Drawn in heavy black and white lines, the wolf advances leftward. Her body is overlaid with abstract lines and patches, a thick, unreadable calligraphy that spreads throughout the canvas. These hieroglyphic intimations, along with the somber palette and the conjuring of myth, reflect the climate of a period shadowed by war. Intended to approach ultimate human mysteries, they were to be simultaneously meaningful and unknowable.
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The Museum of Modern Art (MoMA) was founded in 1929 and is often recognized as the most influential museum of modern art in the world. Over the course of the next ten years, the Museum moved three times into progressively larger temporary quarters, and in 1939 finally opened the doors of its midtown home, located on 53rd Street between Fifth and Sixth Avenues in midtown.
MoMA's holdings include more than 150,000 paintings, sculptures, drawings, prints, photographs, architectural models and drawings, and design objects. Highlights of the collection inlcude Vincent Van Gogh's The Starry Night, Salvador Dali's The Persistence of Memory, Pablo Picasso's Les Demoiseels d'Avignon and Three Musicians, Claude Monet's Water Lilies, Piet Mondrian's Broadway Boogie Woogie, Paul Gauguin's The Seed of the Areoi, Henri Matisse's Dance, Marc Chagall's I and the Village, Paul Cezanne's The Bather, Jackson Pollack's Number 31, 1950, and Andy Warhol's Campbell's Soup Cans. MoMA also owns approximately 22,000 films and four million film stills, and MoMA's Library and Archives, the premier research facilities of their kind in the world, hold over 300,000 books, artist books, and periodicals, and extensive individual files on more than 70,000 artists.
Oil on canvas; 180 x 150 cm.
František Kupka was a Czech painter and graphic artist. He was a pioneer and co-founder of the early phases of the abstract art movement and Orphic cubism (Orphism). Kupka's abstract works arose from a base of realism, but later evolved into pure abstract art. He was born in Opočno, eastern Bohemia (now Czech Republic) in 1871. From 1889 to 1892, he studied at the Prague Art Academy. At this time, he painted historical and patriotic themes. Kupka enrolled at the Akademie der Bildenden Künste in Vienna, where he concentrated on symbolic and allegorical subjects. He was influenced by the painter and social reformer Karl Wilhelm Diefenbach (1851-1913) and his naturistic life-style. Kupka exhibited at the Kunstverein, Vienna, in 1894. His involvement with theosophy and Eastern philosophy dates from this period. By spring 1894, Kupka had settled in Paris; there he attended the Académie Julian briefly and then studied with Jean-Pierre Laurens at the Ecole des Beaux-Arts.
Kupka worked as an illustrator of books and posters and, during his early years in Paris, became known for his satirical drawings for newspapers and magazines. In 1906, he settled in Puteaux, a suburb of Paris, and that same year exhibited for the first time at the Salon d'Automne. Kupka was deeply impressed by the first Futurist Manifesto, published in 1909 in Le Figaro. Kupka’s 1909 painting Piano Keyboard/Lake marked a break in his representational style. His work became increasingly abstract around 1910–11, reflecting his theories of motion, color, and the relationship between music and painting (orphism). In 1911, he attended meetings of the Puteaux Group (Section d'Or). In 1912, he exhibited at the Salon des Indépendants in the Cubist room, although he did not wish to be identified with any movement. Creation in the Plastic Arts, a book Kupka completed in 1913, was published in Prague in 1923.
In 1931, he was a founding member of Abstraction-Création. In 1936, his work was included in the exhibition Cubism and Abstract Art at the Museum of Modern Art in New York City, and in an important show with another excellent Czech painter Alphonse Mucha at the Jeu de Paume in Paris. A retrospective of his work took place at the Galerie Mánes in Prague in 1946. The same year, Kupka participated in the Salon des Réalités Nouvelles, where he continued to exhibit regularly until his death. During the early 1950s, he gained general recognition and had several solo shows in New York.
Kupka had a strong interest in color theory. His decadent 1907 self-portrait The Yellow Scale prefigures his abstract emphasis on color. Around 1910 he began developing his own color wheels, adapting a format previously explored by Sir Isaac Newton and Hermann von Helmholtz. This work in turn led Kupka to execute a series of paintings he called "Discs of Newton" (1911-12). Kupka was interested in freeing colors from descriptive associations. His work in this area is thought to have influenced other artists like Robert Delaunay.
Untitled (ca. mid 1950s)
Gouache and collage on paper
22-1/2 x 28-1/2 inches
Courtesy of Spanierman Modern, New York
Untitled V (1956)
Oil, oil stick, and graphite on paper
22-5/8 x 28-9/16 inches
Courtesy of Spanierman Modern, New York
Untitled (2006)
Mixed media on paper
7.8 by 11.5 in.
Mr. Carone is represented in many of the most prestigious museum collections with the Hirshorn and the Baltimore Museum of Art just two of many.
Courtesy of Lohin-Geduld Gallery, New York
www.artnet.com/gallery/423885474/lohin-geduld-gallery.htm... Carone
selected by mike esson for the Abstract Expressionism - The New York School group via Khan Academy (Feb., 2017)
Kurt Hermann Eduard Karl Julius Schwitters was a German artist.
He worked in several genres and media, including Dada, Constructivism, Surrealism, poetry, sound, painting, sculpture, graphic design, typography and what came to be known as installation art. He is most famous for his collages, called Merz Pictures.
After studying art at the Dresden Academy alongside Otto Dix and George Grosz, (although Schwitters seems to have been unaware of their work, Schwitters returned to Hannover and started his artistic career as a post-impressionist. As the First World War progressed, however, his work became darker, gradually developing a distinctive expressionist tone.
Expressionism was a predominantly German artistic movement best exemplified by Die Brücke, and by the paintings of Emil Nolde and Ernst Kirchner in particular. In 1918, his art was to change dramatically as a direct consequence of Germany's economic, political and military collapse at the end of the First World War.
"In the war, things were in terrible turmoil. What I had learned at the academy was of no use to me and the useful new ideas were still unready.... Everything had broken down and new things had to be made out of the fragments; and this is Merz. It was like a revolution within me, not as it was, but as it should have been".
Oil on canvas; 55.2 x 67.9 cm.
André Masson, in full André-aimé-rené Masson (b. Jan. 4, 1896, Balagny, Oise, Fr.—d. Oct. 28, 1987, Paris), noted French Surrealist painter and graphic artist.
Masson studied painting in Brussels and then in Paris. He fought in World War I and was severely wounded. He joined the emergent Surrealist group in the mid-1920s after one of his paintings had attracted the attention of the movement’s leader, André Breton. Masson soon became the foremost practitioner of automatic writing, which, when applied to drawing, was a form of spontaneous composition intended to express impulses and images arising directly from the unconscious. Masson’s paintings and drawings from the late 1920s and the ’30s are turbulent, suggestive renderings of scenes of violence, eroticism, and physical metamorphosis. A natural draftsman, he used sinuous, expressive lines to delineate biomorphic forms that border on the totally abstract. Masson lived in Spain from 1934 to 1936 and in the United States during World War II. His work was the subject of major retrospective exhibitions in Basel, Switz. (1950) and New York City (1976).
Oil on canvas; 182.9 x 274.3 cm.
Yayoi Kusama (草間 彌生 or 弥生 Kusama Yayoi?, born March 22, 1929) is a Japanese artist and writer. Throughout her career she has worked in a wide variety of media, including painting, collage, sculpture, performance art and environmental installations, most of which exhibit her thematic interest in psychedelic colors, repetition and pattern. A precursor of the pop art, minimalist and feminist art movements, Kusama influenced contemporaries such as Andy Warhol and Claes Oldenburg.[1] Although largely forgotten after departing the New York art scene in the early 1970s, Kusama is now acknowledged as one of the most important living artists to come out of Japan, and an important voice of the avant-garde.
Born in Matsumoto, Nagano into an upper-middle-class family of seedling merchants,[2] Kusama started creating art at an early age, going on to study Nihonga painting in Kyoto in 1948. Frustrated with this distinctly Japanese style, she became interested in the European and American avant-garde, staging several solo exhibitions of her paintings in Matsumoto and Tokyo during the 1950s. In 1957 she moved to the United States, settling down in New York City where she produced a series of paintings influenced by the abstract expressionist movement. Switching to sculpture and installation as her primary mediums, Kusama became a fixture of the New York avant-garde, having her works exhibited alongside the likes of Andy Warhol, Claes Oldenburg and George Segal during the early 1960s, where she became associated with the pop art movement. Embracing the rise of the hippie counterculture of the late 1960s, Kusama came to public attention when she organized a series of happenings in which naked participants were painted with brightly colored polka dots.
In 1973, Kusama moved back to her native Japan, where she found the art scene far more conservative than that in New York. Becoming an art dealer, her business folded after several years, and after experiencing psychiatric problems, in 1977 she voluntarily admitted herself to a hospital, where she has spent the rest of her life. From here, she continued to produce artworks in a variety of mediums, as well as launching a literary career by publishing several novels, a poetry collection and an autobiography.
Kusama's work is based in conceptual art and shows some attributes of feminism, minimalism, surrealism, Art Brut, pop art, and abstract expressionism, and is infused with autobiographical, psychological, and sexual content. Kusama is also a published novelist and poet, and has created notable work in film and fashion design. Major retrospectives of her work have been held at the Museum of Modern Art, the Whitney Museum, and Tate Modern, whilst in 2008 Christies New York sold a work by her for $5.1 million, then a record for a living female artist.
Watercolor and ink on paper; 38.1 x 53.7 cm.
Mark Rothko, original name Marcus Rothkovitch, American painter whose works introduced contemplative introspection into the melodramatic post-World War II Abstract Expressionist school; his use of colour as the sole means of expression led to the development of Colour Field Painting.
In 1913 Rothko’s family emigrated from Russia to the U.S., where they settled in Portland, Ore. During his youth he was preoccupied with politics and social issues. He entered Yale University in 1921, intending to become a labour leader, but dropped out after two years and wandered about the U.S. In 1925 he settled in New York City and took up painting. Although he studied briefly under the painter Max Weber, he was essentially self-taught.
Rothko first worked in a realistic style that culminated in his Subway series of the late 1930s, showing the loneliness of persons in drab urban environments. This gave way in the early 1940s to the semi-abstract biomorphic forms of the ritualistic Baptismal Scene (1945). By 1948, however, he had arrived at a highly personal form of Abstract Expressionism. Unlike many of his fellow Abstract Expressionists, Rothko never relied on such dramatic techniques as violent brushstrokes or the dripping and splattering of paint. Instead, his virtually gestureless paintings achieved their effects by juxtaposing large areas of melting colours that seemingly float parallel to the picture plane in an indeterminate, atmospheric space.
Rothko spent the rest of his life refining this basic style through continuous simplification. He restricted his designs to two or three “soft-edged” rectangles that nearly filled the wall-sized vertical formats like monumental abstract icons. Despite their large size, however, his paintings derived a remarkable sense of intimacy from the play of nuances within local colour.
From 1958 to 1966 Rothko worked intermittently on a series of 14 immense canvases (the largest was about 11 × 15 feet [3 × 5 metres]) eventually placed in a nondenominational chapel in Houston, Texas, called, after his death, the Rothko Chapel. These paintings were virtual monochromes of darkly glowing browns, maroons, reds, and blacks. Their sombre intensity reveals the deep mysticism of Rothko’s later years. Plagued by ill health and the conviction that he had been forgotten by those artists who had learned most from his painting, he committed suicide.
After his death, the execution of Rothko’s will provoked one of the most spectacular and complex court cases in the history of modern art, lasting for 11 years (1972–82). The misanthropic Rothko had hoarded his works, numbering 798 paintings, as well as many sketches and drawings. His daughter, Kate Rothko, accused the executors of the estate (Bernard J. Reis, Theodoros Stamos, and Morton Levine) and Frank Lloyd, owner of Marlborough Galleries in New York City, of conspiracy and conflict of interest in selling the works—in effect, of enriching themselves. The courts decided against the executors and Lloyd, who were heavily fined. Lloyd was tried separately and convicted on criminal charges of tampering with evidence. In 1979 a new board of the Mark Rothko Foundation was established, and all the works in the estate were divided between the artist’s two children and the Foundation. In 1984 the Foundation’s share of works was distributed to 19 museums in the United States, Great Britain, the Netherlands, Denmark, and Israel; the best and the largest proportion went to the National Gallery of Art, Washington, D.C.
Acrylic on canvas painting collaboration that I did at a party 7 years ago. #art #artist #painting #artwork #painter #artistic #artsy #visionary #express #creatives #creativeart #colorsplash #paint #painted #acrylics #acrylic #canvas #canvasart #brush #abstractart #abstractexpressionism #abstractpainting #abstract #abstraction #abstractartist #dragon #eyes #peace #bike #bunny
Gracias por las visitas, amables comentarios e invitaciones
Thank you for the visits, kind comments and invitations
Dutch painter, theorist and draughtsman. His work marks the transition at the start of the 20th century from the Hague school and Symbolism to Neo-Impressionism and Cubism. His key position within the international avant-garde is determined by works produced after 1920. He set out his theory in the periodical of DE STIJL, in a series of articles that were summarized in a separate booklet published in Paris in 1920 under the title NEO-PLASTICISM. The essence of Mondrian’s ideas is that painting, composed of the most fundamental aspects of line and color, must set an example to the other arts for achieving a society in which art as such has no place but belongs instead to the total realization of ‘beauty’. The representation of the universal, dynamic pulse of life, also expressed in modern jazz and the metropolis, was Mondrian’s point of departure. Even in his lifetime he was regarded as the founder of the most modern art. His artistic integrity caused him to be honored as a classical master by artists who were aligned with entirely different styles, as well as by musicians and architects. He was able to make a living from the sale of his works in the Netherlands, Germany, Switzerland, England and the USA.
David Hockney is one of the greatest English painters of the 20th century. This is the only painting of his which I can characterize as abstract expressionism.
And the Lord said unto Moses, Go in unto Pharaoh: for I have hardened his heart, and the heart of his servants, that I might shew these my signs before him:
And that thou mayest tell in the ears of thy son, and of thy son's son, what things I have wrought in Egypt, and my signs which I have done among them; that ye may know how that I am the Lord.
And Moses and Aaron came in unto Pharaoh, and said unto him, Thus saith the Lord God of the Hebrews, How long wilt thou refuse to humble thyself before me? let my people go, that they may serve me.
Else, if thou refuse to let my people go, behold, to morrow will I bring the locusts into thy coast:
And they shall cover the face of the earth, that one cannot be able to see the earth: and they shall eat the residue of that which is escaped, which remaineth unto you from the hail, and shall eat every tree which groweth for you out of the field:
And they shall fill thy houses, and the houses of all thy servants, and the houses of all the Egyptians; which neither thy fathers, nor thy fathers' fathers have seen, since the day that they were upon the earth unto this day. And he turned himself, and went out from Pharaoh.
And Pharaoh's servants said unto him, How long shall this man be a snare unto us? let the men go, that they may serve the Lord their God: knowest thou not yet that Egypt is destroyed?
And Moses and Aaron were brought again unto Pharaoh: and he said unto them, Go, serve the Lord your God: but who are they that shall go?
And Moses said, We will go with our young and with our old, with our sons and with our daughters, with our flocks and with our herds will we go; for we must hold a feast unto the Lord.
And he said unto them, Let the Lord be so with you, as I will let you go, and your little ones: look to it; for evil is before you.
Not so: go now ye that are men, and serve the Lord; for that ye did desire. And they were driven out from Pharaoh's presence.
And the Lord said unto Moses, Stretch out thine hand over the land of Egypt for the locusts, that they may come up upon the land of Egypt, and eat every herb of the land, even all that the hail hath left.
And Moses stretched forth his rod over the land of Egypt, and the Lord brought an east wind upon the land all that day, and all that night; and when it was morning, the east wind brought the locusts.
And the locust went up over all the land of Egypt, and rested in all the coasts of Egypt: very grievous were they; before them there were no such locusts as they, neither after them shall be such.
For they covered the face of the whole earth, so that the land was darkened; and they did eat every herb of the land, and all the fruit of the trees which the hail had left: and there remained not any green thing in the trees, or in the herbs of the field, through all the land of Egypt.
Then Pharaoh called for Moses and Aaron in haste; and he said, I have sinned against the Lord your God, and against you.
Now therefore forgive, I pray thee, my sin only this once, and intreat the Lord your God, that he may take away from me this death only.
And he went out from Pharaoh, and intreated the Lord.
And the Lord turned a mighty strong west wind, which took away the locusts, and cast them into the Red sea; there remained not one locust in all the coasts of Egypt.
But the Lord hardened Pharaoh's heart, so that he would not let the children of Israel go.
And the Lord said unto Moses, Stretch out thine hand toward heaven, that there may be darkness over the land of Egypt, even darkness which may be felt.
And Moses stretched forth his hand toward heaven; and there was a thick darkness in all the land of Egypt three days:
They saw not one another, neither rose any from his place for three days: but all the children of Israel had light in their dwellings.
And Pharaoh called unto Moses, and said, Go ye, serve the Lord; only let your flocks and your herds be stayed: let your little ones also go with you.
And Moses said, Thou must give us also sacrifices and burnt offerings, that we may sacrifice unto the Lord our God.
Our cattle also shall go with us; there shall not an hoof be left behind; for thereof must we take to serve the Lord our God; and we know not with what we must serve the Lord, until we come thither.
But the Lord hardened Pharaoh's heart, and he would not let them go.
And Pharaoh said unto him, Get thee from me, take heed to thyself, see my face no more; for in that day thou seest my face thou shalt die.
And Moses said, Thou hast spoken well, I will see thy face again no more.
Exodus 10 King James Version
#digitalart, #iphoneography, #iphoneaet, #filters, #avantgarde, #abstraction, #abstractexpressionism, #negative, #photonegative, #neodada, #negativeart, #nihilim, #expressionist, #wildcolor, #deepcolor, #expressionism,
Polymer clay focal bead surrounded by hand beaded bezel with a suede backing. Cording made from sari silk with added beads.
Acrylic on fabric.
Hedda Sterne was an artist best remembered as the only woman in a group of Abstract Expressionists known as "The Irascibles" which consisted of Jackson Pollock, Willem de Kooning, Barnett Newman, Mark Rothko, and others. In her artistic endeavors she created a body of work known for exhibiting a stubborn independence from styles and trends, including Surrealism and Abstract Expressionism. Sterne has been almost completely overlooked in art historical narratives of the post-war American art scene. At the time of her death, possibly the last surviving artist of the first-generation of the New York School, Hedda Sterne viewed her widely varied works more as in flux than as definitive statements. In 1944 she married Saul Steinberg the Romanian-born American cartoonist and illustrator, best known for his work for The New Yorker.
During the late 1940s she became a member of The Irascible Eighteen, a group of abstract painters who protested the Metropolitan Museum of Art's policy towards American painting of the 1940s; members of the group besides Sterne included: Willem de Kooning, Adolph Gottlieb, Ad Reinhardt, Richard Pousette-Dart, William Baziotes, Jimmy Ernst, Jackson Pollock, James Brooks, Clyfford Still, Robert Motherwell, Bradley Walker Tomlin, Theodoros Stamos, Barnett Newman, and Mark Rothko. Her works are in the collections of museums including the Museum of Modern Art (MoMA) in New York, and the National Gallery of Art in Washington D.C.
Sterne was born in Bucharest, Romania in 1910 as Hedwig Lindenberg. Born to Simon Lindenberg, a high school language teacher,and Eugenie (Wexler) Lindenberg. She was the second child with her only sibling, Edouard, who later became a prominent conductor in Paris. Sterne was raised with artistic values from a young age, most notably, her tie to Surrealism, which stemmed from a family friend, Victor Brauner. Sterne was homeschooled until age 11. Upon her high school graduation in 1927,at age 17, she attended art classes in Vienna, then had a short attendance at the University of Bucharest studying philosophy and art history before she dropped out to pursue artistic training independently. She spent time traveling, especially to Paris developing her technical skills as both a painter and sculptor. Hedda Sterne married a childhood friend Frederick Sterne in 1932 when she was 22. In 1941 she escaped a certain death from Nazi encroachment during WWII when she fled to New York to be with Frederick. In 1944 she remarried Saul Steinberg and became a U.S. citizen. It is not mentioned if she ever had children. She was involved in many shows and exhibits in New York and practiced her art up until macular degenration set in and she could no longer paint, but continued to draw. Then when she was 94 Sterne had a stroke that affected her vision and movement and thereafter was unable to make art at all.
Collage on paper and newsprint, mounted on Masonite.
Esteban Vicente Pérez was an American painter born in Turégano, Spain. He was one of the first generation of New York School abstract expressionists.
Esteban Vicente was born in Turégano, Spain on January 20, 1903. His mother, Sofia Pérez y Álvarez came from an Asturian family and was born in Valladolid. His father, Toribio Vicente Ruiz, came from a military family near Salamanca and was an army officer. Esteban Vicente had two sisters and three brothers. He was the third child and second son. Vicente's father resigned his commission and moved his family to the capital, Madrid, where he worked as a buildings administrator for the Banco de España so that the children could be educated at good Jesuit schools. Vicente was taken to the Museo del Prado by his father, an art enthusiast, almost every Sunday from the time he was four years old and began to draw when he was sixteen. He was expected to follow family tradition and join the army. After three months in military school he decided to become an artist.
Vicente enrolled at the Real Academia de Bellas Artes in Madrid in 1921 intending to study sculpture. He completed his training in 1924. Commenting on his experience at the Academy he said "It doesn't give you any ideas about anything. It gives you tools, and teaches you about materials. Academic training is safe. It prepares you to be against."
He had his first one-man exhibition in Madrid in 1928, after which he left for Paris and did not return to Spain until 1930. In 1935 he married Estelle Charney, an American whom he had met in Paris.[2] After the outbreak of the Spanish Civil War in 1936 Vicente, supporting the Loyalist forces, painted camouflage in the mountains outside Madrid for a few months. Later that year he and his wife moved to New York. The (Loyalist) Spanish Ambassador to the U.S. set him up as a Vice Consul in Philadelphia, a position which supported his family for three years. Vicente had ample time to continue with his art and had his first one-man show in New York at the Kleeman Gallery in 1937. After the fall of the Spanish Republic in 1939 he returned to New York City. During World War II he supported himself with portrait commissions and by teaching Spanish. A 1945 exhibition in Puerto Rico led in 1946 to a position at the University of Puerto Rico teaching painting. After his return to New York in 1947 he established relationships with most of the members of the nascent New York School, participating in their seminal exhibitions at the Kootz Gallery in 1950, in the 9th Street Art Exhibition in 1951 and in exhibitions at the Sidney Janis Gallery and Charles Egan Gallery. Subsequently he was represented by the Leo Castelli, André Emmerich[6] and Berry-Hill Galleries in New York City. He was a founding member of the New York Studio School, where he taught for 36 years. Although he never exhibited in Spain during the rule of Francisco Franco, in 1998 the Spanish government opened the Esteban Vicente Museum of Contemporary Art in Segovia.
Vicente maintained a house and studio in Bridgehampton, New York from 1964. His marriage to Estelle Charney ended in divorce in 1943. Their daughter Mercedes, died at aged six. A second marriage, to Maria Teresa Babin, also ended in divorce. Vicente died in Bridgehampton on January 10, 2001. He was survived by his third wife, Harriet Peters, whom he married in 1961.
He has been honored as a renowned artist and child advocate by a New York City Bronx School Public School 170, a Kindergarten to Second Grade school has been named the Esteban Vicente school. A family member has incorporated Art programs into the schools. Students' talents emerge as they are exposed to the culture. At PS 170 students learn about Esteban Vicente and his style, color and design. Examples of his work adorn the walls of the school.
Vicente has a museum devoted to him in Segovia, Spain, the Museo de Arte Contemporáneo Esteban Vicente, and a street named after him in Turégano.
In March 2011 the Grey Art Gallery at New York University exhibited Concrete Improvisations: Collages and Sculpture by Esteban Vicente. In addition to 60 paper collages, the exhibit included 20 of Vicente's small-scale assemblages called divertimentos (toys), composed from pieces of found wood and covered with white plaster, with others composed of plastic and wood with architectonic elements.
Oil and pencil on board; 78.0 x 78.0 cm.
Ben Nicholson was an English artist whose austere geometric paintings and reliefs were among the most influential abstract works in British art. The son of the painter Sir William Nicholson, he briefly attended the Slade School of Fine Art in London in 1910–11, but he was largely self-taught. He traveled extensively in Europe between 1911 and 1914, and in 1917 he visited California, keeping a detailed record in sketches of architecture and landscape. About 1920 he began to paint seriously, creating still lifes and landscapes in a conventionally realistic style. During a trip to Paris in 1921, Nicholson saw Cubist works, which influenced his first semi-abstract still lifes; in 1924 he executed his first completely abstract painting.
During the 1920s, along with the sculptors Barbara Hepworth (who became his second wife) and Henry Moore, Nicholson was instrumental in introducing Continental Modernism into English art. In 1933 he and Hepworth joined the Paris-based Abstraction-Création group, an artists’ association that advocated purely abstract art. He also met the Dutch painter Piet Mondrian, under whose influence Nicholson’s work took on a greatly simplified geometry; typical of this period are his low reliefs of whitewashed circles and rectangles, such as White Relief (1937–38). He was co-editor with the artist Naum Gabo and the architect Sir Leslie Martin of Circle, a manifesto published in 1937 to promote Constructivism and other modern art styles in England.
In the 1940s Nicholson returned to landscape and still-life themes, often painting simplified representations of still-life motifs within otherwise largely abstract compositions. In his later work he continued to shift between modes of abstraction and representation.
Oil, emulsion, and sand on photograph, mounted on canvas; 280 x 380 cm.
Anselm Kiefer is a German painter who became one of the most prominent figures in the Neo-Expressionist art movement of the late 20th century.
Kiefer abandoned his law studies at the University of Freiburg in 1966 to pursue art. He subsequently studied at art academies in Freiburg, Karlsruhe, and Dusseldorf. In the latter city in 1970 he became a student of the conceptual artist Joseph Beuys, who encouraged Kiefer’s early use of symbolic photographic images to deal ironically with 20th-century German history. Beuys also encouraged Kiefer to paint, and in such huge paintings as “Germany’s Spiritual Heroes” (1973) and “Operation Sea Lion” (1975) Kiefer was able to develop an array of visual symbols by which he could comment with irony and sarcasm on certain tragic aspects of German history and culture, in particular the Nazi period. These paintings used garish, somber colors and coarse, naive drawing, but they did achieve powerful effects owing to their imaginative allusions to Nazism. In the 1970s he also painted a series of landscape vistas that capture the rutted and somber look of the German countryside and that use linear perspective with great dramatic effect.
Kiefer’s landscapes and interiors done in the 1980s acquired an intense physical presence by means of perspectival devices and the incorporation of unusual textures on the surface of the painted canvas. Though Kiefer continued to treat Germany’s Nazi past in such paintings as “Interiors” (1981), the range of his themes broadened to include references to ancient Hebrew and Egyptian history, as in the large painting “Osiris and Isis” (1985–87).