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Mosaic Table, 1947. Old wagon wheel with leftover tesserae, costume jewellery, keys, coins, broken glass.
We loved this well presented, vibrant exhibition. Interesting to learn of LK's close friendship with Ray Eames, which developed during their time as fellow students: two brilliant women whose careers and reputations were overshadowed by their partners. Congratulations to the Barbican for doing a little bit to put that right.
I would have loved to have listened in on what they were saying to one another about the Pollock painting. Somehow I don't think this father was saying "You could do something this good."
Mixed Media on Canvas & Rice Paper; 55 x 32 in.
Born in Shanghai in 1951, Xu studied traditional brush painting in his early childhood and was trained by Chinese painting master Ye Zhihao. Before he entered college, the "cultural revolution" (1966-76) began in China, and he was asked to work on a farm on Chongming Island in Shanghai. Despite hardships, he never stopped drawing. In 1973, Xu began to study at the Shanghai Theater Academy. In 1984, Xu received a scholarship and fellowship from the Bard College in the United States, where he received his MFA in 1987.
Xu has had numerous solo painting exhibitions worldwide. His works have also been featured in both Christie's and Sotheby's Important Contemporary Chinese Art Sales.
When the two versions of Shanghai: A New Vista were completed last year, they drew wide attention from art critics, collectors and auction houses. A British collector wanted to add the scrolls to his collection and display them at the British Museum, but Xu rejected the offer. "I felt the painting is for his two homes, China and the United States," Xu said. Before the exhibition in Beijing, the work was displayed in the VIP lounge of the Theme Pavilion at the 2010 World Expo in Shanghai.
www.bjreview.com.cn/culture/txt/2010-10/25/content_306113...
日本のことば×現代アート
いんすぴ
［会期］2020年2月17（月）～3月24日（水）
［会場］コリドー ギャラリー34 at パークホテル東京
入場無料
［会場住所］東京都港区東新橋1丁目7番1号 汐留メディアタワー 34F
主催＝これやん、パークホテル東京
［概要文］
「いんすぴ」これやん展は、アートの販売サイト“これやん”とパークホテル東京がコラボレーションして生まれたプロジェクトです。この企画では日本の芸術・文化を世界に伝えるために、日本文化を体現するコミュニケーション・ツールである“ことば”に注目しました。さまざまな意味を持つ日本のことばの奥深さを、アート作品として表現するのに加え、ことばから生まれたインスピレーションは作者と受け手が共有できるのか――？ ことばをモチーフにすることで変化する、イメージの共有をテーマとしています。
この展示では、これやんとパークホテルに所縁のある60人のアーティストたちに、日本に根づいた“ことば”を提示し、そこから感じたインスピレーションをもとに自由に作品を制作してもらいました。絵画・立体・工芸といったジャンルはもちろん、年齢も性別も超えて、ことばから生み出された60通りの“いんすぴ”。その閃きを感じながら、カルタの“絵合わせ”のような直感的な楽しさを味わっていただければ幸いです。
［概要の英訳］
Koreyan Exhibition “INSPI” is held by the art E-commerce site Koreyan in collaboration with Park Hotel Tokyo as known as the Art Hotel. The purpose of this exhibition is to show Japanese culture through the inspirations of Japanese artists.
We picked 60 heartwarming Japanese phrases and threw them to 60 artists.
How do they get inspired from those words? What do they create from the inspirations?
The answer is in their artworks.
We hope you can enjoy the interaction between 60 Japanese phrases and 60 arts inspired by them.
［参加アーティスト］
安西泉、安東和之、池田千鶴、伊藤香奈、稲石とおる、今井完眞、内田有、江頭誠、大河原愛、大串ゆうじ、大谷陽一郎、大平真梨、大村雪乃、奥島圭二、奥村巴菜、OZ-尾頭-山口佳祐、香川大介、角文平、金谷裕子、カネコタカナオ、金澤シュウ、北奥美帆、KYOTARO、京森康平、久保進、小飯塚祐八、小林真理江、サガキケイタ、櫻井美佳、佐野景子、清水智裕、しりあがり寿、新直子、鈴木杏、鈴木香南、鈴木ひょっとこ、高石優真、高橋キンタロー、田川秀樹、竹村東代子、田羅義史、Cicci、千原徹也、土田圭介、坪島悠貴、中村圭吾、中村眞弥子、はっとり♡かんな、HABUJUN、HUIT、平井豊果、ひらのまり、ヒロ杉山
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Franz Jozef Kline (May 23, 1910 – May 13, 1962) was an American painter mainly associated with the abstract expressionist movement centered around New York in the 1940s and 1950s. He was born in Wilkes-Barre, Pennsylvania, and attended Girard College, an academy in Philadelphia for fatherless boys. He attended Boston University, and later taught at a number of institutions including Black Mountain College in North Carolina and Pratt Institute in Brooklyn.[1] He spent summers from 1956-62 painting in Provincetown, Massachusetts and died in New York City of a rheumatic heart disease. He was married to Elizabeth Vincent Parsons, a British ballet dancer.
Parade, mid-1950s
Oil on paper mounted on canvas, 18 x 24 in.
Signed on stretcher: Charlotte Park
Inscribed on verso: Parade
Photograph courtesy Spanierman Gallery, LLC, New York.
Theo van Doesburg was a Dutch painter, writer, poetand architect. He is best known as the founder of De Stijl. After a short training in acting and singing he decided to become a painter. His first exhibition was in 1908. Although he considered himself to be a modern painter at that time, his early work is in line with the Amsterdam Impressionists and is influenced by Vincent van Gogh. This suddenly changed in 1913 after reading Wassily Kandinsky's Rückblicke. It made him realize there was a more spiritual level in painting that originates from the mind rather than from everyday life, and that abstraction is the only logical outcome of this. In 1915 he came in contact with the works of Piet Mondrian, who was eight years older, and had by then already gained some attention. Van Doesburg saw in these paintings his ideal in painting: a complete abstraction of reality. Van Doesburg got in contact with Mondrian, and together with several other artists founded the magazine De Stijl in 1917.
Van Doesburg was the 'ambassador' of the movement, promoting it across Europe. He moved to Weimar in 1922, deciding to make an impression on the Bauhaus principal, Walter Gropius. While Gropius accepted many of the precepts of contemporary art movements he did not feel that Doesburg should become a Bauhaus master. Doesburg then installed himself near to the Bauhaus buildings and started to attract school students interested in the new ideas of Constructivism. Dadaism, and De Stijl. In 1923 Van Doesburg moved to Paris. During 1924 Doesburg and Mondrian had disagreements, which eventually led to a (temporary) split. The exact reason for this split has been a point of contention; usually the divergent ideas about the directions of the lines have been named as the primary reason: Mondrian never accepted diagonals, whereas Doesburg featured them in his art. After the split, Van Doesburg launched a new concept for his art, Elementarism, which was characterized by the diagonal lines and rivaled with Mondrian's Neo-Plasticism.
Oil on canvas; 50.5 x 50.5 cm.
A well-known artist, designer, and educator, Itten is perhaps best known for contributions to the Foundation Course (Vorkurs) at the Bauhaus in Weimar between 1919 and 1923. Born in Switzerland, Itten's early career was in primary school education but he gave it up to study fine art briefly at the École des Beaux Arts in Geneva. However, dissatisfied with the conservatism of the curriculum he went on to study mathematics and science at university before studying painting at the Stuttgart Academy from 1913 to 1916. Well aware of the avant-garde ideas of the Blaue Reiter and Cubism, he exhibited at the Sturm art gallery in Berlin. He then moved to Vienna to teach and paint at his own art school and, having been introduced to Walter Gropius by Alma Mahler (who was married to Gropius) took up a teaching post at the Bauhaus in 1919. In his classes he encouraged students to experiment with form, color, and texture but his commitment to eastern mysticism and the wearing of monk-like robes led to tensions with Gropius, the institution's director. Furthermore, in the difficult political and economic climate in early 1920s Germany Gropius came under increasing pressure to demonstrate the relevance of the Bauhaus in daily life. As a consequence, Itten's experiential and expressionist approach to creativity was increasingly at odds with Gropius' growing commitment to the machine aesthetic as a key goal of the Bauhaus's educational curriculum. On leaving the Bauhaus Itten studied philosophy in Zurich before setting up his own design school in Berlin from 1926 to 1931. He also became director of the technical school for textiles at Krefeld from 1932 to 1938. He left Germany, first working in Amsterdam and then moving to Zurich where he became the director of the Museum and School of Applied Arts from 1938 to 1953. From 1943 to 1953 he also directed the technical school for textiles and the Rietbergmuseum.
This painting was done from a soutine photo,,Chaïm Soutine (January 13, 1893 – August 9, 1943) was a Jewish painter from what is today the nation of Belarus, who came to fame as part of the expressionist movement in Paris in the 1920s.
abstract painting, Wall Art, Wall Decor,Contemporary Art,Living Room,Interior decoration
Overview
Handmade item
Height: 120 Centimeters
Width: 60 Centimeters
Material: canvas
$301.00 (On Sale)
www.etsy.com/listing/638706033/color-flowabstract-paintin...
Pigment on paper laid down on canvas; 107.5 x 74.5 cm.
Yves Klein was a French artist considered an important figure in post-war European art. New York critics of Klein's time classify him as neo-Dada, but other critics, such as Thomas McEvilley in 1982 have since classified Klein as an early, though enigmatic, postmodernist.
He was the son of the Dutch-born painter Fred Klein (b 1898), whose work was representational, and Marie Raymond (b 1908), who developed a reputation in the 1950s as an abstract artist, and whose abstraction was influential on the development of her son’s work. Although he had had no formal art training, he was already making his first serious attempts at painting by 1946 and showing his interest in the absoluteness of color by formulating his first theories about monochrome. In 1946 he befriended Arman, with whom he was later to be associated in the Nouveau Réalisme movement, and the writer Claude Pascal, whom he met at a judo class. Together they developed their interest in esoteric writing and East Asian religions. Klein became a student of the Rosicrucian Fellowship in 1946 and was influenced both by its mystical philosophy and by judo. In 1952–3 he traveled with Pascal and Arman to Japan, where he studied the art of judo and the spiritual attitude associated with it, gaining the black belt ‘fourth dan’ at the Kodokan Institute in Tokyo. He worked as a judo teacher in Madrid in 1954 and in Paris from 1955 to 1959.
Alongside works by Andy Warhol and Willem De Kooning, Yves Klein's painting RE 46 (1960) was among the top-five sellers at Christie's Post-War and Contemporary Art sale in May 2006. His monochromatic blue sponge painting sold for $4,720,000. Previously, his painting RE I (1958) had sold for $6,716,000 at Christie's New York in November 2000.[16] The Brisbane band Yves Klein Blue are also named after one of the artist's accomplishments. In 2008 MG 9 (1962), a monochromatic gold painting, sold for $21,000,000 at Christie's.
Tobey is most famous for his creation of so-called "white writing" - an overlay of white or light-colored calligraphic symbols on an abstract field which is often itself composed of thousands of small and interwoven brush strokes. This method, in turn, gave rise to the type of "all-over" painting style made most famous by Jackson Pollock, another American painter to whom Tobey is often compared.
Tobey’s work is also defined as creating a vibratory space with the multiple degrees of mobility obtained by the Brownian movement of a light brush on a bottom with the dense tonalities. The series of “Broadway” realized at that time has a historical value of reference today. It precedes a new dimension of the pictorial vision, that of contemplation in the action.
His work is inspired by a personal belief system that suggests Oriental influences and reference to Tobey's involvement in the Bahá'í Faith. Four of Tobey's signed lithographs hang in the reception hall in the Seat of the Universal House of Justice, the supreme governing institution of the Baha’i Faith.
acrylic, colourfix primer, graphite. soluble graphite, soluble crayon, ink and marble dust on fabriano paper
25.2 x 32.6 cm
Ink, acrylic marker and collage. 9.75" x 6.75" 2017 www.saatchiart.com/art/Collage-Research-and-Development/2...
László Moholy-Nagy was a Hungarian painter and photographer as well as professor in the Bauhaus school. He was highly influenced by constructivism and a strong advocate of the integration of technology and industry into the arts.
He said “Everybody is talented.” As a teacher, Hungarian artist László Moholy-Nagy lived by these words. As a painter and photographer he demonstrated his own talent. His vision of a nonrepresentational art consisting of pure visual fundamentals—color, texture, light, and equilibrium of forms—was immensely influential in both the fine and applied arts.
Oil on canvas; 276.2 x 260.7 cm.
“I can imagine an art that would have an innocuous surface where you don’t see anything at all of interest; you wouldn’t dream of looking at it with any idea that it could knock you over or have any power or anything, and then slowly you can begin to read into it all kinds of wonderful, imaginative things that you can see in it, and that could be a very marvelous form of art.” *
Born Rachmiel Resnick in 1917, Milton Resnick spent his childhood in the Ukraine, where he and his family were threatened by anti-Jewish pogroms during the Russian Civil War. The family fled first to Cuba and then to Brooklyn in 1922. He initially studied architectural drafting and lettering at a trade school, but could not find work when he finished school in the midst of the Depression in 1932. The following year, he enrolled in the fine arts program at the American Artist’s School, where he met Ad Reinhardt. In 1937, he met Willem de Kooning, who became a close friend, and in 1938, he joined the WPA. Resnick’s artistic pursuits were interrupted in 1940, when he was drafted into the army. When Resnick returned to New York after his discharge in 1945, he resumed painting and began meeting with de Kooning, Kline, Arshile Gorky, and other artists at the Waldorf Cafeteria for discussions about art and abstraction. From 1946 to 1948, Resnick lived in Paris, where he met Constantin Brancusi, Jean Hélion, and Tristan Tzara. He returned to New York, and in 1949, he was one of the founding members of the Club. That same year, Resnick was supposed to have his first solo exhibition, but the dealer cancelled it, causing a major setback to his career. In 1955, the Poindexter Gallery mounted his debut exhibition, but as a result of this six-year delay, Resnick has often been mislabeled a second-generation abstract expressionist.†
Resnick was a constant presence on the abstract expressionism scene, despite his ambivalence about being called an abstract expressionist. In 1951, he participated in the Ninth Street Show; his work was exhibited at the Stable Gallery; and in 1957, the Whitney Museum and the Jewish Museum selected his work for inclusion in the 1957 Annual Exhibition and Artists of the New York School, respectively. In 1959, he began to increase the scale of his work, creating massive paintings of small, thick gestures that covered the wall-sized canvases, forming a composition of all-over abstraction. Two years later, he started work on his famous New Bride (1961-1963), an abstraction of thick white impasto, with flecks of pale color, painted on a nine-by-seventeen-foot canvas. It took Resnick two years to build up the surface of the painting, and this became the first of the impasto monochromes for which he is best known.
Resnick continued to work in an abstract style until the late 1980s, when he started creating a series of gouaches featuring simplified human forms suspended in a field of brushstrokes and color. These isolated, abstracted figures continued in his art of the 1990s. Painted in acrylic and oil in addition to gouache, these figures are often alone, and even when Resnick painted them in pairs, each figure remains isolated, close to but unable to make contact with the other. From 2001 until his death in 2004, Resnick created his “X-Space” paintings, exploring the relationship between color, line, and space from a variety of angles. Regardless of the scale of his paintings or their degree of abstraction, Resnick’s gestural brushstrokes and his fascination with the textural and spatial aspects of art remained constant throughout his life.
* Geoffrey Dorfman, "Milton Resnick: In Memoriam," artcritical.com, March 2005 (accessed March 2009).
† David Cohen, “Milton Resnick Was an AbEx Pioneer,” New York Sun, May 29, 2008. www.nysun.com/arts/milton-resnick-was-an-abex-pioneer/78823/ (accessed February 2009).
#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 #dinosaur #pond #wave #duck #swirl
Untitled
Mixed media on paper
27.5 by 39.5 in.
Courtesy of Lohin-Geduld Gallery, New York.
www.artnet.com/gallery/423885474/lohin-geduld-gallery.htm... Carone
Oil on canvas; 200.7 x 170.2 cm.
Kirkeby has worked in a variety of media, including painting and sculpture, documentary film, and artist's books, and has also written poetry, art criticism, and travel essays. Although he knew at an early age that he wanted to be an artist, he first studied geology at the University of Copenhagen, graduating in 1964. He participated in geological fieldwork in Greenland on numerous occasions between 1958 and 1962, studying rock formations in the morning and sketching them during his free time in the afternoon.
In 1962, Kirkeby enrolled in the Experimental Art School in Copenhagen and began to exhibit his art in 1964. He was a member of the Fluxus group, a loosely organized, international group of avant-garde artists who worked in a wide range of media in the 1960s and '70s, emphasizing improvisation, everyday experience, and audience involvement. He was also influenced by other major artistic movements of those decades, including Pop Art, Performance Art, and Minimalism.
Kirkeby is most recognized for his large, painterly abstractions, which are often based on the Scandinavian landscape. Mysuseter, the title of this painting, refers to a village located in the Rondane region of Norway, where the landscape contains imposing mountain peaks, idyllic lakes, and densely wooded plains. His work has been compared to the Neo-Expressionist painting of such German artists as Georg Baselitz and Anselm Kiefer, due to its vigorous brushwork and emotive use of color. He has also been called an heir to the Northern Romantic tradition of the nineteenth century; like Casper David Friedrich, his landscapes convey a sense of human insignificance in the face of nature's sublime powers.
Frank Helmut Auerbach is a German-born British painter. Auerbach was born in Berlin. His parents sent him to England in 1939 to escape the Nazis as part of the Kindertransport programme. The family was jewish; his parents subsequently died in a concentration camp).
Auerbach does not prepare underpaintings, nor does he use outline sketches for portraits. In contrast, he sketches landscapes in the field and brings the sketches back to the studio, sometimes using as many as 200 sketches for a single painting.
His work might broadly be described as expressionist. Many of his paintings display an extremely thick impasto, something which he was criticized for at his 1956 Beaux Arts solo show. The impasto, which grew even heavier over the next decade is sometimes so heavy that the paint seems to have been sculpted rather than brushed on.
Untitled (1954)
Oil on paper
8 1/4 x 8 1/4 inches
Courtesy of Spanierman Modern, New York
www.spanierman-at-easthampton.com/07_Greene/07_Greene_rev...
Oil, gouache, and plaster on canvas; 106.4 x 170.2 cm.
Paul Jackson Pollock (January 28, 1912 – August 11, 1956), known as Jackson Pollock, was an influential American painter and a major figure in the abstract expressionist movement. He was well known for his unique style of drip painting.
During his lifetime, Pollock enjoyed considerable fame and notoriety, a major artist of his generation. Regarded as reclusive, he had a volatile personality, and struggled with alcoholism for most of his life. In 1945, he married the artist Lee Krasner, who became an important influence on his career and on his legacy.[1]
Pollock died at the age of 44 in an alcohol-related, single-car accident; he was driving. In December 1956, several months after his death, Pollock was given a memorial retrospective exhibition at the Museum of Modern Art (MoMA) in New York City. A larger, more comprehensive exhibition of his work was held there in 1967. In 1998 and 1999, his work was honored with large-scale retrospective exhibitions at MoMA and at The Tate in London.[2][3]
In 2000, Pollock was the subject of the film Pollock, directed by and starring Ed Harris, which won an Academy Award.
Acrylic on canvas; 149.9 x 200.7 cm.
Jean Dubuffet was a French painter, sculptor, and printmaker, best known for his development of art brut (“raw art”). As an art student in Paris, Dubuffet demonstrated a facility for academic painting. In 1924, however, he gave up his painting, and by 1930 was making a living as a wine merchant. He did not return to a full-time art career until the early 1940s.
After World War II, as one of the leading artists of the School of Paris, he developed the techniques and philosophy of art brut. Derived from Dubuffet’s studies of the art of children and of the mentally ill, art brut is intended to achieve immediacy and vitality of expression not found in self-conscious, academic art. To reflect these qualities, Dubuffet often used crude ideographic images incised into a rough impasto surface made up of such materials as tar, gravel, cinders, ashes, and sand bound with varnish and glue. His drawings and paintings are by turns childlike and obsessive, and their unfinished appearance excited much controversy.
During the 1960s Dubuffet experimented with musical composition and the creation of architectural environments. In various graphic and sculptural mediums he continued to explore the potentials of art brut. In his later years he also created several large sculptures of black-and-white painted fiberglass for various public spaces.
Myst Held Forms (1959)
Oil on canvas
15 by 10 in.
See more biographical information at:
www.artnet.com/Artists/ArtistHomePage.aspx?artist_id=1066...
Image courtesy of McCormick Gallery, Chicago
Abstract design by flan.
Available in (disponible en):
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Canvas [Different sizes]
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Oil on canvas.
Italian painter and printmaker. Born at Carpignano Sesia (Novara). Moved to Milan in 1941 and studied painting at the Brera Academy under Funi and Carr-32; became friendly with Cassinari and Morlotti. Joined the groups Numero and Pittura, and helped to edit their periodicals. Published etchings illustrating poems by Cesare Pavese 1947; first one-man exhibition at the Galleria della Bottega, Novara, 1948. After naturalistic beginnings, evolved c.1950-1 an abstract style influenced by the colours and light of Bonnard and by the structure of the Cubist pictures of Braque. Took studies from nature as his starting-point, but tried to capture the essence of natural forms bathed in light. Spent part of each year in the countryside of Piedmont, from which he drew inspiration. After 1960 his work started to become more figurative, with paintings of still life and shadowy nudes in interiors related to de Sta-21l and Bacon. Lives in Milan.
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.3
This is a spontaneous Lyrical abstract painting. The vibrant and happy colors will create a very energizing ambiance.
Emergence the process of being visible after being concealed. The beginning to new ideas and to a welcome change.
Oil on canvas.
Georges Braque was the son of a painting contractor who was also a Sunday painter. He had his first art lessons from his father. Braque then studied at the school of Fine Arts in Le Havre before going to Paris, where he studied with Bonnat and discovered African, Egyptian, and Greek sculpture at the Louvre. Braque was also influenced by the Impressionists and by his contemporaries, Matisse and Derain, whose Fauve movement he joined in about 1905. Even in this period, his works showed characteristics of his later styles, for he painted some works in monochrome, using angles as well as curves, with a flatter, more transparent pigment than that of his colleagues. By 1907, the architectural influence of Cezanne had asserted itself and Braque, with Picasso, founded the Cubist movement. He began to paint in muted colors and in the geometrical patterns, inverted perspective, and overlapping volumes associated with Cubism. Picasso and Braque worked closely together, until the outbreak of World War I, sometimes producing works so similar that the two artists themselves could not tell which one had painted. They also cooperated on both the analytical and synthetic stages of Cubism.
Braque was mobilized into the French Army in 1914, and a head wound he received in 1915 made him temporarily blind so that he could not paint again until 1917. He began to develop a new and more personal style, using a brighter palette and freer manner that is less angular and more luminous. By 1931 he had found a marvelous balance between intelligence and sensitivity, technique and inspiration. Braque painted a world that combines harmonious shadings of color, sinuous line, and more rounded form, with the multiple points of view and inverted space of Cubism. The most ordinary dull colors became resonant on his canvases: white is translucent; black, full of light. The resulting landscapes, figure paintings, and still lives, display lucidity, intellectuality, and restrained emotion. These qualities prompted the French government to proclaim him the "most French of all French artists of his generation."