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Oil on canvas; 100 x 81 cm.
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
Oil on canvas; 153.7 x 183.5 cm.
Born in Montreal, he studied under Paul-Émile Borduas in the 1940s and was a member of Les Automatistes movement. He was one of the signers of the Refus global manifesto. In 1949 he moved to Paris and continued his career as an artist, where he commercialized on his image as a "wild Canadian". In 1959 he began a relationship with the American painter Joan Mitchell. Living together throughout the 1960s, they kept separate homes and studios near Giverny, where Monet had lived. They influenced one another greatly, as much intellectually as artistically, but their relationship was a stormy one, fueled by alcohol. The relationship ended in 1979. His 1992 painting Hommage à Rosa Luxemburg is Riopelle's tribute to Mitchell, who died that year, and is regarded as a high point of his later work.
Riopelle's style changed gradually from Surrealism to abstract expressionism, in which he used myriad soft cubes of color, applied as flat planes with a palette knife, on large canvases to create powerful atmospheres. In 1969 he was made a Companion of the Order of Canada, and began to spend more time in Canada. He was specially recognized by UNESCO for his work. One of his largest compositions was originally intended for the Toronto airport, but is now in the Opéra Bastille in Paris. In 1988 he was made an Officer of the National Order of Quebec and was promoted to Grand Officer in 1994. In 2000 Riopelle was inducted into Canada's Walk of Fame. In June, 2006 the Montreal Museum of Fine Arts organized a retrospective exhibition which was presented at the State Hermitage Museum in Saint Petersburg, Russia and the Musee Cantini in Marseilles, France. The Montreal Museum of Fine Arts has a number of his works, spanning his entire career, in their permanent collection.
Monotype with an intervention by wax pastels on paper; 21 x 33 cm.
BIO TRANSLATED FROM GERMAN BY GOOGLE TRANSLATE:
Mirko Basaldella (born September 28, 1910 in Udine, Italy; † 24 November 1969 in Cambridge, Massachusetts, USA) was an Italian-American sculptor, painter and draftsman.
Mirko Basaldella named with artist's name usually only "Mirko". He comes from an artistic family, his brothers and Afro Dino Basaldella were also artists of international standing.
Mirko Basaldella studied art at the Accademia di Belle Arti di Firenze "and the" Scuola di arti applicate di Monza "by Arturo Martini. Martini, he works with at Monza in 1930 together until 1932. Between 1932 and 1934, both brothers are working in Milan in Afro and Mirko Arturo Martini's studio.
His first important exhibition was Mirko but already in October 1928, where he participated with his two brothers Dino and Afro Basaldella and Alessandro Filipponi at the Scuola della I ° Mostra d'friulana avanguardia (I ° exhibition of avant-garde school Friuli).
In 1934, Mirko moved to Rome. In Rome he is with his brother and other artists in the gallery "Comet" from. Also in 1934, his work is exhibited in the "Galleria Sabatello" in Rome. He made primarily bronze sculptures. In 1936, his first solo exhibition follows in the gallery "Comet". Also in 1936 Mirko participants of the Venice Biennale and is in the same year with his brother in the Afro Gallery "Mint" in Turin. In the following years, Mirko including exhibitions in Rome and New York.
In the years 1946-1947 Mirko picturesque experimented with post-cubist and a style similar to the Metaphysical painting imagery.
In the years 1948 to 1954, Mirko numerous solo exhibitions in New York, Rome and Milan, and creates a number of monumental sculptures. Mirko is a participant of documenta 1 (1955) and Documenta II in Kassel in 1959.
Mirko 1957 draws in the U.S. and is there until his death in 1969, director of design workshops (sculpture) at Harvard University in Boston.
Oil on canvas; 175.3 x 149.8 cm.
TWORKOV, JACK (1900–1982), U.S. educator, printmaker, painter. Tworkov was born in Biala, Poland and immigrated to the U.S. in 1913. He studied at Columbia University, the National Academy of Design, and the Art Students League. Tworkov worked as an artist for the Works Project Administration's Federal Art Project in 1935, where he met Willem de Kooning. Both men emerged as forces in the Abstract Expressionist movement. Tworkov was also one of the founders of The Club, a loose New York association of Abstract Expressionists which met to discuss matters relating to art making. Like many other Abstract Expressionists, Tworkov's early work consisted of figures and still-lifes. He also rendered images in a cubist style before adopting the visual aspects of Abstract Expressionism. As to be expected, his early work shared many stylistic characteristics with that of de Kooning. As Tworkov gained eminence along with his colleagues in the New York School representational subject matter became subsumed in abundantly textured long, dashing, diagonal brush strokes, as in his painting Blue Note from 1959. Among other influences, Tworkov also turned to the art of the marginalized Expressionist painter Chaim Soutine as a source of inspiration; in fact, Tworkov wrote an article on Soutine during the latter's 1950 show at MOMA. Tworkov achieved the illusion of vibrating and multiple fields or screens of color from a cool, restricted palette and subtle nuances of tone. Likely influenced by the Minimalists, Tworkov integrated grids and other ordering systems into his images from the 1960s onward, such as Shield (1961) and Variables II (1964–65). One of his major series of paintings, House of the Sun, refers to Ulysses, whose epic adventures suggested a variety of themes to the artist. Tworkov taught at numerous institutions: the American University, Black Mountain College (other luminaries of this period such as John Cage, Franz Kline, and Lyonel Feininger also taught here during the 1940s), Queens College, the Pratt Institute, and Yale University, where he functioned as chairman of the art department. He was a recipient of a Corcoran Gold Medal in 1963. Tworkov's art has been exhibited at numerous major museums, including the Art Institute of Chicago, the Guggenheim Museum, the Museum of Modern Art, New York, the Pennsylvania Academy, and the Whitney Museum, among other venues. His work is in the collections of the Hirschhorn Museum and Sculpture Garden, the National Gallery of Art, Washington, D.C., and the Smithsonian Museum of American Art.
Clyfford Still Museum in Denver, CO. Clyfford Still was an American painter, and one of the leading figures of Abstract Expressionism.
Dutch abstract painter, sculptor, printmaker, ceramicist, designer, and writer, regarded as the most powerful of the post-war generation of Dutch artists. In 1948 he was a founder of the Cobra group. He moved to Paris in 1950 and by the end of the decade he had gained an international reputation, having traveled widely and won several prestigious prizes. His most characteristic paintings are in an extremely uninhibited and agitated Expressionist vein, with strident colors and violent brushwork applied with very thick impasto. The images usually look purely abstract at first glance, but they often retain suggestions of human masks or of animal or fantasy figures. Herbert Read wrote that in looking at his pictures one has the impression ‘of a spiritual tornado that has left these images of its passage’. Such works were influential on Neo-Expressionism. Appel has also made sculpture, prints, and ceramics, and he has done a wide range of design work.
detail of "berkeley #57," oil on canvas, 1955, by richard diebenkorn, american (it's a big canvas with lots of great detail and small compositions within)
2017 Barbie Hair Fair 50th Anniversary and 1991 Dylan McKay (Luke Perry)
Original mini artwork by the brilliant, JohnSo, 2021
Acrylic and oil on canvas; 275 x 255 cm.
Olav Christopher Jenssen (born in Sortland, Norway, in 1954) studied from 1976 to 1979 at the Statens Håndverks- og Kunstindustrieskole in Oslo, and from 1980 to 1981 at the Statens Kunstakademie in Oslo. He continued his studies abroad, first in New York and then in Berlin until 1983. Now living and working both in Berlin and in Lya, Sweden, Jenssen was in 1996 appointed Professor of painting at the Hochschule für Bildende Kunst in Hamburg as a successor to Sigmar Polke. He first participated in exhibitions in 1977. In 1992 Jenssen participated in the Documenta IX in Kassel, where the Lack of Memory series was exhibited together with works by Bruce Marden and Jonathan Lasker. An exhibition of Jenssen's works was held at Studio N at the Museum of Contemporary Art in Helsinki in 1993. He has also had solo shows in Finland, for instance in Galerie Artek in 1988, 1991, and 1995, and at the Nordic Art Centre in 1993.
Olav Christopher Jenssen's paintings may evoke a trace of a romantic-mystical landscape painting, combining the artist's experience of nature and his inner landscape, the landscape of the soul. This interpretation has its origin in the strong Scandinavian tradition represented by the landscape painters of the 1800s and artists such as Carl Fredrik Hill and Edvard Munch. The romantic depiction of nature with religious undertones is often supported by the artist's own strong, expressive interpretation of the subject. Nevertheless, taking into account the sign language associated with the paintings, Jenssen's misty and hazy landscapes can be regarded from a novel point of view.
In Jenssen's paintings the border between the figurative and non-figurative is blurred. In his early works he used recognisable forms as part of a composition. Later in the 1980s the shapes used by the artist suggested the smallest particles of living nature, such as plant tissue and protozoa. In his works Jenssen uses signs and texts improvised by the free movement of a hand. Their origin refers to subconscious automatic writing, which was used as a method of surrealist art. Indeed, Jenssen admits to being influenced by Paul Klee. He maintains his spontaneous working method by drawing constantly, even when he is travelling. By marking down in the drawing the time and place of its creation he connects the work with the present. For Jenssen, drawing is a way of clearing and analysing the relationship between forms and objects, which he claims not to be able do to by thinking alone. He finds all his paintings and drawings to be of equal importance and worth preserving. A past subject or form may resurface, as a stimulus for a new theme.
The 1980s saw an increased interest in painting. Paintings emphasised figurativeness, expressiveness, and an airy picturesqueness. The post-modern trend also toyed with elements and subject matter connected with earlier trends. During his stay in New York in 1981 Olav Christopher Jenssen became acquainted with the abstract impressionism of the 1950s, representative of an informal and non-figurative style. This contributed to Jenssen's understanding of an abstract form language. These ideas he combined with the tradition of romantic landscape painting. Jenssen was also interested in decorative, ornamentally-shaped details, accentuating the surface of the painting, and the strong vertical or horizontal divisions, which find a softer interpretation in his works.
His move to Berlin in 1982 took Jenssen into the very heart of a vigorous and emotionally appealing painting centre. The politically sensitive phase in the still divided Germany was reflected in the artists' expressive and fierce way of painting; their works dealt with grand, mythological stories or depicted the frenzied, urban lifestyle. Jenssen, however, finds his own range of subjects in quiet and inconspicuous everyday life, which in his productions is transformed into an uplifting and insightful experience.
After an intensive 2-year painting session Jenssen completed in 1992 a group of forty large paintings entitled Lack of Memory. The paintings Aphasia, 1990-91, Lapidary, 1991-92, and Serpentine, 1992. The name of a work is an important part of the painting process. The name provides the work with a finishing touch, its ultimate meaning. For Jenssen the concept of Lack of Memory means the absence of memory as distinct from a 'lock of memory', the loss of memory. This general concept refers to a moment of standstill, an emotion here and now which is isolated from the ballast of memory, the past, or the future.
The Lack of Memory series proved an important turning point in Jenssen's career. The long painting process allowed him to experiment with various working methods. He used different techniques in different paintings, such as spreading the paint on the canvas with a brush, by hand, or with a palette knife. Colour schemes were chosen both from the sensitive dark shades and from an expressive palette, non-primary colours such as green, purple, and orange. Instead of the basic forms of a triangle, square, or a circle, Jenssen used free forms which could be associated with nature. The painting does not let on whether the subject depicted is microscopically small or whether the spirals refer to something larger such as the stellar system, for example.
Eija Aarnio
Abstract composition of June 29, 2015. Photo by Alecsey Boldeskul.
Lomo LC-A
Fujichtome Provia 100F
Plustek OpticFilm
Acrylic on canvas; 16 x 12 3/4 in.
People's Artist of Ukraine, laureate of T.Shevchenko National award, prize-winner of the All-Ukrainian contest «Man of the Year-2003», holder of the list «100 great people of Ukraine» compiled by the country’s mass media.
In 2006 he joined the «Golden Guild» within International Academy of Modern Art in Rome as the «maestro of the highest prestige, who has written the most beautiful page in the history of modern art». In October 2007, a reputable London newspaper The Daily Telegraph published a list of «100 geniuses now living in the world», a survey carried out among British population by the global consulting company Creators Synectics based in Great Britain. Ivan Marchuk, the only one from Ukraine, was assigned number 72 on the list.
• Ivan Marchuk was born in 1936 in the village of Moskalivka in Ternopil region.
• In 1956 he graduated from the Lviv School of Decorative Arts.
• In 1965 he graduated from the Lviv Institute of Decorative Arts, ceramic department.
• In 1979 - the first official personal exhibition in Moscow (exhibition halls on Malaya Gruzinskaya str.).
• From 1980 to 1989, without any official recognition and admission to the Union of Artists, he was arranging exhibitions in various institutions and organizations, such as, for instance, in the Art department of the National Library of the Academy of Sciences of Ukraine. At the same time he is distinguished as an informal leader of the Ukrainian art underground.
• In 1989 he immigrated to Australia, then he moved to Canada and finally to the United States.
• In 1990 - Marchuk visited Ukraine and opened his first official exhibition in Kyiv, in the Ukrainian State Art Museum of Fine Arts (now - National Art Museum of Ukraine).
• In 1997 he became the laureate of T.Shevchenko National award.
• In 2001 Marchuk settled permanently in Ukraine.
• In 2006 the International Academy of Modern Art in Rome admitted Ivan Marchuk to the «Golden Guild» and elected him an honorary member of the Scientific Council of the Academy. It was the first recognition of the Ukrainian artist by the institution of such a high level. Today there are 51 artists from all over the world who are members of «Golden Guild».
• In 2007 according to the British paper The Daily Telegraph Ivan Marchuk was called a genius of nowadays among hundreds of prominent figures of our time (72 place).
• From 1979 to 2007 Ivan Marchuk held more than 60 personal exhibitions, among them:
1991 - Ukrainian Center, Philadelphia, USA
1992 - Gallery «13», New York, USA
1993 - Gallery «SAVAH», Sydney, Australia
1999 - Gallery of the city municipality, Lille, France
• 2005 – Exhibition devoted to the 40th anniversary of the artist’s creative work, «Ukrainian House», Kyiv
• 2006 - Cultural Bridge Kyiv-Paris «Strings of Sadness and Hope». The simultaneous exhibitions dedicated to the 20th anniversary of Chernobyl tragedy, «Ukrainian House» (Kyiv, Ukraine), the Cultural Center, Embassy of Ukraine in Paris and UNESCO (France)
• 2007 - Kyiv Museum of Russian Art
• 2008 - Kyiv Museum of Russian Art, «The Way Home» (exhibition of landscapes of different years).
For me, art is the life and revelation. There is no other alternative. At the same time art is drudgery. I work 365 days through a year, and can not help but do it. It is the verdict of fate, karma, doom. There is no escape from it. I dream of going to the warm beach, lying in the grass and listening to its growth, I want to watch the clouds soaring high up in the sky. I want to enjoy life, have fun, to mix up with people in a good company. I wouldn’t mind going to school to teach someone there. And then it occurs to me: but more than that I want to do something myself. Invincible belief!
Ivan Marchuk
www.ukrainianart.com/index.php?page=artistinfo&artist...
Ivan Marchuk is Ukraine’s most prominent artist. Having made his name in America, Canada and Australia, Marchuk returned to Kiev after the September 11 attacks. One of the Ukrainian president's favourites, Marchuk was also named as one of 100 contemporary geniuses by Synectics UK& Europe consulting company, alongside such luminaries as Albert Hoffman, Nelson Mandela and ‘Simpsons’ creator Matt Groening.
Oil and mixed media on cardboard; 34.7 49.9 cm.
Italian painter and stage designer, born in Udine. Full name Afro Balsadella, but is usually known as Afro; brother of the sculptor Mirko Balsadella (Mirko). Father a leading decorator. Studied at secondary schools specialising in art subjects in Florence and Venice, and had his first one-man exhibition at the Galleria del Milione, Milan, in 1932. Began by painting still lifes, landscapes, portraits and murals. Moved in 1938 to Rome. War service and in the Resistance 1940-4. Developed a near-abstract style in 1947-8 under the influence of Klee and late Cubism. Held regular exhibitions at the Catherine Viviano Gallery, New York, from 1950-68 and made frequent visits to the USA, developing a looser, more improvisatory abstract style partly under the influence of Gorky, Kline and de Kooning. Joined the group Otto with Birolli, Corpora, Moreni, Morlotti, Santomaso, Turcato and Vedova in 1952. Painted a mural for the UNESCO headquarters in Paris 1958. Awarded the City of Venice painting prize at the 1956 Venice Biennale and Second Prize at the 1959 Pittsburgh International; also designed sets and costumes for the ballet and the opera. His late works, from c.1970, had more precise shapes. Died in Zurich.
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.2
Oil on canvas; 205.8 x 175.2 cm.
TWORKOV, JACK (1900–1982), U.S. educator, printmaker, painter. Tworkov was born in Biala, Poland and immigrated to the U.S. in 1913. He studied at Columbia University, the National Academy of Design, and the Art Students League. Tworkov worked as an artist for the Works Project Administration's Federal Art Project in 1935, where he met Willem de Kooning. Both men emerged as forces in the Abstract Expressionist movement. Tworkov was also one of the founders of The Club, a loose New York association of Abstract Expressionists which met to discuss matters relating to art making. Like many other Abstract Expressionists, Tworkov's early work consisted of figures and still-lifes. He also rendered images in a cubist style before adopting the visual aspects of Abstract Expressionism. As to be expected, his early work shared many stylistic characteristics with that of de Kooning. As Tworkov gained eminence along with his colleagues in the New York School representational subject matter became subsumed in abundantly textured long, dashing, diagonal brush strokes, as in his painting Blue Note from 1959. Among other influences, Tworkov also turned to the art of the marginalized Expressionist painter Chaim Soutine as a source of inspiration; in fact, Tworkov wrote an article on Soutine during the latter's 1950 show at MOMA. Tworkov achieved the illusion of vibrating and multiple fields or screens of color from a cool, restricted palette and subtle nuances of tone. Likely influenced by the Minimalists, Tworkov integrated grids and other ordering systems into his images from the 1960s onward, such as Shield (1961) and Variables II (1964–65). One of his major series of paintings, House of the Sun, refers to Ulysses, whose epic adventures suggested a variety of themes to the artist. Tworkov taught at numerous institutions: the American University, Black Mountain College (other luminaries of this period such as John Cage, Franz Kline, and Lyonel Feininger also taught here during the 1940s), Queens College, the Pratt Institute, and Yale University, where he functioned as chairman of the art department. He was a recipient of a Corcoran Gold Medal in 1963. Tworkov's art has been exhibited at numerous major museums, including the Art Institute of Chicago, the Guggenheim Museum, the Museum of Modern Art, New York, the Pennsylvania Academy, and the Whitney Museum, among other venues. His work is in the collections of the Hirschhorn Museum and Sculpture Garden, the National Gallery of Art, Washington, D.C., and the Smithsonian Museum of American Art.
Acrylic on canvas; 180 x 180 cm.
Hans Hartung was a French painter of German origins, one of the leading European exponents of a completely abstract style of painting. He became particularly well known for his carefully composed, almost calligraphic arrangements of black lines on colored backgrounds.
Hartung received conventional training at art academies in Leipzig and Dresden, but even as a young man he made inkblot abstractions. An early influence was the Russian painter Wassily Kandinsky, who also had eschewed recognizable objects. In 1931 Hartung had a one-man exhibition in Dresden, but success was not forthcoming. Sick and short of funds, he spent the next three years on Minorca. He returned to Germany but, abhorring Nazism, settled in Paris in 1935; he became a French citizen in 1946. In World War II he served with the French Foreign Legion in North Africa and Alsatia, where he was seriously wounded. His service was interrupted by confinement in a Spanish concentration camp, from which he was released as a result of U.S. intervention.
Hartung’s mature style, which involved swirling, energetic linear motifs, found an eager public after the war. A successful showing of his work in Paris (1947) was followed by exhibits elsewhere in Europe and in the United States, Japan, and Latin America. In 1960 he was awarded the Grand Prix of the Venice Biennale, where an entire room of the French Pavilion was devoted to his work. He had a decisive influence on the postwar generation of abstract painters in Europe. Hartung’s later works became progressively calmer and more stable. Many of his works are titled by letters and numbers.
Gracias por las visitas, amables comentarios e invitaciones
Thank you for the visits, kind comments and invitations
Oil and collage on paper; 38.7 x 40.6 cm.
Joseph Beuys was a German avant-garde sculptor and performance artist whose works, characterized by unorthodox materials and ritualistic activity, stirred much controversy. Beuys was educated in Rindern, Ger., and served in the German air force throughout World War II. In 1943 his plane crashed in the frozen Crimea. Those who found him tried to restore his body heat by wrapping him in fat and an insulating layer of felt; these substances would later become recurring motifs in his works. From 1947 to 1951 he studied art in Düsseldorf, and in 1961 he was appointed professor of sculpture at the Staatliche Kunstakademie in Düsseldorf. Beuys was also involved in German politics.
Beuys worked in the mid-1960s with the international avant-garde art group known as Fluxus. During this period he began to stage “actions,” events at which he would perform acts of a ritual nature. For one of his best-known actions, How to Explain Pictures to a Dead Hare (1965), Beuys covered his head with honey and gold leaf, wore one shoe soled with felt and one with iron, and walked through an art gallery for about two hours, quietly explaining the art therein to a dead hare he carried. His art was compared by some critics to that of the German Expressionists, both for its obsessive and unsettling qualities and for its linking of artistic revolution and social revolution.
Mordecai Ardon (1896-1992) is considered by many to be Israel's greatest painter. He studied at the Bauhaus (1921-25) under Klee, Kandinsky, Feininger and Itten. The influence of the Bauhaus and especially of Paul Klee on his artistic development was profound and lasted a life time. The other great source of inspiration were the Old Masters, especially Rembrandt, and El Greco. After graduating from the Bauhaus he studied the painting techniques of the Old Masters under Max Doerner, at the Munich Academy (1926). These dual, seemingly contradicting elements, forged the character of his painting throughout the 70 years of his artistic career. Ardon's unique position in Modern Art stems from the union of these two opposites in his paintings: A Modern, Expressionist, and mainly Abstract, style, with the classical painting technique of the Old Masters. The depth and richness of his colours owe their quality to this technique. He liberated them from the figurative context of the Old Masters, and turned them into tools for the creation of his original contribution to Modern Art of the 20th Century.
Guillaume Cornelis van Beverloo (born 1922, Liege, Belgium), better known under his pseudonym Corneille, is a Dutch artist. Together with Karel Appel and Constant, Corneille was the co-founder of the Dutch Experimental Group (1948) that later gave way to the CoBrA group. In 1950 he settled in Paris. A year later he traveled to the Sahara, and the deep impression that the desert made on him found its expression in a series of paintings in which the earth was pictured as a sun-parched body of sand and stone, where only a few species of plant and animal survived.
Later he traveled to South America, the U.S. and Central Africa. The paintings that he produced were often bird's-eye views of flat landscapes and cities, but they came to be more and more movement, with stronger color contrasts. From the late 1970s onward Corneille's work became more representational, and large areas of color came to the fore. In a lyric style that he would never again abandon. He paints visions of tropical landscapes and gardens occupied by plants, animals and women. Corneille has become one of the most popular Dutch painters of his time, and his work enjoys an international reputation.
Abstract Expressionism in photography, inspired by well-known abstract artists of the mid-20th Century such as Mark Rothko, Jackson Pollock, Frank Bowling, Gerhardt Richter and orthers.
Untitled (1950s)
Pastel and collage on woven paper
10-7/16 x 14 inches
Courtesy of Spanierman Modern, New York
Oil on canvas; 114 x 122 cm.
Birolli was born at Verona to a family of industrial workers. In 1923 he moved to Milan where he formed an avanguardist group with other artists such as Renato Guttuso, Giacomo Manzù and Aligi Sassu. In 1937 he was a member of the artistical movement called Corrente. in the same year he was arrested by the Fascist government: in the following years he largely left the painting activity to devote himself to the Communist propaganda and, later, to the support of the partisan resistance.
After World War II, in 1947, Birolli moved to Paris. Here his painting style changed swiftly under the influences of Henri Matisse and Pablo Picasso, moving first to a post-Cubist position and then to a somehow abstract form of lyrism.
He died suddenly at Milan in 1959.
Tendresse (1984)
Oil on canvas
50 by 40 in.
Balcomb Greene taught art history and aesthetics at Carnegie Tech in Pittsburgh (today Carnegie-Mellon Universtiy). Among his students were Philip Pearlstein and Andy Warhol.
Photograph courtesy Spanierman Gallery, LLC, New York
Spanierman Gallery, LLC is the representative of the estate of Balcomb Greene
Land of Sunshine -Oil on canvas 100cmx80cm
#newart #artist #oils #canvas #artforsale #artcurator #londonart #callforentries #artistoninstagram #oiloncanvas #abstract #abstractpaintings #abstractexpressionism
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Jackson Pollock, Autumn Rhythm (Number 30), 1950, enamel on canvas, 266.7 × 525.8 cm (The Metropolitan Museum of Art), © The Pollock-Krasner Foundation
Oil on canvas; 180.0 x 180.0 cm.
Hans Hartung was a French painter of German origins, one of the leading European exponents of a completely abstract style of painting. He became particularly well known for his carefully composed, almost calligraphic arrangements of black lines on colored backgrounds.
Hartung received conventional training at art academies in Leipzig and Dresden, but even as a young man he made inkblot abstractions. An early influence was the Russian painter Wassily Kandinsky, who also had eschewed recognizable objects. In 1931 Hartung had a one-man exhibition in Dresden, but success was not forthcoming. Sick and short of funds, he spent the next three years on Minorca. He returned to Germany but, abhorring Nazism, settled in Paris in 1935; he became a French citizen in 1946. In World War II he served with the French Foreign Legion in North Africa and Alsatia, where he was seriously wounded. His service was interrupted by confinement in a Spanish concentration camp, from which he was released as a result of U.S. intervention.
Hartung’s mature style, which involved swirling, energetic linear motifs, found an eager public after the war. A successful showing of his work in Paris (1947) was followed by exhibits elsewhere in Europe and in the United States, Japan, and Latin America. In 1960 he was awarded the Grand Prix of the Venice Biennale, where an entire room of the French Pavilion was devoted to his work. He had a decisive influence on the postwar generation of abstract painters in Europe. Hartung’s later works became progressively calmer and more stable. Many of his works are titled by letters and numbers.