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Oil on canvas; 280 x 300 cm.
Oil on canvas; 270 x 220 cm.
Albert Oehlen is a German artist. He graduated at the Hochschule für Bildende Kunst, Hamburg, in 1978. Closely associated with the Cologne art scene, he was a member of the Lord Jim Lodge along with Martin Kippenberger among others. His art is related to the Neue Wilde movement.
Oehlen has shown work internationally in many exhibitions including Grounswell at the Museum of Modern Art in New York, Provins – Legende at Museet for Samtidskunst in Roskilde and Spiegelbilder 1982-1985 at Max Hetzler in Berlin. He is represented by Max Hetzler in Berlin and Luhring Augustine in New York. He has worked collaboratively with Jonathan Meese. Since the late 1990s Oehlen has played in the bands Red Krayola and Van Oehlen. He is the brother of Markus Oehlen.
Relief print on paper; 65.1 x 50.2 cm.
German painter, printmaker, and sculptor who is considered to be a pioneering Neo-Expressionist. Baselitz was part of a wave of German painters who in the late 1970s rejected abstraction for highly expressive paintings with recognizable subject matter ( Neo-Expressionism). His trademark work was painted and displayed upside down to emphasize its surface rather than its subject matter.
Baselitz began art studies in 1956 at the Academy of Fine and Applied Art in East Berlin. He was expelled and left East Berlin in 1957 for West Berlin. There he entered the Academy of Fine Arts, completing postgraduate studies in 1962. During this period he also changed his surname to Baselitz. From his youth he was interested in the tradition of German Expressionist painting and its reliance on “primitive” sources such as non-Western art, folk art, children's art, and the art of the insane. Like his predecessors Ernst Ludwig Kirchner and Emil Nolde (both involved in a group known as Die Brücke), Baselitz employed a deliberately crude style of rendering and a heightened palette in order to convey raw emotion. In the mid-1960s Baselitz turned to the subject of heroes, rebels, and shepherds, often fragmenting the figures and continuing to make the thick impasto carry much of his paintings' emotional content. He also often used shocking or disturbing imagery to provoke a response in the viewer. In 1969 he began to paint and display his subjects upside down. Baselitz also created art in other media; his etchings, woodcuts, and wood sculptures are as direct and expressionistically charged as his mature paintings. His first American retrospective was organized in 1995 at the Guggenheim Museum in New York.
Gracias por las visitas, amables comentarios e invitaciones
Thank you for the visits, kind comments and invitations
My son's reaction to Abstract Expressionism (my wife's too)
Rothko at the Philadelphia Museum of Art
shot with my iPhone
An important canvas from the 1940s, full of gas pumps, trees, storefronts,it was the first in which he used his"colour-space" theory. In this work some colours advance, while others
recede, giving the impression of three-dimensional space.
Oil on canvas; 175 x 121 cm.
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 canvas; 76.2 x 88.9 cm.
Winifred Nicholson was an English painter and colorist who developed a personalized impressionistic style that concentrated on domestic subjects and landscapes. In her work, the two motifs are often combined in a view out of a window, featuring flowers in a vase or a jug.
Nicholson was born in Oxford. Her parents were Charles Henry Roberts and Lady Cecilia, daughter of George Howard, 9th Earl of Carlisle. Her interest in painting started early in life. George Howard was an accomplished painter as well as a friend and patron of many distinguished artists. Nicholson began painting with Howard around age 11. She attended the Byam Shaw Art School.
Nicholson married the artist Ben Nicholson in 1920. There were three children; Kate Nicholson also became an artist. In the 1920s Winifred became a Christian Scientist, an allegiance that lasted for the rest of her life. Although it is sometimes said incorrectly that with Ben, Winifred formed part of the artist colony at St Ives, Cornwall, she was never permanently living there. Although she painted less in the abstract style than in the representational, she did experiment with her own form of abstraction in the 1930s. Influences between her and Ben were mutual, Ben often admitting he learned much about color from his first wife. After they separated, she lived half of each year during the 1930s in Paris.
After her divorce from Ben Nicholson in 1938, she spent most of the rest of her life in Cumberland, at Boothby and at Bankshead. She painted prolifically throughout her life, largely at home but also on trips to Greece and Scotland, among other places. Many of her works are still in private collections, but a number are in the Kettle's Yard art gallery, Cambridge, and several key works belong to Tate. One painting is believed to have hung at 10 Downing Street. She had a lifelong fascination for rainbow and spectrum colors and in the 1970s she made particularly strong, innovative use of such colors in many of her paintings.
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.
en.wikipedia.org/wiki/Jackson_Pollock
Clyfford Still Museum in Denver, CO. Clyfford Still was an American painter, and one of the leading figures of Abstract Expressionism.
Synthetic polymer paint on canvas; 183.2 x 106.7 cm.
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.
Oil on cavas; 115.2 x 72.5 cm.
Jean-Paul Riopelle was born in Montreal on October 7, 1923. He studied painting with Henri Bisson and in 1943 he enrolled at the Ecole du Meuble in Montreal. In 1945 Riopelle began a close association with his instructor Paul-Emile Borduras, and other Canadian avant-garde artists who formed the Automatiste group. That year he also traveled to Paris on a Canadian Government Fellowship. In 1946 the artist visited New York, Where his work was included in the International Surrealist Exhibition and where he met Hayter, Miró and Lipchitz.
Riopelle settled in Paris in 1947, where he soon met Pierre Loeb and André Breton. He also made the acquaintance of many of the artists involves with art informel, including Georges Mathieu, Wols and Hans Hartung. In 1948 the Automatiste manifesto Refus global, which Riopelle signed, was published. Beginning in that year he participated regularly in the Salon de Mai. In 1949 he was represented in the Salon des Surindépendants and was given his first one-man exhibition, at the Galerie Nina Dausset. Additional Riopelle shows followed in Paris. He participated in the São Paolo Bienal in 1951 and 1955, receiving an Honorable Mention at the latter. In 1954 and again in 1962 Riopelle was included in the Venice Biennale. Also in 1954 the first of many Riopelle shows was held at the Pierre Matisse Gallery in New York.
In 1958 Riopelle received an Honorable Mention at the Guggenheim Museum’s Guggenheim International Award exhibition and a major retrospective of his work was held at the Kölnischer Kunstverein, Cologne. Also that year the artist began to make bronze sculpture, which he exhibited for the first time at the Galerie Jacques Dubourg, Paris, in 1962. Retrospectives of Riopelle’s work held in the early 1970s include those at the Fondation Maeght, Saint Paul-de-Vence, France, in 1971, and at the Musée d’Art Moderne de la Ville de Paris the following year. In 1977 the artist began his black and white Iceberg series of paintings. Two years later he commenced work on a ceramic wall for the Fondation Maeght, which he completed in 1981. When his wife, the artist Joan Mitchell, died in 1992, Riopelle dedicated to her his Hommage à Rosa Luxemburg, a work composed of three big canvases. Soon after the artist would stop to paint completely. Riopelle died in Île aux Grues, Quebec.
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
Oil on Canvas Board (2015)
by Greg Mason Burns
30 x 40 cm
Prints - fineartamerica.com/featured/the-bed-i-greg-mason-burns.html
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
Metart #14 (1949)
Painting
47.5 by 40 in.
Courtesy of Gallery Sam, Berkeley, Calf.
More biographical information can be found at the link below.
artscenecal.com/ArticlesFile/Archive/Articles2006/Article...
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.