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Vinyl on canvas; 90 x 175 cm.
Antonio Scialoja was born in Rome on December 16, 1914. In the late 1930s he joined the artistic and literary circles of the Galleria La Cometa. Having given up his law studies in 1937, he devoted himself entirely to painting and produced his first Expressionist paintings, in which his use of thick textural brushstrokes was clearly influenced by French painting, in particular Soutine. In 1939 he exhibited at the third Quadriennale of Rome and in 1941 had a private show at the Società Amici dell’Arte in Turin. The following year he took part in a group show at the Galleria Lo Zodiaco in Rome, along with Emilio Vedova, Giulio Turcato, and Leoncillo Leonardi. He was actively involved in the Resistance, and he worked for the theater, designing his first stage sets in 1943. At the end of the war, along with the artists Stradone, Ciarrocchi, and Sadun, he founded the group “I quattro fuori strada”. During the late 1940s he went to Paris, where he became increasingly immersed in European artistic culture; this environment strongly affected his investigation into tone and Neo-Cubism. In the 1950s Scialoja gradually broke free from Expressionism, turning to Analytical Cubism and then to abstraction. His contacts with the group Origine, who were against the decorative aspects of abstract art, together with his trip to the U.S. in 1956, where he met the protagonists of American Abstract Expressionism, pushed the artist to thoroughly explore color, texture, and gestural painting. His first Impronte date back to 1957; in these works traces of deposited color are printed from one surface onto the other, and onto diverse materials ranging from paper to canvas. Meanwhile Scialoja toock part in important national and international shows; in 1960 he moved first to New York and then from 1961 to 1963 to Paris. Back in Italy he exhibited in the 1964 Venice Biennale. His artistic production ceased for a prolonged period during the 1970s, and he only resumed painting in 1983. Scialoja was also a poet, writer, and set designer. He taught at the Academy of Fine Arts in Rome and served as its director for many years. He died in Rome on March 1, 1998.
Acrylic on heavy cardboard; 74.6 x 104.3 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.
Acrylic on canvas; 179.1 x 200 cm.
Polke was born in Oels in Lower Silesia. He fled with his family to Thuringia, in 1945 during the Expulsion of Germans after World War II. His family escaped from the Communist regime in East Germany in 1953, traveling first to West Berlin and then to West German Rhineland. Upon his arrival in West Germany, Polke began to spend time in galleries and museums and worked as an apprentice in a stained glass factory in Düsseldorf , before entering the Kunstakademie at age twenty. From 1961 to 1967 he studied at the Academy under Karl Otto Götz, Gerhard Hoehme and deeply influenced by his teacher Joseph Beuys. In 1963 Polke founded the painting movement "Kapitalistischer Realismus" with Gerhard Richter and Konrad Fischer. It is an anti-style of art, appropriating the pictorial short-hand of advertising. This title also referred to the realist style of art known as "Socialist Realism", then the official art doctrine of the Soviet Union but it also commented upon the consumer-driven art "doctrine" of western capitalism.
Polke's creative output during this time of enormous social, cultural, and artistic changes in Germany and elsewhere, demonstrate most vividly his imagination, sardonic wit, and subversive approach in his drawings, watercolors, and gouaches produced during the 1960s and 1970s. Embedded in these images are incisive and parodic commentaries on consumer society, the postwar political scene in Germany, and classic artistic conventions. The anarchistic element of the work Polke developed, was largely engendered by his mercurial approach. His irreverence for traditional painting techniques and materials and his lack of allegiance to any one mode of representation has established his now-respected reputation as a visual revolutionary. It was not unusual for Polke to combine household materials and paint, lacquers, pigments, screen print and transparent sheeting in one piece. A complicated "narrative" is often implicit in the multi-layered picture, giving the effect of witnessing the projection of a hallucination or dream through a series of veils.
Polke embarked on a series of world travels throughout the 1970s, photographing in Pakistan, Paris, New York City, Afghanistan, and Brazil. From 1977–1991 he was a professor at the Academy of Fine Arts, Hamburg. He settled in Cologne 1978, where he continued to live and work until his death in 2010 after a long battle with cancer. In 2007, Vienna's "Museum Moderner Kunst" held an exhibition of Polke's work that spanned his career from his appropriations of Pop imagery and continuing through decades of perplexing compositions and clever critiques to arrive at current works that employ a haze of chemicals, minerals, and paints.
Oil on canvas; 84 x 66 in.
English painter and printmaker. He studied at Birmingham College of Art and came to public attention at the John Moores exhibition in Liverpool in 1965. Typical of his large-scale paintings of that period is Study (1965; London, Tate), in which folded and dramatically lit shapes are presented against a sprayed fence like background. He continued looking to the American models of Abstract Expressionism and Post-painterly Abstraction in panoramic canvases such as Barrier 3 (1969; British Council), although he combined the insistent flatness of these sources with shapes rendered in the illusion of three dimensions.
In Walker’s next series, such as Juggernaut II (1973–4; Liverpool, Walker A.G.), he reinterpreted Cubist collage on a massive scale, layering shapes of cut-out canvas painted to look like the rusting metal of the industrial vehicles alluded to in the title. As early as his Numinous series (1977–8) of variations on a balcony motif borrowed from Edouard Manet, Francisco de Goya and Henri Matisse, Walker increasingly referred to earlier painted images. Red Strand Infanta II (1981; British Council) was one of a group of canvases that made direct allusion to Velázquez and that introduced into his work illusions of deep space; from this point on, he favored oil painting rather than acrylic.
Following a residency Walker was appointed Dean of Melbourne’s Victoria College of the Arts in 1982. In works such as Oceania My Dilemma III (1984) he began to incorporate elements from Oceanic art such as carved masks, skull racks, painted barks and wall paintings in the bush, while continuing to work in series in an essentially modernist idiom that had much in common with international developments in Neo-Expressionist and ‘New Image’ painting.
Etching and engraving.
Gabor Peterdi,a printmaker and painter, was the son of the leading Hungarian poets of their time, the late Andor Peterdi and Zeseni Varnai. He learned to paint by observation and not formal training. At age 15 he won the Prix de Rome which gave him a year of study in the Italian capital.(He would win another Prix de Rome in 1977). After a year in Italy, He move to Paris where he trained with Stanley William Hayter who taught him how to engrave at his "Studio 17". He came to New York City in 1939 and after serving in the United States Army infantry on the front lines in Europe during World War II, he returned to a position at the Brooklyn Museum School of Art. He later taught at Hunter College (1952-1960) and was a professor at the Yale School of Art (1960-1987). Among his many awards were the Louise Nevelson Award of the American Academy Institute of Arts and Letters (1991), Guggenheim Fellowship (1964-1965), the Pennel Medal (1961), Ford Foundation Award (1960), Sesnan Gold Medal for Oils (1958), and the Paris World's Fair Gold Medal (1937). He was elected a member of the National Academy of Design (1979) and the Florentine Academy of Design (1963). He had 200 one-man exhibitions in this country and abroad and 25 retrospectives. His work can be found in the permanent collections of over 200 museums around the world. The Encyclopdia Britannica selected him to write the 22 page essay on printmaking in it's 15th edition published in 1975 and it's been in all subsequent printings to date. He also wrote "Printmaking:Methods Old and New", a standard text in the field.
Oil on board; 45 x 32.5 cm.
Mario Schifano was an Italian painter and collagist of the Postmodern tradition. He also achieved some renown as a film-maker and rock musician. He is considered to be one of most significant and pre-eminent artists of Italian postmodernism, alongside contemporaries such as Francesco Clemente, Sandro Chia and Giulio Paolini. His work was exhibited in the famous 1962 "New Realists" show at the Sidney Janis Gallery with all the young Pop art and Nouveau réalisme luminaries, including Andy Warhol and Roy Lichtenstein. He became part of the core group of artists comprising the "Scuola Romana". Reputed as a prolific and exuberant artist, he nonetheless struggled with a life-long drug habit that earned him the label maledetto, or "cursed".
Watercolor on paper; 27.6 x 30.5 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.
A spontaneous abstract expressionist painting exploring my feelings after and argument with my partner that left me bewildered and confused about her logic…. God women… there enough to drive a man mad .
the rich and textured colours contrast nicely with thinner almost water-colour style areas creating an unexpected balance that adds to the overall power of the painting
80 x 60 cm Oil paint on canvas
Aaron Siskind (December 4, 1903 – February 8, 1991) was an American photographer who sometimes produced images analogous to or in homage of abstract expressionist painting. In his autobiography he wrote that he began his foray into photography when he received a camera for a wedding gift and began taking pictures on his honeymoon. He quickly realized the artistic potential this offered. He worked in both New York City and Chicago.
Siskind's work focuses on the details of nature and architecture. He presents them as flat surfaces to create a new image out of them, which, he claimed, stands independent of the original subject.
Early in his career Siskind was a member of the New York Photo League. Working with that group, Siskind produced several significant socially conscious series of images in the 1930s. Among them the "Harlem Document" remains the most famous.[1] He originally was a grade school English teacher in the New York Public School System.
In 1950 Siskind met Harry Callahan when both were teaching at Black Mountain College in the summer. Later, Callahan persuaded Siskind to join him as part of the faculty of the IIT Institute of Design in Chicago (founded by László Moholy-Nagy as the New Bauhaus). In 1971 he followed Callahan (who had left in 1961) to teach for the rest of his life at the Rhode Island School of Design.
A major character in the film One Hour Photo (about a disturbed photograph developer who stalks what he sees as the perfect family) is named after Siskind. The character of Mr. Siskind is not the main (psychologically disturbed) character, nor is the film in any way modeled after the life and works of Aaron Siskind.
Aaron Siskind (December 4, 1903 – February 8, 1991) was an American photographer who sometimes produced images analogous to or in homage of abstract expressionist painting. In his autobiography he wrote that he began his foray into photography when he received a camera for a wedding gift and began taking pictures on his honeymoon. He quickly realized the artistic potential this offered. He worked in both New York City and Chicago.
Siskind's work focuses on the details of nature and architecture. He presents them as flat surfaces to create a new image out of them, which, he claimed, stands independent of the original subject.
Early in his career Siskind was a member of the New York Photo League. Working with that group, Siskind produced several significant socially conscious series of images in the 1930s. Among them the "Harlem Document" remains the most famous.[1] He originally was a grade school English teacher in the New York Public School System.
In 1950 Siskind met Harry Callahan when both were teaching at Black Mountain College in the summer. Later, Callahan persuaded Siskind to join him as part of the faculty of the IIT Institute of Design in Chicago (founded by László Moholy-Nagy as the New Bauhaus). In 1971 he followed Callahan (who had left in 1961) to teach for the rest of his life at the Rhode Island School of Design.
A major character in the film One Hour Photo (about a disturbed photograph developer who stalks what he sees as the perfect family) is named after Siskind. The character of Mr. Siskind is not the main (psychologically disturbed) character, nor is the film in any way modeled after the life and works of Aaron Siskind.
Untitled
Mixed media on paper
22 by 30 in.
Courtesy of Lohin-Geduld Gallery, New York
www.artnet.com/gallery/423885474/lohin-geduld-gallery.htm... Carone
Oil on canvas; 145 x 97 cm.
Josef Šíma was a renowned Czech painter, an important figure of modern European art.
After graduating from Academy of Arts in Prague where he was the student of Jan Preisler he was involved in the Devětsil movement and in Umělecká beseda in Prague before travelling to Paris in 1921. He took French citizenship in 1926. He was artistic director for the journal Le Grand Jeu in 1929 and friend of French poets René Daumal, Roger Gilbert-Lecomte and Roger Vailland.
His sources of inspiration spanned from sensual experience, through civil themes, geometric abstraction, imaginative seeking of archetypes of nature, things and human existence pictured as crystals, cosmic egg and female torsos to fascination by landscapes and mythology, until he finally united all these elements and made a synthesis of them in cosmic visions and symbols of human destiny.
He exhibited at documenta 2 in 1959. He also illustrated many books, made book covers, scenic paintings and designed stained glass windows (e. g. in The Church of St Jacques in Reims).
French painter, printmaker and sculptor. He was greatly impressed as a boy by the Celtic carvings in the museum at Rodez and by the architecture and sculpture of the Romanesque abbey of Ste-Foy at Conques. In 1938 he went to Paris for the first time, where he visited the Louvre and saw exhibitions of Cézanne and Picasso. With the intention of training to be a drawing teacher, he enrolled in a studio in Paris but was encouraged instead to enter the Ecole Nationale des Beaux-Arts; he was, however, bitterly disappointed by what was being taught there, which seemed to fall far short of what he had just seen, and returned to Rodez. The paintings he was making at this time were of trees in winter, without their leaves, with the black branches forming a tracery against the sky. He was called up in 1941 but demobilized almost at once. He moved to Montpellier to continue his studies at the Ecole des Beaux-Arts there but spent most of the war working clandestinely on a farm in the Montpellier area. He was able to do very little painting during the Occupation, but he became aware of abstract art through his friendship with Sonia Delaunay, whom he met c. 1943.
French painter, printmaker and sculptor. He was greatly impressed as a boy by the Celtic carvings in the museum at Rodez and by the architecture and sculpture of the Romanesque abbey of Ste-Foy at Conques. In 1938 he went to Paris for the first time, where he visited the Louvre and saw exhibitions of Cézanne and Picasso. With the intention of training to be a drawing teacher, he enrolled in a studio in Paris but was encouraged instead to enter the Ecole Nationale des Beaux-Arts; he was, however, bitterly disappointed by what was being taught there, which seemed to fall far short of what he had just seen, and returned to Rodez. The paintings he was making at this time were of trees in winter, without their leaves, with the black branches forming a tracery against the sky. He was called up in 1941 but demobilized almost at once. He moved to Montpellier to continue his studies at the Ecole des Beaux-Arts there but spent most of the war working clandestinely on a farm in the Montpellier area. He was able to do very little painting during the Occupation, but he became aware of abstract art through his friendship with Sonia Delaunay, whom he met c. 1943.
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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; 120.2 x 150 cm.
Giuseppe Santomaso was born in Venice. He studied at the Accademia di Belle Arti there from 1932 to 1934. In 1938 he began his work in graphics. In 1939 the artist traveled to Paris on the occasion of his first solo exhibition at the Galerie Rive Gauche. Santomaso participated in the Quadriennale of Rome in 1943 and executed illustrations for Paul Eluard’s Grand Air in 1945. In 1946 he was a founding member of the antifascist artists’ organization Nuova Secessione Artistica Italiana—Fronte Nuovo delle Arti in Venice.
Since 1948 Santomaso has participated often in the Venice Biennale, where he was awarded the Prize of the Municipality of Venice in 1948 and First Prize for Italian Painting in 1954. He received the Graziano Prize from the Galleria del Naviglio in Milan in 1956 and the Marzotto Prize at the Mostra internazionale di pittura contemporanea in Valdagno in 1958, among other awards. Santomaso taught at the Accademia di Belle Arti in Venice from 1957 to 1975. Particularly important for the development of his non-objective style is the journey to New York in 1957, on the occasion of his first exhibition in the United States at the Grace Borgenicht Gallery, during which the artist met the leading members of the Abstract expressionism. The Stedelijk Museum in Amsterdam gave the artist a solo exhibition in 1960. In 1961 he participated in the São Paulo Bienal and he traveled to Brazil the following year. A Santomaso retrospective toured from the Kunstverein in Hamburg to the Haus am Lützowplatz in Berlin and the Museum am Ostwall in Dortmund in 1965–66. In the meantime, the artist continue to produce graphic works. He contributed lithographs to On Angle, a book of Ezra Pound’s poetry published in 1971. His work appeared in the International Engraving Biennial in Cracow in 1972 and 1978. Solo exhibitions of his work were presented in 1979 by the Fondacio Joan Miró in Barcelona and the Staatsgalerie Moderner Kunst in Munich. The Borgenicht Gallery organized a Santomaso show for the spring of 1983.
A still frame of a new digital painting composed using action movie gun fights. Colorful forms from bursts of gun fire and smoke are extracted using custom software and are layered over time to form abstract expressionist paintings. This composition was made from the movie Commando.
More information about Action Painting is available here: www.mantissa.ca/projects/actionpainting.php
This is an early example of pure "abstract" art (abstract expressionism). These paintings are fun to look at because the longer you look the more you see.
Oil on canvas; 100 x 120 cm.
Ernst Wilhelm Nay studied under Karl Hofer at the Berlin Art Academy from 1925 until 1928. His first sources of inspiration resulted from his preoccupation with Ernst Ludwig Kirchner and Henri Matisse as well as Caspar David Friedrich and Nicolas Poussin.
Nay's still lifes, portraits and landscapes were widely acclaimed. In 1931 Ernst Wilhelm Nay received a nine-months' study bursary to the Villa Massimo in Rome, where he began to paint in the abstract Surrealist manner. On the recommendation of the Lübeck museum director, C.G. Heise, Nay was given a work grant financed by Edvard Munch, which enabled Nay to spend time in Norway and on the Lofoten Islands in 1937. The "Fischer- und Lofotenbilder" represented a first pinnacle of achievement.
That same year, however, two of his works were shown in the notorious exhibition of "Degenerate Art" and Ernst Wilhelm Nay was forbidden to exhibit any longer. Conscripted into the German armed forces in 1940, Nay went with the infantry to France, where a French sculptor placed his studio at Nay's disposal. In the "Hekatebildern" (1945-48), featuring motifs from myth, legend and poetry, Nay worked through his war and postwar experiences.
The "Fugale Bilder" (1949-51) proclaim new beginnings in a fiery palette and entwined forms. In 1950 the Kestner Gesellschaft Hannover mounted a first retrospective of Nay's work. The following year the artist moved to Cologne, where, with the "Rhythmischen Bildern" he took the final step towards entirely non-representational painting. In them he began to use color purely as figurative values. From 1955 Nay's painted "Scheibenbilder", in which round color surfaces organize subtle modulations of space and color. These are developed further in 1963-64 in what are known as the "Augenbilder". A first one-man-show in America at the Kleeman Galleries, New York, in 1955, participation in the 1956 Venice Biennale and the Kassel "documenta" (1955, 1959 and 1964) are milestones marking Nay's breakthrough on the international art scene. Nay was awarded important prizes and is represented by work in nearly all major exhibitions of German art in Germany and abroad.
Oil on canvas; 200 x 200 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.