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In the heart of darkness, where shadows dance and light flickers, lies a realm untouched by time. "Whispers in the Shadows" unveils a world where beauty intertwines with the surreal, and each image serves as a gateway to the enigmatic depths of the human psyche. Inspired by the haunting works of Yoshitaka Amano and Zdzisław Beksiński, this collection is a tapestry of dreams and nightmares, woven with the threads of abstract expressionism. Here, a Swedish girl becomes the vessel of our deepest fears and fascinations, her smile a paradox amidst the brooding landscape of dark grays, blacks, and golds.
Poem
In the realm where night whispers linger,
A Swedish maiden smiles, a spectral figure.
In hues of gold, black, and sorrow's gray,
She dances with shadows, in eternal play.
Amidst the canvases of Amano's dream,
And Beksiński's nightmarish scream,
Her eyes hold stories untold,
In this world, hauntingly bold.
In the echo of each brushstroke's fall,
She whispers secrets, hidden to all.
A blend of beauty, fear, and art's embrace,
In this gallery of the dark, her ethereal place.
Haiku
Shadowed smile gleams,
In gold and gray dreams she weaves,
Silent whispers breathe.
Oil on canvas.
Kenzo Okada (岡田 謙三 "Okada Kenzō" September 28, 1902 – July 25, 1982) was a Japanese-born American painter and the first Japanese-American artist to work in the abstract expressionist style and receive international acclaim.[1]
According to Michelle Stuart, “when Okada came to the United States he was already a mature painter, well considered in his native Japan. To American abstraction Okada brought civilized restraint, an elegance of device and an unusual gift for poetic transmutation of natural forms.”
Kenzo Okada was born September 28, 1902 in Yokohama, Japan. His father, a wealthy industrialist, did not support his son's desire to be an artist. When his father died, Okada entered the department of Western painting at Tokyo School of Fine Arts,[1] called today Tokyo National University of Fine Arts and Music, but in 1924 left for France where he studied with fellow Japanese expatriate Tsugouharu Foujita, executing paintings of urban subjects. In 1927, he exhibited work in the Salon d'Automne. In the same year, he returned to Japan and within a year he had his first one-person show at the Mitsukoshi Department Store in Tokyo. His success continued with a prize in 1936 from the Japanese contemporary artist group Nikakai Group, of which he went on to become a lifetime member. He taught at the School of Fine Arts, Nippon University from 1940 to 1944, but was evacuated to Mori village in the Miyagi Prefecture, later returning to Tokyo to teach at the Musashino Art Institute.[1]
A realist painter in Japan, in 1950 he moved to New York City, where he produced abstract paintings. Undoubtedly stimulated by Abstract Expressionism, these paintings nevertheless display a strong Japanese sensibility and feeling for form. His paintings from the 1950s reveal subtle changes in the natural world through the use of imagery constructed with delicate, sensitive color tonalities, floating within the compositional space. In 1953 he began to exhibit his abstract expressionist paintings with the Betty Parsons Gallery in New York City.
During the 1970s he painted numerous works that used as a point of departure the reinterpretation of the decorative effects of traditional Japanese painting.
Okada evokes the aura of landscape by using earth colors, abstract patterns hinting at rocks and flowers, and an overall haziness that makes his scenes look submerged in water. Bringing an Asian sensitivity to the New York School of abstraction, Okada distills the essence of nature into his painting, making it seem elemental and thus sublime. Okada became friends with Mark Rothko and many other abstract expressionists, especially the early color field painters. His sensitive and personal style of abstract expressionism, with his Asian roots, relates directly to both color field painting and lyrical abstraction.
Okada died in Tokyo July 24, 1982
Willem de Kooning (April 24, 1904 – March 19, 1997) was an abstract expressionist artist, born in Rotterdam, the Netherlands. In the post-World War II era, de Kooning painted in a style that came to be referred to variously as Abstract expressionism, Action painting, and the New York School. Other painters that developed this school of painting include Jackson Pollock, Franz Kline, Arshile Gorky, Mark Rothko, Hans Hofmann, Robert Motherwell, Philip Guston and Clyfford Still among others.
Untitled (50-17), ca. early 1950s
Oil on paper mounted on canvas
18 x 24 inches
Courtesy of Spanierman Modern, New York
Esteban Vicente. Embellished Surface, 1952. Collage, gouache and charcoal on board. IVAM, Institut Valencia d'Art Modern, Generalitat.
Esteban Vicente Pérez was an American painter born in Turégano, Spain. He was one of the first generation of New York School abstract expressionists.
Esteban Vicente was born in Turégano, Spain on January 20, 1903. His mother, Sofia Pérez y Álvarez came from an Asturian family and was born in Valladolid. His father, Toribio Vicente Ruiz, came from a military family near Salamanca and was an army officer. Esteban Vicente had two sisters and three brothers. He was the third child and second son. Vicente's father resigned his commission and moved his family to the capital, Madrid, where he worked as a buildings administrator for the Banco de España so that the children could be educated at good Jesuit schools. Vicente was taken to the Museo del Prado by his father, an art enthusiast, almost every Sunday from the time he was four years old and began to draw when he was sixteen. He was expected to follow family tradition and join the army. After three months in military school he decided to become an artist.
Vicente enrolled at the Real Academia de Bellas Artes in Madrid in 1921 intending to study sculpture. He completed his training in 1924. Commenting on his experience at the Academy he said "It doesn't give you any ideas about anything. It gives you tools, and teaches you about materials. Academic training is safe. It prepares you to be against."
He had his first one-man exhibition in Madrid in 1928, after which he left for Paris and did not return to Spain until 1930. In 1935 he married Estelle Charney, an American whom he had met in Paris.[2] After the outbreak of the Spanish Civil War in 1936 Vicente, supporting the Loyalist forces, painted camouflage in the mountains outside Madrid for a few months. Later that year he and his wife moved to New York. The (Loyalist) Spanish Ambassador to the U.S. set him up as a Vice Consul in Philadelphia, a position which supported his family for three years. Vicente had ample time to continue with his art and had his first one-man show in New York at the Kleeman Gallery in 1937. After the fall of the Spanish Republic in 1939 he returned to New York City. During World War II he supported himself with portrait commissions and by teaching Spanish. A 1945 exhibition in Puerto Rico led in 1946 to a position at the University of Puerto Rico teaching painting. After his return to New York in 1947 he established relationships with most of the members of the nascent New York School, participating in their seminal exhibitions at the Kootz Gallery in 1950, in the 9th Street Art Exhibition in 1951 and in exhibitions at the Sidney Janis Gallery and Charles Egan Gallery. Subsequently he was represented by the Leo Castelli, André Emmerich[6] and Berry-Hill Galleries in New York City. He was a founding member of the New York Studio School, where he taught for 36 years. Although he never exhibited in Spain during the rule of Francisco Franco, in 1998 the Spanish government opened the Esteban Vicente Museum of Contemporary Art in Segovia.
Vicente maintained a house and studio in Bridgehampton, New York from 1964. His marriage to Estelle Charney ended in divorce in 1943. Their daughter Mercedes, died at aged six. A second marriage, to Maria Teresa Babin, also ended in divorce. Vicente died in Bridgehampton on January 10, 2001. He was survived by his third wife, Harriet Peters, whom he married in 1961.
He has been honored as a renowned artist and child advocate by a New York City Bronx School Public School 170, a Kindergarten to Second Grade school has been named the Esteban Vicente school. A family member has incorporated Art programs into the schools. Students' talents emerge as they are exposed to the culture. At PS 170 students learn about Esteban Vicente and his style, color and design. Examples of his work adorn the walls of the school.
Vicente has a museum devoted to him in Segovia, Spain, the Museo de Arte Contemporáneo Esteban Vicente, and a street named after him in Turégano.
In March 2011 the Grey Art Gallery at New York University exhibited Concrete Improvisations: Collages and Sculpture by Esteban Vicente. In addition to 60 paper collages, the exhibit included 20 of Vicente's small-scale assemblages called divertimentos (toys), composed from pieces of found wood and covered with white plaster, with others composed of plastic and wood with architectonic elements.
"The Act of Painting, Intuition (Works on paper)" traveling exhibition
Takarazuka Arts Center, Cube Hall
2021.09.10-12
"The Act of Painting, 直感 (紙作品)" 巡回展
宝塚市立文化芸術センター キューブホール
2021.09.10-12
takarazuka-arts-center.jp/wordpress/2021/08/05/20210910_1...
展覧会：加藤義夫芸術計画室 × TAOP
INTUITION！ Works On Paper
直感 紙の作品
会期：2021年9月10日（金）～12日（日）10:00～18:00 ※最終日は15:00まで。
会場：宝塚市立文化芸術センター 1階キューブホール
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主催：加藤義夫芸術計画室 × TAOP
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Oil on masonite; 49.5 x 60.3 cm.
Manabu Mabe (マナブ間部?) (September 14, 1924 – September 22, 1997) was a Japanese-Brazilian painter. Mabe worked as a vendor of hand-painted ties in São Paulo before becoming a famous artist. In the late 1950s Mabe won the top award in São Paulo's Contemporary Art Salon, the top award as Brazil's best painter in the São Paulo Bienal, and the top honors for artists under 35 at Paris's first biennial.[1]
On 30 January 1979, after an exhibition in Tokyo, 153 of his paintings were on board of a Varig cargo Boeing 707-323C registration PP-VLU en route from Tokyo - Narita to Rio de Janeiro-Galeão via Los Angeles. The aircraft went missing over the Pacific Ocean some 30 minutes (200 km ENE) from Tokyo. Causes are unknown since the wreck was never found. The paintings were lost.
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.
Oil on canvas; 132.4 x 129 cm.
Yayoi Kusama (草間 彌生 or 弥生 Kusama Yayoi?, born March 22, 1929) is a Japanese artist and writer. Throughout her career she has worked in a wide variety of media, including painting, collage, sculpture, performance art and environmental installations, most of which exhibit her thematic interest in psychedelic colors, repetition and pattern. A precursor of the pop art, minimalist and feminist art movements, Kusama influenced contemporaries such as Andy Warhol and Claes Oldenburg.[1] Although largely forgotten after departing the New York art scene in the early 1970s, Kusama is now acknowledged as one of the most important living artists to come out of Japan, and an important voice of the avant-garde.
Born in Matsumoto, Nagano into an upper-middle-class family of seedling merchants,[2] Kusama started creating art at an early age, going on to study Nihonga painting in Kyoto in 1948. Frustrated with this distinctly Japanese style, she became interested in the European and American avant-garde, staging several solo exhibitions of her paintings in Matsumoto and Tokyo during the 1950s. In 1957 she moved to the United States, settling down in New York City where she produced a series of paintings influenced by the abstract expressionist movement. Switching to sculpture and installation as her primary mediums, Kusama became a fixture of the New York avant-garde, having her works exhibited alongside the likes of Andy Warhol, Claes Oldenburg and George Segal during the early 1960s, where she became associated with the pop art movement. Embracing the rise of the hippie counterculture of the late 1960s, Kusama came to public attention when she organized a series of happenings in which naked participants were painted with brightly colored polka dots.
In 1973, Kusama moved back to her native Japan, where she found the art scene far more conservative than that in New York. Becoming an art dealer, her business folded after several years, and after experiencing psychiatric problems, in 1977 she voluntarily admitted herself to a hospital, where she has spent the rest of her life. From here, she continued to produce artworks in a variety of mediums, as well as launching a literary career by publishing several novels, a poetry collection and an autobiography.
Kusama's work is based in conceptual art and shows some attributes of feminism, minimalism, surrealism, Art Brut, pop art, and abstract expressionism, and is infused with autobiographical, psychological, and sexual content. Kusama is also a published novelist and poet, and has created notable work in film and fashion design. Major retrospectives of her work have been held at the Museum of Modern Art, the Whitney Museum, and Tate Modern, whilst in 2008 Christies New York sold a work by her for $5.1 million, then a record for a living female artist.
Oil and enamel on paper mounted on canvas; 78.4 x 57.4 cm.
Paul Jackson Pollock (January 28, 1912 – August 11, 1956), known as Jackson Pollock, was an influential American painter and a major figure in the abstract expressionist movement. He was well known for his unique style of drip painting.
During his lifetime, Pollock enjoyed considerable fame and notoriety, a major artist of his generation. Regarded as reclusive, he had a volatile personality, and struggled with alcoholism for most of his life. In 1945, he married the artist Lee Krasner, who became an important influence on his career and on his legacy.[1]
Pollock died at the age of 44 in an alcohol-related, single-car accident; he was driving. In December 1956, several months after his death, Pollock was given a memorial retrospective exhibition at the Museum of Modern Art (MoMA) in New York City. A larger, more comprehensive exhibition of his work was held there in 1967. In 1998 and 1999, his work was honored with large-scale retrospective exhibitions at MoMA and at The Tate in London.[2][3]
In 2000, Pollock was the subject of the film Pollock, directed by and starring Ed Harris, which won an Academy Award.
Gotham News, 1955
oil on canvas
69 ½ x 79 ¾ inches
© 2009 The Willem de Kooning Foundation/ Artists Rights Society, New York
Willem de Kooning, born in Rotterdam Holland, received early training at the academy in Rotterdam primarily in what was referred to as applied art. Here he learned the craft of building displays for department stores, poster design, illustration, lettering and other commercial applications.
Coming to the US in 1926 and moving to Manhattan in 1927 he met artists Arshile Gorky and John Graham both of whom were to become his biggest supporters and influences in his new artistic milieu.
While his most recognizable signature works were strong and violent abstractions of women he quite often created in the realm of pure abstraction with no subject matter other than his paint and the fertile impressions of his cavernous collective unconscious. Gotham News is one of the latter.
Permission to post this image generously given by the Willem de Kooning Foundation/Artists Rights Society and the Albright-Knox Gallery.
Abstraction Black and White I
ca. 1955
Graphite and eraser on cream paper, 22-5/8 x 28-9/16
Courtesy of Spanierman Modern, New York
Jackson Pollock
American, 1912-1956
One: Number 31, 1950, 1950
Oil and enamel on unprimed canvas, 8' 10" x 17' 5 5/8"
Sidney and Harriet Janis Collection Fund (by exchange)
Gallery label text, 2006:
This is one of three wallsize paintings that Pollock realized in swift succession in the summer and autumn of 1950. In 1947, Pollock began laying canvas on the floor and pouring, dribbling, and flicking enamel paint onto the surface, sometimes straight from the can, or with sticks and stiffened brushes. The density of interlacing liquid threads of paint is balanced and offset by puddles of muted colors and by allover spattering. The pictorial result of this tension is a landmark in the history of Abstract Expressionism.
Publication excerpt from The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 194:
One is a masterpiece of the "drip," or pouring, technique, the radical method that Pollock contributed to Abstract Expressionism. Moving around an expanse of canvas laid on the floor, Pollock would fling and pour ropes of paint across the surface. One is among the largest of his works that bear evidence of these dynamic gestures. The canvas pulses with energy: strings and skeins of enamel, some matte, some glossy, weave and run, an intricate web of tans, blues, and grays lashed through with black and white. The way the paint lies on the canvas can suggest speed and force, and the image as a whole is dense and lushyet its details have a lacelike filigree, a delicacy, a lyricism.
The Surrealists' embrace of accident as a way to bypass the conscious mind sparked Pollock's experiments with the chance effects of gravity and momentum on falling paint. Yet although works like One have neither a single point of focus nor any obvious repetition or pattern, they sustain a sense of underlying order. This and the physicality of Pollock's method have led to comparisons of his process with choreography, as if the works were the traces of a dance. Some see in paintings like One the nervous intensity of the modern city, others the primal rhythms of nature.
Oil on canvas; 126 x 100 cm.
Ejler Bille was a Danish artist. Born in Odder, Denmark, he studied at the Kunsthåndværkerskolen in Copenhagen, with Bizzie Høyer 1930-1932 and the Royal Danish Academy of Art, 1933. In 1934 he joined Linien, Corner in 1940 and CoBrA in 1949. He had concentrated on small sculptures, but moved into painting after joining CoBrA. In 1969 he was Guest Professor at the Royal Danish Academy of Art.
Bille made his début as a sculptor at the Kunstnernes Efterårsundstilling (Artists’ Autumn Exhibition) in Copenhagen in 1931. He became interested in abstract art very early in his career; in 1933, with the artist Vilhelm Bjerke-Petersen, he was one of the first artists in Denmark to exhibit abstract sculptures and paintings. In 1934 Bille was a founder-member with Richard Mortensen and Bjerke-Petersen of the artists’ group Linien (The Line), whose journal of the same name he also co-edited. During Bille’s many trips abroad in the 1930s he was particularly stimulated by the work of Alberto Giacometti, Hans Arp and Max Ernst. His originality was nevertheless clearly apparent in the early sculptures, which often used animals as subjects, for example Marten (1931) and Walking Form (1933–6; both Copenhagen, Stat. Mus. Kst).