Oil and pencil on textured wove paper, mounted on cardboard; 54.9 x 35.9 cm.

Russian painter and printmaker, active in Germany. When he was ten, his family moved to Moscow. Following family tradition, he was originally educated for a military career, attending cadet school, and, later, the Alexander Military School in Moscow. However, while still a cadet, he became interested in painting. At the age of 16, he visited the Moscow World Exposition, which had a profound influence on him. He subsequently spent all of his leisure time at the Tret’yakov State Gallery, Moscow. In 1884 he was commissioned as a lieutenant in the Samogita Infantry–Grenadier’s Regiment, based in Moscow. In 1889 he transferred to a regiment in St Petersburg, and later enrolled in the Academy of Art (1889–96), where he was a student of Il’ya Repin. Indeed his works of this period reflected some of the conventions of Realism (e.g. W. W. Mathé Working, 1892; St Petersburg, Rus. Mus.). Seeking to escape the limitations on expression exhorted by the Russian art establishment, in 1896 Jawlensky and his colleagues Igor Grabar, Dmitry Kardovsky and marianne Werefkin moved to Munich to study with Anton Ažbe. Here he made the acquaintance of another expatriate Russian artist, Vasily Kandinsky. In Munich Jawlensky began his lasting experimentation in the combination of colour, line, and form to express his innermost self (e.g. Hyacinth, c. 1902; Munich, Lenbachhaus).

In the early years of the 20th century, backed by the considerable wealth of his companion Werefkin, Jawlensky spent his summers travelling throughout Europe, including France, where his works were exhibited in Paris with the Fauves at the Salon d’Automne of 1905. Travelling exposed him to a diverse range of artists, techniques, and artistic theories during a formative stage in his own career as a painter. His work, initially characterized by simplified forms, flat areas of colour and heavy black outlines, was in many ways a synthesis of the myriad influences to which he was exposed. As well as the influence of Russian icons and folk art, Ažbe imparted a sense of the importance of line and colour. In Paris, Jawlensky became familiar with the works of Vincent van Gogh, and some of his paintings reflect elements of van Gogh’s technique and approach to his subject-matter (e.g. Village in Bayern (Wasserburg), 1907; Wiesbaden, Mus. Wiesbaden). In particular his symbolic and expressive use of bright colour was more characteristic of van Gogh and Paul Gauguin than of the German Expressionists, with whom he had the greatest contact. In 1905 Jawlensky visited Ferdinand Hodler, and two years later he began his long friendship with Jan Verkade and met Paul Sérusier. Together, Verkade and Sérusier transmitted to Jawlensky both practical and theoretical elements of the work of the Nabis, and Synthetist principles of art. The Theosophy and mysticism of the Nabis, with their emphasis on the importance of the soul, struck a responsive chord in Jawlensky, who sought in his art to mirror his own inner being. The combination of technique and spirituality characteristic of these movements, when linked to Jawlensky’s own experience and emerging style, resulted in a period of enormous creativity and productivity.

Between 1908 and 1910 Jawlensky and Werefkin spent summers in the Bavarian Alps with Kandinsky and his companion Gabriele Münter. Here, through painting landscapes of their mountainous surroundings (e.g. Jawlensky’s Summer Evening in Murnau, 1908–9; Munich, Lenbachhaus), they experimented with one another’s techniques and discussed the theoretical bases of their art. In 1909 they helped to found the Neue künstlervereinigung münchen (NKVM). After a break-away group formed the Blaue Reiter in 1911, Jawlensky remained in the NKVM until 1912, when works by him were shown at the Blaue Reiter exhibitions. During this period he made a vital contribution to the development of Expressionism. In addition to his landscapes of this period, Jawlensky also produced many portraits. Like all of his work, his treatment of the human face and figure varied over time. In the years preceding World War I, for example, Jawlensky produced portraits of figures dressed colourfully (e.g. Schokko with a Wide-brimmed Hat, 1910) or even exotically (e.g. Barbarian Princess, 1912; Hagen, Osthaus Mus.). However, following a trip to the Baltic coast, and renewed contact with Henri Matisse in 1911 and Emil Nolde in 1912, Jawlensky turned increasingly to the expressive use of colour and form alone in his portraits. He often stripped from his art the distraction of brightly coloured apparel to emphasize the individual depicted and the artist’s own underlying state of mind (e.g. Head of a Woman, 1912; Berlin, Alte N.G.).

This dynamic period in Jawlensky’s life and art was abruptly cut short by the outbreak of World War I. Expelled from Germany in 1914, he moved to Switzerland. Here he began Variations, a cycle of landscape paintings of the view from his window at isolated St Prex on Lake Geneva. The works in this series became increasingly abstract and were continued long after he had left St Prex (e.g. Variation, 1916; and Variation No. 84, 1921; both Wiesbaden, Mus. Wiesbaden). In ill-health he spent the end of the war in Ascona. While in St Prex, Jawlensky had first met Galka Scheyer, a young art student who was captivated by his works. Scheyer’s expressions of admiration and support reinvigorated Jawlensky’s art and (with less success) his finances, first by embracing his theoretical and stylistic tenets, and later by promoting his work in Europe and the USA.

After a hiatus in experimentation with the human form, Jawlensky produced perhaps his best-known series, the Mystical Heads (1917–19), and the Saviour’s Faces (1918–20), which are reminiscent of the traditional Russian Orthodox icons of his childhood. In these works he attempted to further reduce conventional portraiture to abstract line, form and, especially, colour (e.g. Head of a Girl, 1918; Ascona, Mus. Com. A. Mod.; and Christ, 1920; Long Beach, CA, Mus. A.). In 1921 he began another cycle in the same vein, his Abstract (sometimes called Constructivist) Heads (1921–35), for example Abstract Head: Red Light (1930; Wiesbaden, Mus. Wiesbaden). His graphic art also included highly simplified, almost geometric heads, such as the lithograph Head II (1921–2; Wiesbaden, Mus. Wiesbaden).

In 1922, after marrying Werefkin’s former maid Hélène Nesnakomoff, the mother of his only son, Andreas, born before their marriage, Jawlensky took up residence in Wiesbaden. In 1924 he organized the Blue four, whose works, thanks to Scheyer’s tireless promotion, were jointly exhibited in Germany and the USA. From 1929 Jawlensky suffered from a crippling arthritis that severely limited his creative activity. During this final period of his life he endured not only poor health and near poverty but the threat of official persecution as well. In 1933 the Nazis forbade the display of his ‘degenerate’ works. Nevertheless he continued his series of increasingly abstract faces, producing more than 1000 works in the Meditations series (1934–7), which included examples of abstract landscapes and still-lifes, as well as portraits. These series represented further variations on the face broken down into its component parts, using geometric shapes, line and colour to convey the mood of the painting and, hence, that of the painter himself. Jawlensky’s state of mind is vividly reflected in these works, as he adopted an increasingly dark, brooding palette (e.g. Large Meditation III, No. 16, 1937; Wiesbaden, Mus. Wiesbaden). By 1937, when his physical condition forced him to cease painting altogether, these faces had been deconstructed to their most basic form: a cross forming the expressive brow, nose and mouth of the subject, on a richly coloured background (e.g. Meditation, 1937; Zurich, Ksthaus). No longer able to use art as a means of conveying his innermost self, Jawlensky began to dictate his memoirs in 1938.

Edward Kasinec, From Grove Art Online

www.moma.org/collection/artist.php?artist_id=2896

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.

Natural sponges, pebbles and dry blue pigment in synthetic resin on panel; 200 x 165 cm

Yves Klein was a French artist considered an important figure in post-war European art. New York critics of Klein's time classify him as neo-Dada, but other critics, such as Thomas McEvilley in 1982 have since classified Klein as an early, though enigmatic, postmodernist.

He was the son of the Dutch-born painter Fred Klein (b 1898), whose work was representational, and Marie Raymond (b 1908), who developed a reputation in the 1950s as an abstract artist, and whose abstraction was influential on the development of her son’s work. Although he had had no formal art training, he was already making his first serious attempts at painting by 1946 and showing his interest in the absoluteness of color by formulating his first theories about monochrome. In 1946 he befriended Arman, with whom he was later to be associated in the Nouveau Réalisme movement, and the writer Claude Pascal, whom he met at a judo class. Together they developed their interest in esoteric writing and East Asian religions. Klein became a student of the Rosicrucian Fellowship in 1946 and was influenced both by its mystical philosophy and by judo. In 1952–3 he traveled with Pascal and Arman to Japan, where he studied the art of judo and the spiritual attitude associated with it, gaining the black belt ‘fourth dan’ at the Kodokan Institute in Tokyo. He worked as a judo teacher in Madrid in 1954 and in Paris from 1955 to 1959.

Alongside works by Andy Warhol and Willem De Kooning, Yves Klein's painting RE 46 (1960) was among the top-five sellers at Christie's Post-War and Contemporary Art sale in May 2006. His monochromatic blue sponge painting sold for $4,720,000. Previously, his painting RE I (1958) had sold for $6,716,000 at Christie's New York in November 2000.[16] The Brisbane band Yves Klein Blue are also named after one of the artist's accomplishments. In 2008 MG 9 (1962), a monochromatic gold painting, sold for $21,000,000 at Christie's.

Two Color Studies

Willem de Kooning 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. His early artistic training included eight years at the Rotterdam Academy of Fine Arts and Techniques. In the 1920s he worked as an assistant to the art director of a Rotterdam department store. In 1926, De Kooning entered the United States as a stowaway on a British freighter. He eventually settled in Hoboken, New Jersey, where he supported himself as a house painter until moving to a studio in Manhattan in 1927. In 1929 he met the artist and critic John D. Graham, who would become an important stimulus and supporter. He also met the painter Arshile Gorky, who became one of De Kooning's closest and most influential friends.

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

abstract geometric painting, concrete art, pure pigments, acrylic dispersion, linen canvas

Gouache and ink on paper; 35.9 x 37.8 cm.

František Kupka was a Czech painter and graphic artist. He was a pioneer and co-founder of the early phases of the abstract art movement and Orphic cubism (Orphism). Kupka's abstract works arose from a base of realism, but later evolved into pure abstract art. He was born in Opočno, eastern Bohemia (now Czech Republic) in 1871. From 1889 to 1892, he studied at the Prague Art Academy. At this time, he painted historical and patriotic themes. Kupka enrolled at the Akademie der Bildenden Künste in Vienna, where he concentrated on symbolic and allegorical subjects. He was influenced by the painter and social reformer Karl Wilhelm Diefenbach (1851-1913) and his naturistic life-style. Kupka exhibited at the Kunstverein, Vienna, in 1894. His involvement with theosophy and Eastern philosophy dates from this period. By spring 1894, Kupka had settled in Paris; there he attended the Académie Julian briefly and then studied with Jean-Pierre Laurens at the Ecole des Beaux-Arts.

Kupka worked as an illustrator of books and posters and, during his early years in Paris, became known for his satirical drawings for newspapers and magazines. In 1906, he settled in Puteaux, a suburb of Paris, and that same year exhibited for the first time at the Salon d'Automne. Kupka was deeply impressed by the first Futurist Manifesto, published in 1909 in Le Figaro. Kupka’s 1909 painting Piano Keyboard/Lake marked a break in his representational style. His work became increasingly abstract around 1910–11, reflecting his theories of motion, color, and the relationship between music and painting (orphism). In 1911, he attended meetings of the Puteaux Group (Section d'Or). In 1912, he exhibited at the Salon des Indépendants in the Cubist room, although he did not wish to be identified with any movement. Creation in the Plastic Arts, a book Kupka completed in 1913, was published in Prague in 1923.

In 1931, he was a founding member of Abstraction-Création. In 1936, his work was included in the exhibition Cubism and Abstract Art at the Museum of Modern Art in New York City, and in an important show with another excellent Czech painter Alphonse Mucha at the Jeu de Paume in Paris. A retrospective of his work took place at the Galerie Mánes in Prague in 1946. The same year, Kupka participated in the Salon des Réalités Nouvelles, where he continued to exhibit regularly until his death. During the early 1950s, he gained general recognition and had several solo shows in New York.

Kupka had a strong interest in color theory. His decadent 1907 self-portrait The Yellow Scale prefigures his abstract emphasis on color. Around 1910 he began developing his own color wheels, adapting a format previously explored by Sir Isaac Newton and Hermann von Helmholtz. This work in turn led Kupka to execute a series of paintings he called "Discs of Newton" (1911-12). Kupka was interested in freeing colors from descriptive associations. His work in this area is thought to have influenced other artists like Robert Delaunay.

This was completed in 1979, and is part of a series of works dating to the 1940s that he continually reworked.

Oil on canvas; 122.8 x 92.5 cm.

1962 Born in Shantou, China

1985 BFA Education, Guangzhou Academy of Fine Art, China

1997 BFA Painting, University of Tasmania, Australia

1985–1990 Assistant Lecturer, Shantou University, Guangdong, China

2003 Co-Curator, Out of China, Long Gallery and Salamanca Arts Centre, Australia

Co-Curator, Tasmanian Vision, Shantou University Gallery, China

tallybeckcontemporary.com/chen-ping-bio

1943

pencil and crayon on paper, 46.9x59.6 cm (18½x23½ in.)

private collection.

Image posted with kind consent of Mr. Martin Ries of www.martinries.com.

Gerhard Richter is a German artist. He had his first solo show in 1964 at Galerie Schmela in Düsseldorf. Soon after, he had exhibitions in Munich and Berlin and by the early 1970s exhibited frequently throughout Europe and the United States. His fourth retrospective, Gerhard Richter: 40 Years of Painting, opened at New York's Museum of Modern Art in February 2002.

Although Richter gained popularity and critical praise throughout his career, his fame burgeoned during his 2005 retrospective exhibition, which declared his place among the most important artists of the 20th century. Today, many call Gerhard Richter the best living painter.

"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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24 x 28 in.

Born in Shanghai in 1951, Xu studied traditional brush painting in his early childhood and was trained by Chinese painting master Ye Zhihao. Before he entered college, the "cultural revolution" (1966-76) began in China, and he was asked to work on a farm on Chongming Island in Shanghai. Despite hardships, he never stopped drawing. In 1973, Xu began to study at the Shanghai Theater Academy. In 1984, Xu received a scholarship and fellowship from the Bard College in the United States, where he received his MFA in 1987.

Xu has had numerous solo painting exhibitions worldwide. His works have also been featured in both Christie's and Sotheby's Important Contemporary Chinese Art Sales.

When the two versions of Shanghai: A New Vista were completed last year, they drew wide attention from art critics, collectors and auction houses. A British collector wanted to add the scrolls to his collection and display them at the British Museum, but Xu rejected the offer. "I felt the painting is for his two homes, China and the United States," Xu said. Before the exhibition in Beijing, the work was displayed in the VIP lounge of the Theme Pavilion at the 2010 World Expo in Shanghai.

www.bjreview.com.cn/culture/txt/2010-10/25/content_306113...

Pencil Drawing

This combines elements of my life that were prominent at the time (1992-4).

Edwin Parker (Cy) Twombly Jr. is an American artist well known for his large-scale, freely scribbled, calligraphic-style graffiti paintings, on solid fields of mostly gray, tan, or off-white colors. He exhibits his paintings worldwide.

Twombly is best known for blurring the line between drawing and painting. Many of his best-known paintings of the late 1960s are reminiscent of a school blackboard on which someone has practiced cursive es—or perhaps, hundreds of years of bathroom graffiti. Twombly had at this point discarded painting figurative, representational subject-matter, citing the line or smudge—each mark with its own history—as its proper subject. Later, many of his paintings and works on paper moved into "romantic symbolism", and their titles can be interpreted visually through shapes and forms and words.

Oil on canvas; 110 x 127.3 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.

en.wikipedia.org/wiki/Manabu_Mabe

Oil on canvas; 102 x 90 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).

Georgia Totto O'Keeffe was an American artist. Born near Sun Prairie, Wisconsin, Georgia O'Keeffe has been a major figure in American art since the 1920s. She received widespread recognition for her technical contributions, as well as for challenging the boundaries of modern American artistic style. She is chiefly known for paintings of flowers, rocks, shells, animal bones and landscapes in which she synthesized abstraction and representation. Her paintings present crisply contoured forms that are replete with subtle tonal transitions of varying colors. She often transformed her subject matter into powerful abstract images. Importantly, O'Keeffe played a central role in bringing an American art style to Europe at a time when the majority of influence flowed in the opposite direction. This feat enhanced her art-historical importance given that she was one of few women to have gained entry to this level of professional influence. She found artistic inspiration, particularly in New Mexico, where she settled late in life.

54 x 90 in.

Born in Shanghai in 1951, Xu studied traditional brush painting in his early childhood and was trained by Chinese painting master Ye Zhihao. Before he entered college, the "cultural revolution" (1966-76) began in China, and he was asked to work on a farm on Chongming Island in Shanghai. Despite hardships, he never stopped drawing. In 1973, Xu began to study at the Shanghai Theater Academy. In 1984, Xu received a scholarship and fellowship from the Bard College in the United States, where he received his MFA in 1987.

Xu has had numerous solo painting exhibitions worldwide. His works have also been featured in both Christie's and Sotheby's Important Contemporary Chinese Art Sales.

When the two versions of Shanghai: A New Vista were completed last year, they drew wide attention from art critics, collectors and auction houses. A British collector wanted to add the scrolls to his collection and display them at the British Museum, but Xu rejected the offer. "I felt the painting is for his two homes, China and the United States," Xu said. Before the exhibition in Beijing, the work was displayed in the VIP lounge of the Theme Pavilion at the 2010 World Expo in Shanghai.

www.bjreview.com.cn/culture/txt/2010-10/25/content_306113...

7x7" handmade collage.

argyleplaids.com

argyleplaids.tumblr.com

instagram.com/argyleplaids

Untitled (50-57), (ca. late 1950s)

Ink and gouache on paper

17-7/8 x 24 inches

Courtesy of Spanierman Modern, New York

www.spaniermanmodern.com

Painting With Light: The Art of Photoshop, 2017

Acrylic and oil on canvas; 200 x 300 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; 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

Not exactly the "prettiest" painting I've, but I still like it....

Press 'L' and view it LARGE.

Abstracts.with tree overlays.

Copyright Stan Farrow 2024

Oil on canvas; 71 x 110 in.

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.

Pastel Canvas

Oil on canvas; 250.4 x 251 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.

Acrylic

Oil on cardboard; 70 x 49 cm.

Wassily Wassilyevich Kandinsky was a Russian painter, and art theorist. He is credited with painting the first modern abstract works. He started painting studies (life-drawing, sketching and anatomy) at the age of 30.

In 1896 he settled in Munich and studied at the Academy of Fine Arts. He went back to Moscow in 1914 after World War I started. He was unsympathetic to the official theories on art in Moscow and returned to Germany in 1921. There he taught at the Bauhaus school of art and architecture until the Nazis closed it in 1933. He then moved to France and became a French citizen.

Abstract Expressionism, MoMA