Louisiana Trilogy: Studies in Green 2017

Tip o' the hat to Gaylon Keeling.

Acrylic

Acrylic on canvas painting collaboration that I did at a party 7 years ago. #art #artist #painting #artwork #painter #artistic #artsy #visionary #express #creatives #creativeart #colorsplash #paint #painted #acrylics #acrylic #canvas #canvasart #brush #abstractart #abstractexpressionism #abstractpainting #abstract #abstraction #abstractartist #dragon #eyes #peace #bike #bunny

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Thank you for the visits, kind comments and invitations

Dutch painter, theorist and draughtsman. His work marks the transition at the start of the 20th century from the Hague school and Symbolism to Neo-Impressionism and Cubism. His key position within the international avant-garde is determined by works produced after 1920. He set out his theory in the periodical of DE STIJL, in a series of articles that were summarized in a separate booklet published in Paris in 1920 under the title NEO-PLASTICISM. The essence of Mondrian’s ideas is that painting, composed of the most fundamental aspects of line and color, must set an example to the other arts for achieving a society in which art as such has no place but belongs instead to the total realization of ‘beauty’. The representation of the universal, dynamic pulse of life, also expressed in modern jazz and the metropolis, was Mondrian’s point of departure. Even in his lifetime he was regarded as the founder of the most modern art. His artistic integrity caused him to be honored as a classical master by artists who were aligned with entirely different styles, as well as by musicians and architects. He was able to make a living from the sale of his works in the Netherlands, Germany, Switzerland, England and the USA.

Digital Photo Manipulation

David Hockney is one of the greatest English painters of the 20th century. This is the only painting of his which I can characterize as abstract expressionism.

And the Lord said unto Moses, Go in unto Pharaoh: for I have hardened his heart, and the heart of his servants, that I might shew these my signs before him:

Exodus 10 King James Version

soundcloud.com/scarrzz/nao

Oil on canvas; 401.6 x 361.3 cm.

Danish painter, sculptor and writer. In 1962 he entered the Eksperimenterende Kunst-skole (Experimental Art School) in Copenhagen.His first important one-man exhibition abroad was at the Museum Folkwang, Essen, in 1977. He later exhibited widely at public and commercial galleries throughout Europe and the USA.

A prolific artist, Kirkeby used a range of different media. He was a member of the Fluxus group and was influenced by Pop art in the 1960s. Later he was influenced by Tachism and Abstract Expressionism. The vigorous brushwork and chromatic beauty of his, mostly untitled, paintings and the sensuous modelling of his rough black bronzes have earned him the title ‘lyric expressionist'. The paintings, which tend towards the abstract, bear veiled iconographic reference, largely to the Danish landscape and the female figure.

In contrast to the poetic and dramatic character of his paintings and black bronzes Kirkeby's brick sculptures display an unusual clarity. They make strong reference to traditional Danish housing and are inspired by Mayan architecture, as in the house-like, symmetrical form (1973) at Ikast, Denmark. In 1981 Kirkeby completed a group of such sculptures for the County Council building in Ålborg. His concern with experiment and conceptual art led him to execute a series of works in chalk on blackboard, and he regularly published poetry, essays and travel books, as well as making television and full-length documentary films. He also produced many artist's books, such as the ‘picture novel' Landskaberne (‘Landscapes'; Copenhagen, 1969).

Bibliography

Per Kirkeby: Übermalungen, 1964–84 (exh. cat., Munich, Kstraum, 1984)

Per Kirkeby: Skulpturen und Bilder (exh. cat., Zurich, Gal. Knoedler, 1985)

Per Kirkeby: Retrospektive (exh. cat., Cologne, Mus. Ludwig, 1987)

Per Kirkeby: Pinturas, esculturas, grabados y escritos (exh. cat., Valencia, IVAM Cent. Julio Gonzalez, 1989–90)

‘Per Kirkeby', Louisiana Revue, xxx/3 (1990) [whole issue]

JENS PETER MUNK

Bram Bogart is one of the artists of the ‘Informel’, the loosely knit aesthetic movement which produced a generation of painters in the early 1950s. The movement included such European artists as Alberto Burri in Italy, and Antonio Tàpies in Spain, whose textural canvasses distance them from their American counterparts, the Abstract Expressionists. From 1946 Bogart worked in Paris for a decade, a difficult time during which a typical reaction to his work (from a Dutch critic) was ‘a form of rock and roll with paint in its most stupid manifestation’. However after his move to Belgium in 1959, Bogart’s work became widely recognized. From the early 1960s onwards his canvasses are characterized by a new technique radiant with color, light and optimism. Bogart became a Belgian citizen in 1969. Bogart’s work has been the subject of countless one-man shows around the world.

Oil and pencil on board; 78.0 x 78.0 cm.

Ben Nicholson was an English artist whose austere geometric paintings and reliefs were among the most influential abstract works in British art. The son of the painter Sir William Nicholson, he briefly attended the Slade School of Fine Art in London in 1910–11, but he was largely self-taught. He traveled extensively in Europe between 1911 and 1914, and in 1917 he visited California, keeping a detailed record in sketches of architecture and landscape. About 1920 he began to paint seriously, creating still lifes and landscapes in a conventionally realistic style. During a trip to Paris in 1921, Nicholson saw Cubist works, which influenced his first semi-abstract still lifes; in 1924 he executed his first completely abstract painting.

During the 1920s, along with the sculptors Barbara Hepworth (who became his second wife) and Henry Moore, Nicholson was instrumental in introducing Continental Modernism into English art. In 1933 he and Hepworth joined the Paris-based Abstraction-Création group, an artists’ association that advocated purely abstract art. He also met the Dutch painter Piet Mondrian, under whose influence Nicholson’s work took on a greatly simplified geometry; typical of this period are his low reliefs of whitewashed circles and rectangles, such as White Relief (1937–38). He was co-editor with the artist Naum Gabo and the architect Sir Leslie Martin of Circle, a manifesto published in 1937 to promote Constructivism and other modern art styles in England.

In the 1940s Nicholson returned to landscape and still-life themes, often painting simplified representations of still-life motifs within otherwise largely abstract compositions. In his later work he continued to shift between modes of abstraction and representation.

#digitalart, #iphoneography, #iphoneaet, #filters, #avantgarde, #abstraction, #abstractexpressionism, #negative, #photonegative, #neodada, #negativeart, #nihilim, #expressionist, #wildcolor, #deepcolor, #expressionism,

German Artist whose sculpture Der Neue Mensch was displayed on the Entartete Kunst (Degenerate Art) brochure in 1937.

Acrylic on fabric.

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.

Collage on paper and newsprint, mounted on Masonite.

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.

Bill's Painting , ca. 1951

Oil on linen

72 x 48 inches

Courtesy of Spanierman Modern, New York

www.spaniermanmodern.com

Oil on canvas; 35 1/2 x 47 3/8 in.

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, emulsion, and sand on photograph, mounted on canvas; 280 x 380 cm.

Anselm Kiefer is a German painter who became one of the most prominent figures in the Neo-Expressionist art movement of the late 20th century.

Kiefer abandoned his law studies at the University of Freiburg in 1966 to pursue art. He subsequently studied at art academies in Freiburg, Karlsruhe, and Dusseldorf. In the latter city in 1970 he became a student of the conceptual artist Joseph Beuys, who encouraged Kiefer’s early use of symbolic photographic images to deal ironically with 20th-century German history. Beuys also encouraged Kiefer to paint, and in such huge paintings as “Germany’s Spiritual Heroes” (1973) and “Operation Sea Lion” (1975) Kiefer was able to develop an array of visual symbols by which he could comment with irony and sarcasm on certain tragic aspects of German history and culture, in particular the Nazi period. These paintings used garish, somber colors and coarse, naive drawing, but they did achieve powerful effects owing to their imaginative allusions to Nazism. In the 1970s he also painted a series of landscape vistas that capture the rutted and somber look of the German countryside and that use linear perspective with great dramatic effect.

Kiefer’s landscapes and interiors done in the 1980s acquired an intense physical presence by means of perspectival devices and the incorporation of unusual textures on the surface of the painted canvas. Though Kiefer continued to treat Germany’s Nazi past in such paintings as “Interiors” (1981), the range of his themes broadened to include references to ancient Hebrew and Egyptian history, as in the large painting “Osiris and Isis” (1985–87).

Another 'visual diary' reflecting my affection for pop art and the comic book style that influenced me as a boy. I also liked (still do) Roy Lichtenstein. My days when this was painted (the 1990s) involved two significant women, lots of pool and alcohol.

Throughout the 1920s Rodchenko's work was abstract often to the point of being non-figurative. In the 1930s, with the changing Party guidelines governing artistic practice, he concentrated on sports photography and images of parades and other choreographed movements. Rodchenko joined the October circle of artists in 1928 but was expelled three years later being charged with "formalism." He returned to painting in the late 1930s, stopped photographing in 1942, and produced abstract expressionist works in the 1940s. He continued to organize photography exhibitions for the government during these years.

Oil on masonite; 70 x 88 cm.

Mario Sironi, born in Sardegna Italy, is known for his highly personal romantic expression. As a student, he first specialized in mathematics and engineering but then abandoned them for painting. Studying art in Rome at the Free School of Nude Drawing, he was exposed to the exponents of Futurism, which he explored in his early art work. One of his close associates was Umberto Boccioni, a leading Futurist, who involved Sironi in Futurist exhibitions held in Rome. Boccioni described Sironi as an artist "who has embarked in a profound and highly original way on research into plastic dynamism." Sironi also worked as an illustrator for various Italian periodicals. Faced with the threats of World War I, he and his companions enrolled in the Volunteer Lombard Battalion of Cyclists and Motorists (1915-18) and signed the manifesto calling on Italy to enter the war. He married Matilde Fabbrini, a painter, in 1919 and they lived and worked in Milan.

As an artist closely identified with Fascism, his reputation declined dramatically in the post-World War II period. He had returned to easel painting in 1943, and worked now in relative isolation. The paintings of his later years sometimes approach abstraction, resembling assemblages of archaeological fragments, or juxtaposed sketches. He continued working until shortly before his death in 1961.

Oil on fiberboard; 8 ft. x 4 ft.

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

Watercolor and gouache on paper; 22.4 x 46 cm.

The artist Lasar Segall was a Brazilian Jewish painter, engraver and sculptor born in Lithuania. Segall's work is derived from impressionism, expressionism and modernism. His most significant themes were depictions of human suffering, war, persecution and prostitution. Segall was born in the Jewish ghetto of Vilnius, Lithuania and was the son of a Torah scribe. Segall moved to Berlin at the age of 15 and studied first at Berlin Königliche Akademie der Künste from 1906 to 1910. At the end of 1910 he moved to Dresden to continue his studies at the Kunstakademie Dresden as a "Meisterschüler".

Segall published a book of five etchings in Dresden, Sovenirs of Vilna in 1919, and two books illustrated with lithographs titled Bubu and die Sanfte.[1] He then began to express himself more freely and developed his own style, which incorporated aspects of Cubism, while exploring his own Jewish background. His earlier paintings throughout 1910 to the early 1920s depicted troubled figures surrounded in claustrophobic surroundings with exaggerated and bold features, influenced by African tribal figures.[2] In 1912 his first painted series of works were conducted in an elderly insane asylum.[3] Segall's work largely portrayed the masses of persecuted humanity in his Expressionist form. Later that year, he moved to São Paulo, Brazil, where three of his siblings were already living. He returned to Dresden in 1914 and was still quite active in the Expressionist style. In 1919 Segall founded the 'Dresdner Sezession Gruppe 1919' with Otto Dix, Conrad Felixmüller, Otto Lange and other artists. Segall's exhibition at the Galery Gurlitt received multiple awards. However successful Segall was in Europe, he had already been greatly influenced by his time spent in Brazil, which had already transformed both his style and his subject matter. The visit to Brazil gave Segall the opportunity to obtain a strong idea of South American art and, in turn, made Segall return to Brazil.

Segall's subject matter was portrayed more subtly and softer in his early career. He did not depict much of the African influence on his artwork until he moved to Brazil. It was not until Segall visited Brazil for the first few times, that he branched out towards the Expressionist style. He was able to express himself in a freer manner while he portrayed the lifelong theme of his Jewish culture depicting the tribulations of European Jews.[1] Although he was a humanist, he never forgot his Jewish roots.[9]

Segall's initial paintings in Brazil reflect a strong national connection and passion for his newfound homeland. He portrayed the landscapes in São Paulo and Rio de Janeiro and portrayed the different races without tension or malintention.[10] However, Segall remained faithful towards his Cubist nature throughout the majority of his artworks. Specifically, one of his famous artworks, entitled Banana Plantation, shows a Brazilian banana plantation, thick in density.[7] Segall achieved balance in this painting by centering the worker's neck and head protruding from the bottom of the painting. This causes the audience to be fully focused towards the center space. This significant symmetrical balance emphasizes the human element involved in the Brazilian agricultural system.[7] The diminished amount of slavery in Brazil during this time period, the 1920s, abolished Brazilian-Negro slaves and replaced them with an overwhelming amount of European workers coming to Brazil. This particular image portrays the engulfment of the plantations by the Europeans.

Other prominent theme in Segall's work is human suffering and emigration. In another famous artwork of Segall's, entitled Ship of Emigrants, a ship dock is overcrowded and engulfed with emigrant passengers. Not only does the image portray a dark and saddening emotion, but it significantly portrays the troubled figures aboard the ship.[2] The solemn faces and lack of expression on the passengers blatantly shows the harsh reality of emigrants and their depressing lifestyles of forced moves.

en.wikipedia.org/wiki/Lasar_Segall

via Instagram ift.tt/2NPa8Zf

Pictures that have influenced my visual thinking.

Lee Krasner - The Seasons 1957. Witney Museum NYC

Gracias por las visitas, amables comentarios e invitaciones

Thank you for the visits, kind comments and invitations

En mi tierra... en el Sur de España, la Primavera llega pronto, pero se va muy rapido... El campo se seca, y las flores se marchitan.... Ya solo quedan Olivos y Rastrojos...

In my land ... in Southern Spain, Spring comes early, but it goes so fast ... Field withers, flowers fade .... And then there were Olivos and stubble ...