View allAll Photos Tagged abstractexpression
Untitled (1950-95)
Collage on paper
22 1/2 x 28 1/2 inches
Signed lower right: C. Park
Photograph courtesy Spanierman Gallery, LLC, New York.
“The ability to simplify means to eliminate the unnecessary so that the necessary may speak.”—Hofmann
Hans Hofmann (March 21, 1880 – February 17, 1966) was a German-born American abstract expressionist painter. He believed that abstract art was a way to get at the important reality.
Starting at a young age, Hofmann gravitated towards science and mathematics. At age sixteen, he started work with the Bavarian government as assistant to the director of Public Works where he was able to increase his knowledge of mathematics. He went on to develop and patent such devices as the electromagnetic comptometer, a radar device for ships at sea, a sensitized light bulb, and a portable freezer unit for military use. Even with such great abilities in science and mathematics, Hofmann became interested in creative studies, beginning educational art training after the death of his father.
Hofmann’s art work is distinguished by a rigorous concern with pictorial structure, spatial illusion, and color relationships.
Hans Hofmann (1880-1966)
Shifting Planes
1947
Oil on wooden panel
88.9 x 114.3 cm
35 x 45 inches
# Hans Hofmann
+ 1880-03-21: Born Weißenburg, Germany
+ 1966-02-17: Died (aged 85)
+ Movement: Abstract Expressionism (AbEx)
+ Influenced by: Henri Matisse, Robert Delaunay
+ Influenced: Lee Krasner, Clement Greenberg, Helen Frankenthaler, Larry Rivers, Wolf Kahn
en.wikipedia.org/wiki/Hans_Hofmann
# Galerie Hans Mayer
Grabbeplatz 2
40213 Dusseldorf
Germany
# SML Data
+ Date: 2013-05-23T16:01:52+0800
+ Dimensions: 3484 x 2769
+ Exposure: 1/30 sec at f/8.0
+ Focal Length: 36 mm
+ ISO: 800
+ Flash: Did not fire
+ Camera: Canon EOS 6D
+ Lens: Canon EF 17-40mm f/4L USM
+ GPS: 22°16'58" N 114°10'22" E
+ Location: 香港會議展覽中心 Hong Kong Convention and Exhibition Centre (HKCEC)
+ Workflow: Lightroom 4
+ Serial: SML.20130523.6D.13872
+ Series: 新聞攝影 Photojournalism, SML Fine Art, Art Basel Hong Kong 2013
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
“Painting by Hans Hofmann (1880-1966): Shifting Planes, 1947 (Oil on wooden panel)” / Galerie Hans Mayer / Art Basel Hong Kong 2013 / SML.20130523.6D.13872
/ #Photojournalism #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLFineArt #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #Art #FineArt #ArtBasel #ABHK #HansHofmann #GalerieHansMayer #abstract #AbEx #AbstractExpressionism #US #DE #painting
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.
Swiping is an audio/visual animation composed using swipe gestures made on an iPad – a contemporary Abstract Expressionist painting that reflects on the gesture in the digital age. Each new swipe generates a colorful brush-like form that dynamically expands in 3-dimensions, accompanied by synthetic sound. Here, the gesture is not the expressive act that Abstract Expressionist painters such as Jackson Pollock were known for; instead it is a physical command to explore an infinite flow of digital information.
To create Swiping, thousands of gestures were recorded on an iPad and then animated using custom software. Sound by Chris Carlson (@modulationindex). Made with OpenFrameworks.
Gouache on board; 47.9 x 38.1 cm.
Born in Quiévy, Nord, he studied drawing at the École des Beaux-Arts de Lille, from 1898 to 1901, when he settled in Paris. The initial influence of Impressionism and Post-Impressionism visible in paintings that he sent to the Salon des Indépendants in 1906 gradually gave way to an involvement with Cubism after his move in 1909 to the Bateau-Lavoir studios, where he met Pablo Picasso, Georges Braque and Juan Gris; he was also encouraged by his friendship with Wilhelm Uhde. His work was exhibited in the same room as that of Jean Metzinger, Albert Gleizes and Fernand Léger in the Salon des Indépendants of 1910, and in 1912 he participated in the influential Section d'Or exhibition.
After producing his first abstract paintings in 1917, Herbin came to the attention of Léonce Rosenberg who, after World War I, made him part of the group centered on his Galerie de l'Effort Moderne and exhibited his work there on several occasions in 1918 and 1921. Herbin's radical reliefs of simple geometric forms in painted wood, such as Colored Wood Relief (1921; Paris, Musée National d'Art Moderne), challenged not only the status of the easel painting but also traditional figure–ground relationships. The incomprehension that greeted these reliefs and related furniture designs, even from those critics most favorably disposed towards Cubism, was such that until 1926 or 1927 he followed Rosenberg's advice to return to a representational style. Herbin himself later disowned landscapes, still-lifes and genre scenes of this period, such as Bowls Players (1923; Paris, Musée National d'Art Moderne), in which the objects were depicted as schematized volumes.
Mixed media; 470 x 400 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).
Rodchenko was born in St. Petersburg. His family moved to Kazan where he studied at the Kazan School of Art under Nikolai Feshin and Georgii Medvedev, and at the Stroganov Institute in Moscow. He made his first abstract drawings, influenced by the Suprematism of Kazimir Malevich, in 1915. The following year, he participated in "The Store" exhibition organized by Vladimir Tatlin, who was another formative influence in his development. Rodchenko was appointed Director of the Museum Bureau and Purchasing Fund by the Bolshevik Government in 1920. He was responsible for the reorganization of art schools and museums. He taught from 1920 to 1930 at the Higher Technical-Artistic Studios.
In 1921 he became a member of the Productivist group, which advocated the incorporation of art into everyday life. He gave up painting in order to concentrate on graphic design for posters, books, and films. Impressed by the photomontage of the German Dadaists, Rodchenko began his own experiments in the medium, first employing found images in 1923, and from 1924 on shooting his own photographs as well.
Throughout the 1920s Rodchenko's work was very abstract. 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 canvas; 115.5 x 89 cm.
Nicolas de Staël was born on January 5, 1914 in the family of a Russian Lieutenant General, Baron Vladimir Stael von Holstein, (a member of the Staël von Holstein family, and the last Commandant of the Peter and Paul Fortress) and his wife, Olga Sakhanskaya. De Staël's family was forced to emigrate to Poland in 1919 because of the Russian Revolution. Both, his father and stepmother, would die in Poland and the orphaned Nicolas de Staël would be sent with his older sister Marina to Brussels to live with a Russian family (1922).
He eventually studied art at the Brussels Académie royale des beaux-arts (1932). In the 1930s, he traveled throughout Europe, lived in Paris (1934) and in Morocco (1936) (where he first met his companion Jeannine Guillou, also a painter and who would appear in some of his paintings from 1941-1942) and Algeria. In 1936 he had his first exhibition of Byzantine style icons and watercolors at the Galerie Dietrich et Cie, Brussels. He joined the French Foreign Legion in 1939 and was demobilized in 1941. Sometime in 1940 he met one of his future dealers Jeanne Bucher.
In 1941, he moved to Nice where he met Jean Arp, Sonia Delaunay and Robert Delaunay, and these artists would inspire his first abstract paintings, or "Compositions". In 1942, Jeannine and Nicolas de Staël's first child, Anne was born. The growing family also included Jeannine's nine year old son Antoine. In 1943 (during the Nazi occupation), de Staël returned to Paris with Jeannine, but the war years were extremely difficult. During the war his paintings were included in several group exhibitions and in 1944 he had his first one-man exhibition at the Galerie l'Esquisse. In April 1945 he had a one-man exhibition at the Galerie Jeanne Bucher and in May 1945 his paintings were included in the first Salon de Mai. De Staël's work was also included in the Salon d'Automne that year. In Paris in 1944 he met and befriended Georges Braque, and by 1945 his exhibition's brought him critical fame. However times were so difficult, and success's came too late as Jeannine died in February 1946, from illness brought on by malnutrition.
De Staël met Francoise Chapouton in the spring of 1946, and they married in May. In October 1946 thanks to his friendship with artist André Lanskoy (whom he met in 1944) de Staël made a contract with Louis Carré who agreed to buy all the paintings that he produced. By January 1947 the de Staël family moved into larger quarters thanks to increased recognition and increased sales. In 1947 he befriended his neighbor American private art dealer Theodore Schempp. De Stael's new studio in Paris was very close to Georges Braque's and the two painters became very close friends. In April 1947 his second daughter Laurence was born. In April 1948 his son Jerome was born, also that same year in Paris he began a long friendship with German artist Johnny Friedlaender. His paintings began to attract attention worldwide. In 1950 he had a one-man exhibition at the Galerie Jacques Dubourg in Paris and Schempp introduced de Stael's paintings to New York, with a private exhibition at his Upper East Side apartment. He sold several paintings to important collectors including Duncan Phillips of the Phillips Collection. He had considerable success in the United States, and England in the early 1950s. In 1950 Leo Castelli organized a group exhibition at the Sidney Janis Gallery in New York City that included him. In 1952 He had one-man exhibitions in London, Montevideo, and in Paris. In March 1953 he had his first official one-man exhibition at M. Knoedler & Co. in New York City. The show was both a commercial and critical success. In 1953 he had an exhibition at the Phillips Gallery in Washington DC, (known today as The Phillips Collection in Washington DC) and they acquired two more of his canvasses. Visiting the United States in 1953 de Staël and Francoise visited MoMA, the Barnes Foundation in Merion, Pennsylvania and various other important institutions.
After returning to Paris, de Staël met visiting New York art dealer Paul Rosenberg who offered de Staël an exclusive contract. De Staël signed with Paul Rosenberg partially because Rosenberg was French and because he was an important New York art dealer who showed many Cubist painters whom Nicolas de Staël admired. By the end of 1953 the demand for de Staël's paintings was so great that Paul Rosenberg raised his prices and continually requested more paintings. The demand was so high for his planned spring 1954 exhibition, that Rosenberg requested an additional fifteen paintings. Once again this exhibition was both commercially and critically successful. In April 1954 de Staël's fourth child Gustave was born. In that spring he had a successful exhibition in Paris at Jacques Dubourg's gallery. His new paintings marked his departure from abstraction and a return to figuration, still-life and landscape.
But by 1953, de Staël's depression led him to seek isolation in the south of France (eventually in Antibes). He suffered from exhaustion, insomnia and depression. In the wake of a disappointing meeting with a disparaging art critic on March 16, 1955 he committed suicide. He leapt to his death from his eleventh story studio terrace, in Antibes. He was 41 years old.
Die Kunstwerke von Eric Sven LARSGAARD sind exklusiv erhältlich im Online-Shop von
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Bitte sehen Sie sich auch die Kunstwerke an von
Otto FRÜHWACH
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Pavel POLIAKOV
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Jackson CUSHMAN
Gus ANDERSON
Wir freuen uns auf Sie !
ARTE DEL MONDO www.arte-del-mondo.de
The artworks of Eric Sven LARSGAARD are exclusively available in the online shop of
ARTE DEL MONDO www.arte-del-mondo.de
We are happy to answer your questions about the artwork.
Please write to us at shop@arte-del-mondo.de.
You can also visit us on
INSTAGRAM @arte-del-mondo.de
Please also have a look at the artworks by
Otto FRÜHWACH
Martin GRUNEBERG
Toshima HAYASHI
Ziggy M. BROOKS
Pavel POLIAKOV
Angelo MONTESALVINI
Jackson CUSHMAN
Gus ANDERSON
We look forward to seeing you !
ARTE DEL MONDO www.arte-del-mondo.de
Franz Jozef Kline (May 23, 1910 – May 13, 1962) was an American painter mainly associated with the abstract expressionist movement centered around New York in the 1940s and 1950s. He was born in Wilkes-Barre, Pennsylvania, and attended Girard College, an academy in Philadelphia for fatherless boys. He attended Boston University, and later taught at a number of institutions including Black Mountain College in North Carolina and Pratt Institute in Brooklyn.[1] He spent summers from 1956-62 painting in Provincetown, Massachusetts and died in New York City of a rheumatic heart disease. He was married to Elizabeth Vincent Parsons, a British ballet dancer.
Mosaic Table, 1947. Old wagon wheel with leftover tesserae, costume jewellery, keys, coins, broken glass.
We loved this well presented, vibrant exhibition. Interesting to learn of LK's close friendship with Ray Eames, which developed during their time as fellow students: two brilliant women whose careers and reputations were overshadowed by their partners. Congratulations to the Barbican for doing a little bit to put that right.
Mixed Media on Canvas & Rice Paper; 55 x 32 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...
I would have loved to have listened in on what they were saying to one another about the Pollock painting. Somehow I don't think this father was saying "You could do something this good."
日本のことば×現代アート
いんすぴ
［会期］2020年2月17（月）～3月24日（水）
［会場］コリドー ギャラリー34 at パークホテル東京
入場無料
［会場住所］東京都港区東新橋1丁目7番1号 汐留メディアタワー 34F
主催＝これやん、パークホテル東京
［概要文］
「いんすぴ」これやん展は、アートの販売サイト“これやん”とパークホテル東京がコラボレーションして生まれたプロジェクトです。この企画では日本の芸術・文化を世界に伝えるために、日本文化を体現するコミュニケーション・ツールである“ことば”に注目しました。さまざまな意味を持つ日本のことばの奥深さを、アート作品として表現するのに加え、ことばから生まれたインスピレーションは作者と受け手が共有できるのか――？ ことばをモチーフにすることで変化する、イメージの共有をテーマとしています。
この展示では、これやんとパークホテルに所縁のある60人のアーティストたちに、日本に根づいた“ことば”を提示し、そこから感じたインスピレーションをもとに自由に作品を制作してもらいました。絵画・立体・工芸といったジャンルはもちろん、年齢も性別も超えて、ことばから生み出された60通りの“いんすぴ”。その閃きを感じながら、カルタの“絵合わせ”のような直感的な楽しさを味わっていただければ幸いです。
［概要の英訳］
Koreyan Exhibition “INSPI” is held by the art E-commerce site Koreyan in collaboration with Park Hotel Tokyo as known as the Art Hotel. The purpose of this exhibition is to show Japanese culture through the inspirations of Japanese artists.
We picked 60 heartwarming Japanese phrases and threw them to 60 artists.
How do they get inspired from those words? What do they create from the inspirations?
The answer is in their artworks.
We hope you can enjoy the interaction between 60 Japanese phrases and 60 arts inspired by them.
［参加アーティスト］
安西泉、安東和之、池田千鶴、伊藤香奈、稲石とおる、今井完眞、内田有、江頭誠、大河原愛、大串ゆうじ、大谷陽一郎、大平真梨、大村雪乃、奥島圭二、奥村巴菜、OZ-尾頭-山口佳祐、香川大介、角文平、金谷裕子、カネコタカナオ、金澤シュウ、北奥美帆、KYOTARO、京森康平、久保進、小飯塚祐八、小林真理江、サガキケイタ、櫻井美佳、佐野景子、清水智裕、しりあがり寿、新直子、鈴木杏、鈴木香南、鈴木ひょっとこ、高石優真、高橋キンタロー、田川秀樹、竹村東代子、田羅義史、Cicci、千原徹也、土田圭介、坪島悠貴、中村圭吾、中村眞弥子、はっとり♡かんな、HABUJUN、HUIT、平井豊果、ひらのまり、ヒロ杉山
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Abstract Expressionism is an American post - World War II art movement.
It was the first American movement that managed to garner a worldwide
influence, causing New York City to replace Paris as the center of the art world...
Read The Full Blog Post -
Parade, mid-1950s
Oil on paper mounted on canvas, 18 x 24 in.
Signed on stretcher: Charlotte Park
Inscribed on verso: Parade
Photograph courtesy Spanierman Gallery, LLC, New York.
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.
I resisted the urge to make a minimalist smokey landscape today and found myself close to my deadline without having made an image. As I started experimenting with found objects, I let my thoughts guide me and this photo quickly became a reaction to/representation of the fires burning to the south. Largely an abstract composition of pattern and colour, I’m feeling for maybe the first time in making this image I might be starting to understand abstract expressionism.
Nikon D610 with an old Nikkor 55mm micro. Processed in Capture One Pro.
257/365
Oil on canvas; 50.5 x 50.5 cm.
A well-known artist, designer, and educator, Itten is perhaps best known for contributions to the Foundation Course (Vorkurs) at the Bauhaus in Weimar between 1919 and 1923. Born in Switzerland, Itten's early career was in primary school education but he gave it up to study fine art briefly at the École des Beaux Arts in Geneva. However, dissatisfied with the conservatism of the curriculum he went on to study mathematics and science at university before studying painting at the Stuttgart Academy from 1913 to 1916. Well aware of the avant-garde ideas of the Blaue Reiter and Cubism, he exhibited at the Sturm art gallery in Berlin. He then moved to Vienna to teach and paint at his own art school and, having been introduced to Walter Gropius by Alma Mahler (who was married to Gropius) took up a teaching post at the Bauhaus in 1919. In his classes he encouraged students to experiment with form, color, and texture but his commitment to eastern mysticism and the wearing of monk-like robes led to tensions with Gropius, the institution's director. Furthermore, in the difficult political and economic climate in early 1920s Germany Gropius came under increasing pressure to demonstrate the relevance of the Bauhaus in daily life. As a consequence, Itten's experiential and expressionist approach to creativity was increasingly at odds with Gropius' growing commitment to the machine aesthetic as a key goal of the Bauhaus's educational curriculum. On leaving the Bauhaus Itten studied philosophy in Zurich before setting up his own design school in Berlin from 1926 to 1931. He also became director of the technical school for textiles at Krefeld from 1932 to 1938. He left Germany, first working in Amsterdam and then moving to Zurich where he became the director of the Museum and School of Applied Arts from 1938 to 1953. From 1943 to 1953 he also directed the technical school for textiles and the Rietbergmuseum.
This painting was done from a soutine photo,,Chaïm Soutine (January 13, 1893 – August 9, 1943) was a Jewish painter from what is today the nation of Belarus, who came to fame as part of the expressionist movement in Paris in the 1920s.
Oil on canvas; 49.5 x 60.9 cm.
Italian painter and stage designer, born in Udine. Full name Afro Balsadella, but is usually known as Afro; brother of the sculptor Mirko Balsadella (Mirko). Father a leading decorator. Studied at secondary schools specialising in art subjects in Florence and Venice, and had his first one-man exhibition at the Galleria del Milione, Milan, in 1932. Began by painting still lifes, landscapes, portraits and murals. Moved in 1938 to Rome. War service and in the Resistance 1940-4. Developed a near-abstract style in 1947-8 under the influence of Klee and late Cubism. Held regular exhibitions at the Catherine Viviano Gallery, New York, from 1950-68 and made frequent visits to the USA, developing a looser, more improvisatory abstract style partly under the influence of Gorky, Kline and de Kooning. Joined the group Otto with Birolli, Corpora, Moreni, Morlotti, Santomaso, Turcato and Vedova in 1952. Painted a mural for the UNESCO headquarters in Paris 1958. Awarded the City of Venice painting prize at the 1956 Venice Biennale and Second Prize at the 1959 Pittsburgh International; also designed sets and costumes for the ballet and the opera. His late works, from c.1970, had more precise shapes. Died in Zurich.
Published in:
Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, p.2
Oil on canvas; 51 x 33 5/16 in.
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.
Pigment on paper laid down on canvas; 107.5 x 74.5 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.
Tobey is most famous for his creation of so-called "white writing" - an overlay of white or light-colored calligraphic symbols on an abstract field which is often itself composed of thousands of small and interwoven brush strokes. This method, in turn, gave rise to the type of "all-over" painting style made most famous by Jackson Pollock, another American painter to whom Tobey is often compared.
Tobey’s work is also defined as creating a vibratory space with the multiple degrees of mobility obtained by the Brownian movement of a light brush on a bottom with the dense tonalities. The series of “Broadway” realized at that time has a historical value of reference today. It precedes a new dimension of the pictorial vision, that of contemplation in the action.
His work is inspired by a personal belief system that suggests Oriental influences and reference to Tobey's involvement in the Bahá'í Faith. Four of Tobey's signed lithographs hang in the reception hall in the Seat of the Universal House of Justice, the supreme governing institution of the Baha’i Faith.