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In the heart of darkness, where shadows dance and light flickers, lies a realm untouched by time. "Whispers in the Shadows" unveils a world where beauty intertwines with the surreal, and each image serves as a gateway to the enigmatic depths of the human psyche. Inspired by the haunting works of Yoshitaka Amano and Zdzisław Beksiński, this collection is a tapestry of dreams and nightmares, woven with the threads of abstract expressionism. Here, a Swedish girl becomes the vessel of our deepest fears and fascinations, her smile a paradox amidst the brooding landscape of dark grays, blacks, and golds.
Poem
In the realm where night whispers linger,
A Swedish maiden smiles, a spectral figure.
In hues of gold, black, and sorrow's gray,
She dances with shadows, in eternal play.
Amidst the canvases of Amano's dream,
And Beksiński's nightmarish scream,
Her eyes hold stories untold,
In this world, hauntingly bold.
In the echo of each brushstroke's fall,
She whispers secrets, hidden to all.
A blend of beauty, fear, and art's embrace,
In this gallery of the dark, her ethereal place.
Haiku
Shadowed smile gleams,
In gold and gray dreams she weaves,
Silent whispers breathe.
Woman I, 1950 – 52
oil on canvas
75 ⅞ x 58 inches
© 2009 The Willem de Kooning Foundation/ Artists Rights Society, New York
While some critics in the past have appraised de Kooning's painting Excavation to be his greatest masterpiece there can be little doubt that this painting is his signature piece. Woman 1, the first of a long series of paintings and drawings , shows the violent destruction and reconstruction of the female form and cubist space. Woman 1 is in the collection of the Museum of Modern Art, New York, NY.
Permission to post this image here kindly granted by The Willem de Kooning Foundation/ Artists Rights Society, New York
Gracias por las visitas, amables comentarios e invitaciones
Thank you for the visits, kind comments and invitations
Full Fathom Five, 1947
Oil on canvas with nails, tacks, buttons, key, coins, cigarettes, matches, etc., 50 7/8 x 30 1/8" (129.2 x 76.5 cm)
Jackson Pollock (American, 1912-1956)
Full Fathom Five is one of Pollock's first "drip" paintings. While its top layers consist of poured lines of black and shiny silver house paint, a large part of the paint's crust was applied by brush and palette knife; the result is a labyrinthine web that reveals an instantaneous unity between multiple crisscrossing and planar forms with no contours. An assortment of detritus, from cigarette butts to coins and a key, are enfolded by the paint. Though many of these items are obscured, they contribute to the painting's dense surface and churning sensation. The title, suggested by Pollock's neighbor, quotes from Shakespeare's The Tempest, wherein Ariel describes a death by shipwreck: "Full fathom five thy father lies / Of his bones are coral made / Those are pearls that were his eyes."
Gift of Peggy Guggenheim.
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The Museum of Modern Art (MoMA) was founded in 1929 and is often recognized as the most influential museum of modern art in the world. Over the course of the next ten years, the Museum moved three times into progressively larger temporary quarters, and in 1939 finally opened the doors of its midtown home, located on 53rd Street between Fifth and Sixth Avenues in midtown.
MoMA's holdings include more than 150,000 paintings, sculptures, drawings, prints, photographs, architectural models and drawings, and design objects. Highlights of the collection inlcude Vincent Van Gogh's The Starry Night, Salvador Dali's The Persistence of Memory, Pablo Picasso's Les Demoiseels d'Avignon and Three Musicians, Claude Monet's Water Lilies, Piet Mondrian's Broadway Boogie Woogie, Paul Gauguin's The Seed of the Areoi, Henri Matisse's Dance, Marc Chagall's I and the Village, Paul Cezanne's The Bather, Jackson Pollack's Number 31, 1950, and Andy Warhol's Campbell's Soup Cans. MoMA also owns approximately 22,000 films and four million film stills, and MoMA's Library and Archives, the premier research facilities of their kind in the world, hold over 300,000 books, artist books, and periodicals, and extensive individual files on more than 70,000 artists.
My son's reaction to Abstract Expressionism (my wife's too)
Rothko at the Philadelphia Museum of Art
shot with my iPhone
An important canvas from the 1940s, full of gas pumps, trees, storefronts,it was the first in which he used his"colour-space" theory. In this work some colours advance, while others
recede, giving the impression of three-dimensional space.
Clyfford Still Museum in Denver, CO. Clyfford Still was an American painter, and one of the leading figures of Abstract Expressionism.
Clyfford Still Museum in Denver, CO. Clyfford Still was an American painter, and one of the leading figures of Abstract Expressionism.
detail of "berkeley #57," oil on canvas, 1955, by richard diebenkorn, american (it's a big canvas with lots of great detail and small compositions within)
2017 Barbie Hair Fair 50th Anniversary and 1991 Dylan McKay (Luke Perry)
Original mini artwork by the brilliant, JohnSo, 2021
Oil on Canvas Board (2015)
by Greg Mason Burns
30 x 40 cm
Prints - fineartamerica.com/featured/the-bed-i-greg-mason-burns.html
Jackson Pollock, Autumn Rhythm (Number 30), 1950, enamel on canvas, 266.7 × 525.8 cm (The Metropolitan Museum of Art), © The Pollock-Krasner Foundation
Abstract composition of June 29, 2015. Photo by Alecsey Boldeskul.
Lomo LC-A
Fujichtome Provia 100F
Plustek OpticFilm
Metart #14 (1949)
Painting
47.5 by 40 in.
Courtesy of Gallery Sam, Berkeley, Calf.
More biographical information can be found at the link below.
artscenecal.com/ArticlesFile/Archive/Articles2006/Article...
Gracias por las visitas, amables comentarios e invitaciones
Thank you for the visits, kind comments and invitations
Alberto Burri was born on March 12, 1915, in Città di Castello, Italy. Burri began his career not as an artist but as a doctor, earning a medical degree in 1940 from the Università degli studi di Perugia and serving as a physician in the Italian army during World War II. Following his unit’s capture in northern Africa, he was interned in a prisoner-of-war camp in Hereford, Texas, in 1944, where he started to paint on the burlap that was readily at hand. After his release in 1946, Burri moved to Rome, where his first solo show was held at the Galleria La Margherita the following year.
Like many Italian artists of his generation who reacted against the politicized realism popular in the late 1940s, Burri soon turned to abstraction, becoming a proponent of Art Informel. Around 1949–50 he experimented with various unorthodox materials, fabricating tactile collages with pumice, tar, and burlap as in his sacchi (sacks), which were initially considered assaults against the aesthetic canon. At this time, he also commenced the muffe (molds) and the gobbo (hunchback) paintings; the latter were humped canvases that broke with the traditional two-dimensional plane. This preoccupation with the ambiguity of the pictorial surface and with non-art materials led Burri to help form the group Origine (Origin, 1950–51) in opposition to the increasingly decorative nature of abstraction. The artists in Origine exhibited their work together in 1951 at Aurora 41, Rome.
In 1953–54, Burri garnered attention in the United States when his work was included in the group exhibition Younger European Painters: A Selection at the Guggenheim Museum and was shown as well at the Frumkin Gallery, Chicago, and Stable Gallery, New York. In the mid-1950s Burri began burning his materials, a technique he termed combustione (combustion). These charred wood and burlap works were first exhibited in 1957 at the Galleria dell’Obelisco, Rome. In 1958 his welded iron sheets were shown at the Galleria Blu, Milan, and in 1960 at Martha Jackson Gallery, New York, the latter show including Grande Ferro M-4 (1959). That same year, Burri was awarded Third Prize at the Carnegie International, Pittsburgh. In 1959 he won the Premio dell’Ariete in Milan and the UNESCO Prize at the São Paulo Biennial. There was a solo show of Burri’s art in 1960 at the Venice Biennale, where he was awarded the Critics’ Prize.
Persevering with the combustione technique, Burri started to burn plastic in the early 1960s and exhibited these works at the Marlborough Galleria d’arte, Rome (1962). Burri’s first U.S. retrospective was presented by the Museum of Fine Arts, Houston (1963). His art was selected for the traveling exhibition Premio Marzotto (Marzotto prize, 1964–65), for which he won the award in 1965, the same year in which he was given the Grand Prize at the São Paulo Biennial. The art historian Maurizio Calvesi wrote a monograph on Burri in 1971. The subsequent year, the Musée national d’art moderne, Paris, mounted a retrospective of the artist’s work. In the early 1970s he embarked on his “cracked” paintings, creviced earthlike surfaces that play with notions of trompe l’oeil. In 1977 a retrospective was presented at the University of California’s Frederick S. Wight Gallery, Los Angeles, and traveled to the Marion Koogler McNay Art Institute, San Antonio, Texas, and the Guggenheim Museum (1978).
In 1979 Burri turned to another industrial material, Celotex, and continued to use it throughout the 1980s and 1990s. In 1994, he took part in The Italian Metamorphosis, 1943–1968 at the Guggenheim Museum. The artist died on February 15, 1995, in Nice, France.