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Sleep (1981)
Oil on canvas
h: 32 x w: 48 in
Courtesy of Spanierman Modern, New York
www.easthamptonstar.com/dnn/Archive/Home20081225/Arts/Gre...
Oil and sand on canvas; 127 x 109 cm.
Giuseppe Santomaso was born in Venice. He studied at the Accademia di Belle Arti there from 1932 to 1934. In 1938 he began his work in graphics. In 1939 the artist traveled to Paris on the occasion of his first solo exhibition at the Galerie Rive Gauche. Santomaso participated in the Quadriennale of Rome in 1943 and executed illustrations for Paul Eluard’s Grand Air in 1945. In 1946 he was a founding member of the antifascist artists’ organization Nuova Secessione Artistica Italiana—Fronte Nuovo delle Arti in Venice.
Since 1948 Santomaso has participated often in the Venice Biennale, where he was awarded the Prize of the Municipality of Venice in 1948 and First Prize for Italian Painting in 1954. He received the Graziano Prize from the Galleria del Naviglio in Milan in 1956 and the Marzotto Prize at the Mostra internazionale di pittura contemporanea in Valdagno in 1958, among other awards. Santomaso taught at the Accademia di Belle Arti in Venice from 1957 to 1975. Particularly important for the development of his non-objective style is the journey to New York in 1957, on the occasion of his first exhibition in the United States at the Grace Borgenicht Gallery, during which the artist met the leading members of the Abstract expressionism. The Stedelijk Museum in Amsterdam gave the artist a solo exhibition in 1960. In 1961 he participated in the São Paulo Bienal and he traveled to Brazil the following year. A Santomaso retrospective toured from the Kunstverein in Hamburg to the Haus am Lützowplatz in Berlin and the Museum am Ostwall in Dortmund in 1965–66. In the meantime, the artist continue to produce graphic works. He contributed lithographs to On Angle, a book of Ezra Pound’s poetry published in 1971. His work appeared in the International Engraving Biennial in Cracow in 1972 and 1978. Solo exhibitions of his work were presented in 1979 by the Fondacio Joan Miró in Barcelona and the Staatsgalerie Moderner Kunst in Munich. The Borgenicht Gallery organized a Santomaso show for the spring of 1983.
Oil on canvas; 101.6 x 76.2 cm.
Eduard Karpovich Ziuzin was born on January 18, 1938, in Moscow. Eduard's father was Karp Atarov, a ballet dancer. The Ziuzin family, from which he descended through his mother, were minor nobility. The mother was a theater actress and the student of Vsevolod Meyerhold, a notable Russian producer, director and actor. She was also the close friend of Zinaida Reich, the first wife of the famous Russian poet Sergei Esenin.
Eduard Ziuzin showed an atitude for art at an early age, and was drawing and composing poetry by the age of five.
In 1941, he was evacuated from Moscow. After the death of his mother, he was placed in an orphanage in Siberia, where he lived until 1946.
In 1950, he painted his first work: My Yard.
In 1951, at the age of 13, he began to work in a factory. At the same time, he started attending an art school.
In 1960, he painted Rostov Street and Pond, which was later acquired by the Tretyakov Gallery.
In 1973, he was arrested for dissident activity. He would spend the next 5 years in prison and in a psychiatric ward. During this time, he would paint his famous series of "Prison Portraits."
Ziuzin's patrons include notable Russian art collectors such as Dr. Alexander Miasnikov, Kostaki and Dr. Lobchinsky.
Ziuzin cites three of his teachers as having been most influential in his development as a painter. The first teacher was Dr. G. K. Kravchenko, a well-known Russian painter, himself the student of Ilya Repin. The second was Vasily Sitnikov, a notable painter of the Russian Avant-Garde. The third was Marc Chagall, another famous painter, together with whom Eduard had an exhibition in Tokyo in 1980.
That year, he was pronounced one Russia's best realist painters.
In 1993, Ziuzin emigrated to the United States, where he settled in Jersey City.
In 1995, he held an exhibition in the Museum of Contemporary Russian Art in Jersey City.
Francisco Benjamín López Toledo (b. July 17, 1940, Juchitán, Oaxaca) is a Mexican graphic artist. He studied at the Escuela de Bellas Artes de Oaxaca and the Centro Superior de Artes Aplicadas del Instituto Nacional de Bellas Artes, Mexico, where he studied graphic arts with Guillermo Silva Santamaria.
His social and cultural concerns about his home state led to his participation in the establishment of an art library at the Instituto de Artes Gráficas de Oaxaca (IAGO),[1] as well as his involvement in the founding of the Museo de Arte Contemporáneo de Oaxaca (MACO), the Patronato Pro-Defensa y Conservación del Patrimonio Cultural de Oaxaca, a library for the blind, a photographic center, and the Eduardo Mata Music Library. Toledo works in various media, including pottery, sculpture, weaving, graphic arts, and paintings. He has had exhibitions in Argentina, Brazil, Colombia, Ecuador, Spain, the United Kingdom, Belgium, France, Japan, Sweden, the United States, as well as other countries.
For his social and cultural commitment to the development of his home state, he received the Mexican National Prize (1998), the Prince Claus Award (2000) and the Right Livelihood Award (2005).
He is father of poet Natalia Toledo and artists Laureana Toledo and Dr Lakra.
Oil flux on fabric mounted to board.
Knud Merrild studied art and design in Denmark and immigrated to the United States in 1921. He and another Danish artist, Kai G. Götzsche, travelled around and met D. H. Lawrence and his wife, Frieda. The Lawrence’s convinced them to remain in New Mexico for the winter. During the winter of 1922-23 Merrild created a body of work relating to New Mexico and later wrote a book about his experiences with D. H. Lawrence, A Poet and Two Painters, which was first published in 1939 and made him well-known.
In 1923, Merrild went to Los Angeles for the next 30 years. There he created his most significant work, an output of several hundred works in a range of styles. Merrild's early works were cubist inspired paintings and watercolors. He later experimented with different materials in an effort to create works with three-dimensional outputs.
His works were mostly described as surrealistic and were included in recent survey exhibitions dealing with Surrealism in the United States. In 1942 he developed a totally new technique of painting which he called "flux", a process by which he alternatively poured or dripped paints onto a fluid surface. In some cases, the resulting works were entirely abstract while in others, concrete images could be recognized.
In 1952 Merrild suffered a heart attack and returned to his native country seeking less expensive medical care. He did not produce any more work in Denmark and died in 1954.
Gouache on paper; 69.8 x 100.1 cm.
Carla Accardi was born in Trapani, Italy. She completed her classical studies in high school, and in 1943 she trained privately for an art diploma. She continued her art training at the Accademia di Belle Arti of both Palermo and Florence. In 1946 she moved to Rome with the painter Antonio Sanfilippo, who she married a few years later. Accardi quickly became part of the inner circle of the Art Club and was a frequent visitor to Consagra’s studio. There she met such artists as Attardi, Dorazio, Guerrini, Perilli, and Turcato, with whom she signed the manifesto of the Forma 1 group in 1947. She took part in many group shows in Italy and abroad; her first solo exhibition was in 1950 at the Galleria Numero in Florence. During the 1950s Accardi developed a reductivist visual language that became more and more abstract. She focused on signs and limited her palette to black and white, thus linking herself visually to the major artists of the Art Informel movement. Between 1954 and 1959, Michel Tapiè, an art critic and promoter of the movement, invited her to take part in several exhibitions that he organized in Italy and abroad.
In the 1960s Accardi joined the Continuità group; she began to reintegrate color into her work, making references to metropolitan culture and optical illusion. She continued to explore new possibilities by experimenting with diverse media, eventually beginning to paint on plastic transparent supports, which emphasised the luminous surface of the painting. She took part in the Venice Biennale several times, appearing first in 1964 and again in 1976 and 1978.
In the 1980s Accardi returned to canvas, and her visual language changed again as she shifted her focus to the use of signs and chromatic juxtapositions. She showed again at the Venice Biennale in 1988 and took part in the most important retrospectives of twentieth-century Italian Art. Among these was The Italian Metamorphosis 1943–1968, held at the Solomon R. Guggenheim Museum, New York, in 1994. She was nominated a member of the Accademia di Brera in Milan in 1996, and the following year she became part of the Venice Biennale Commission as an advisor. Her work is part of many important collections, including the Galleria Nazionale d’Arte Moderna in Rome, the Museo d’Arte Contemporanea of Castello di Rivoli (Turin), the Gallerie Civiche of Modena and Bologna, the Palazzo Reale in Milan, and the Museo Civico in Turin. The artist currently lives and works in Rome.
Oil on canvas.
Robert Delaunay was a French painter who first introduced vibrant color into Cubism and thereby originated the trend in Cubist painting known as Orphism. He was one of the earliest completely nonrepresentational painters, and his work affected the development of abstract art based on the compositional tensions created by juxtaposed planes of color.
Delaunay was at first a theatre designer and painted only part-time. But he soon came under the influence of the Neo-Impressionists’ use of colour. By 1910 he had made his own contribution to Cubism in two series of paintings, cathedrals and the “Eiffel Tower,” which combined fragmented Cubist form with dynamic movement and vibrant colour. This new and individual use of pictorial rhythms and colour harmonies had an immediate appeal to the senses and, combined with poetic subject matter, distinguished him from the more orthodox Cubist painters. His Orphic style, adopted also by his wife, the painter Sonia Terk Delaunay (1885–1979), had an immediate influence on the work of Der Blaue Reiter (The Blue Rider), a Munich-based group of Expressionist painters.
Two years later he found his way toward completely nonobjective painting when he made his “Colour Disks” and “Windows” series of paintings. Together with his wife, Delaunay worked on large and impressive abstract mural decorations for the Paris Exposition of 1937. Delaunay continued to paint works that restated his Orphic theories.
Watercolor on paper; 27.6 x 30.5 cm.
Joseph Beuys was a German avant-garde sculptor and performance artist whose works, characterized by unorthodox materials and ritualistic activity, stirred much controversy. Beuys was educated in Rindern, Ger., and served in the German air force throughout World War II. In 1943 his plane crashed in the frozen Crimea. Those who found him tried to restore his body heat by wrapping him in fat and an insulating layer of felt; these substances would later become recurring motifs in his works. From 1947 to 1951 he studied art in Düsseldorf, and in 1961 he was appointed professor of sculpture at the Staatliche Kunstakademie in Düsseldorf. Beuys was also involved in German politics.
Beuys worked in the mid-1960s with the international avant-garde art group known as Fluxus. During this period he began to stage “actions,” events at which he would perform acts of a ritual nature. For one of his best-known actions, How to Explain Pictures to a Dead Hare (1965), Beuys covered his head with honey and gold leaf, wore one shoe soled with felt and one with iron, and walked through an art gallery for about two hours, quietly explaining the art therein to a dead hare he carried. His art was compared by some critics to that of the German Expressionists, both for its obsessive and unsettling qualities and for its linking of artistic revolution and social revolution.
Varnish on sicofoil; 156 x 156 cm.
Carla Accardi was born in Trapani, Italy. She completed her classical studies in high school, and in 1943 she trained privately for an art diploma. She continued her art training at the Accademia di Belle Arti of both Palermo and Florence. In 1946 she moved to Rome with the painter Antonio Sanfilippo, who she married a few years later. Accardi quickly became part of the inner circle of the Art Club and was a frequent visitor to Consagra’s studio. There she met such artists as Attardi, Dorazio, Guerrini, Perilli, and Turcato, with whom she signed the manifesto of the Forma 1 group in 1947. She took part in many group shows in Italy and abroad; her first solo exhibition was in 1950 at the Galleria Numero in Florence. During the 1950s Accardi developed a reductivist visual language that became more and more abstract. She focused on signs and limited her palette to black and white, thus linking herself visually to the major artists of the Art Informel movement. Between 1954 and 1959, Michel Tapiè, an art critic and promoter of the movement, invited her to take part in several exhibitions that he organized in Italy and abroad.
In the 1960s Accardi joined the Continuità group; she began to reintegrate color into her work, making references to metropolitan culture and optical illusion. She continued to explore new possibilities by experimenting with diverse media, eventually beginning to paint on plastic transparent supports, which emphasised the luminous surface of the painting. She took part in the Venice Biennale several times, appearing first in 1964 and again in 1976 and 1978.
In the 1980s Accardi returned to canvas, and her visual language changed again as she shifted her focus to the use of signs and chromatic juxtapositions. She showed again at the Venice Biennale in 1988 and took part in the most important retrospectives of twentieth-century Italian Art. Among these was The Italian Metamorphosis 1943–1968, held at the Solomon R. Guggenheim Museum, New York, in 1994. She was nominated a member of the Accademia di Brera in Milan in 1996, and the following year she became part of the Venice Biennale Commission as an advisor. Her work is part of many important collections, including the Galleria Nazionale d’Arte Moderna in Rome, the Museo d’Arte Contemporanea of Castello di Rivoli (Turin), the Gallerie Civiche of Modena and Bologna, the Palazzo Reale in Milan, and the Museo Civico in Turin. The artist currently lives and works in Rome.
Simon Hantaï is a painter generally associated with abstract art.
After studying at the Budapest School of Fine Art, he travelled through Italy on foot and moved to France in 1948. André Breton wrote the preface to his first exhibition catalogue in Paris, but in 1955 Hantaï broke with the surrealist group over Breton's refusal to accept any similarity between the surrealist technique of automatic writing and Jackson Pollock's methods of action painting.
In 1960, Hantaï developed his technique of "pliage" (folding): the canvas is folded and scrunched, then doused with colour, and unfolded, leaving apparent blank sections of the canvas interrupted by vibrant splashes of colour. He stated: "The pliage developed out of nothing. It was necessary to simply put myself in the place of someone who had seen nothing... in the place of the canvas. You could fill the folded canvas without knowing where the edge was. You don't know where things stop. You could even go further, and paint with your eyes closed." ("Le pliage ne procédait de rien. Il fallait simplement se mettre dans l'état de ceux qui n'ont encore rien vu; se mettre dans la toile. On pouvait remplir la toile pliée sans savoir où était le bord. On ne sait plus alors où cela s'arrête. On pouvait même aller plus loin et peindre les yeux fermés.")
Starting in 1960, Hantaï ranged his works in series, some very white, others full of colour (subtle shades or vibrant).
Oil on canvas; 141 x 110 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
Watercolor on paper; 31.8 x 40.6 cm.
Born in Montreal, he studied under Paul-Émile Borduas in the 1940s and was a member of Les Automatistes movement. He was one of the signers of the Refus global manifesto. In 1949 he moved to Paris and continued his career as an artist, where he commercialized on his image as a "wild Canadian". In 1959 he began a relationship with the American painter Joan Mitchell. Living together throughout the 1960s, they kept separate homes and studios near Giverny, where Monet had lived. They influenced one another greatly, as much intellectually as artistically, but their relationship was a stormy one, fueled by alcohol. The relationship ended in 1979. His 1992 painting Hommage à Rosa Luxemburg is Riopelle's tribute to Mitchell, who died that year, and is regarded as a high point of his later work.
Riopelle's style changed gradually from Surrealism to abstract expressionism, in which he used myriad soft cubes of color, applied as flat planes with a palette knife, on large canvases to create powerful atmospheres. In 1969 he was made a Companion of the Order of Canada, and began to spend more time in Canada. He was specially recognized by UNESCO for his work. One of his largest compositions was originally intended for the Toronto airport, but is now in the Opéra Bastille in Paris. In 1988 he was made an Officer of the National Order of Quebec and was promoted to Grand Officer in 1994. In 2000 Riopelle was inducted into Canada's Walk of Fame. In June, 2006 the Montreal Museum of Fine Arts organized a retrospective exhibition which was presented at the State Hermitage Museum in Saint Petersburg, Russia and the Musee Cantini in Marseilles, France. The Montreal Museum of Fine Arts has a number of his works, spanning his entire career, in their permanent collection.
Oil on paper treated with canvas; 85 x 45.5 cm.
BIO TRANSLATED FROM GERMAN BY GOOGLE TRANSLATE:
Mirko Basaldella (born September 28, 1910 in Udine, Italy; † 24 November 1969 in Cambridge, Massachusetts, USA) was an Italian-American sculptor, painter and draftsman.
Mirko Basaldella named with artist's name usually only "Mirko". He comes from an artistic family, his brothers and Afro Dino Basaldella were also artists of international standing.
Mirko Basaldella studied art at the Accademia di Belle Arti di Firenze "and the" Scuola di arti applicate di Monza "by Arturo Martini. Martini, he works with at Monza in 1930 together until 1932. Between 1932 and 1934, both brothers are working in Milan in Afro and Mirko Arturo Martini's studio.
His first important exhibition was Mirko but already in October 1928, where he participated with his two brothers Dino and Afro Basaldella and Alessandro Filipponi at the Scuola della I ° Mostra d'friulana avanguardia (I ° exhibition of avant-garde school Friuli).
In 1934, Mirko moved to Rome. In Rome he is with his brother and other artists in the gallery "Comet" from. Also in 1934, his work is exhibited in the "Galleria Sabatello" in Rome. He made primarily bronze sculptures. In 1936, his first solo exhibition follows in the gallery "Comet". Also in 1936 Mirko participants of the Venice Biennale and is in the same year with his brother in the Afro Gallery "Mint" in Turin. In the following years, Mirko including exhibitions in Rome and New York.
In the years 1946-1947 Mirko picturesque experimented with post-cubist and a style similar to the Metaphysical painting imagery.
In the years 1948 to 1954, Mirko numerous solo exhibitions in New York, Rome and Milan, and creates a number of monumental sculptures. Mirko is a participant of documenta 1 (1955) and Documenta II in Kassel in 1959.
Mirko 1957 draws in the U.S. and is there until his death in 1969, director of design workshops (sculpture) at Harvard University in Boston.
January (1963)
Oil on canvas
45 x 49 3/4 inches
Courtesy of Vincent Vallarino Fine Art, New York
Biographical information:
by Greg Mason Burns
Oil on Canvas (2014)
50 x 100 cm
Prints - greg-mason-burns.artistwebsites.com/featured/the-response...
Estudio Sobre una Flor y un Insecto 4
Study On a Flower and a Bug
Gracias por las visitas, amables comentarios e invitaciones
Thank you for the visits, kind comments and invitations
Vinyl on canvas; 90 x 175 cm.
Antonio Scialoja was born in Rome on December 16, 1914. In the late 1930s he joined the artistic and literary circles of the Galleria La Cometa. Having given up his law studies in 1937, he devoted himself entirely to painting and produced his first Expressionist paintings, in which his use of thick textural brushstrokes was clearly influenced by French painting, in particular Soutine. In 1939 he exhibited at the third Quadriennale of Rome and in 1941 had a private show at the Società Amici dell’Arte in Turin. The following year he took part in a group show at the Galleria Lo Zodiaco in Rome, along with Emilio Vedova, Giulio Turcato, and Leoncillo Leonardi. He was actively involved in the Resistance, and he worked for the theater, designing his first stage sets in 1943. At the end of the war, along with the artists Stradone, Ciarrocchi, and Sadun, he founded the group “I quattro fuori strada”. During the late 1940s he went to Paris, where he became increasingly immersed in European artistic culture; this environment strongly affected his investigation into tone and Neo-Cubism. In the 1950s Scialoja gradually broke free from Expressionism, turning to Analytical Cubism and then to abstraction. His contacts with the group Origine, who were against the decorative aspects of abstract art, together with his trip to the U.S. in 1956, where he met the protagonists of American Abstract Expressionism, pushed the artist to thoroughly explore color, texture, and gestural painting. His first Impronte date back to 1957; in these works traces of deposited color are printed from one surface onto the other, and onto diverse materials ranging from paper to canvas. Meanwhile Scialoja toock part in important national and international shows; in 1960 he moved first to New York and then from 1961 to 1963 to Paris. Back in Italy he exhibited in the 1964 Venice Biennale. His artistic production ceased for a prolonged period during the 1970s, and he only resumed painting in 1983. Scialoja was also a poet, writer, and set designer. He taught at the Academy of Fine Arts in Rome and served as its director for many years. He died in Rome on March 1, 1998.
Acrylic on heavy cardboard; 74.6 x 104.3 cm.
Hans Hartung was a French painter of German origins, one of the leading European exponents of a completely abstract style of painting. He became particularly well known for his carefully composed, almost calligraphic arrangements of black lines on colored backgrounds.
Hartung received conventional training at art academies in Leipzig and Dresden, but even as a young man he made inkblot abstractions. An early influence was the Russian painter Wassily Kandinsky, who also had eschewed recognizable objects. In 1931 Hartung had a one-man exhibition in Dresden, but success was not forthcoming. Sick and short of funds, he spent the next three years on Minorca. He returned to Germany but, abhorring Nazism, settled in Paris in 1935; he became a French citizen in 1946. In World War II he served with the French Foreign Legion in North Africa and Alsatia, where he was seriously wounded. His service was interrupted by confinement in a Spanish concentration camp, from which he was released as a result of U.S. intervention.
Hartung’s mature style, which involved swirling, energetic linear motifs, found an eager public after the war. A successful showing of his work in Paris (1947) was followed by exhibits elsewhere in Europe and in the United States, Japan, and Latin America. In 1960 he was awarded the Grand Prix of the Venice Biennale, where an entire room of the French Pavilion was devoted to his work. He had a decisive influence on the postwar generation of abstract painters in Europe. Hartung’s later works became progressively calmer and more stable. Many of his works are titled by letters and numbers.
Acrylic on canvas; 179.1 x 200 cm.
Polke was born in Oels in Lower Silesia. He fled with his family to Thuringia, in 1945 during the Expulsion of Germans after World War II. His family escaped from the Communist regime in East Germany in 1953, traveling first to West Berlin and then to West German Rhineland. Upon his arrival in West Germany, Polke began to spend time in galleries and museums and worked as an apprentice in a stained glass factory in Düsseldorf , before entering the Kunstakademie at age twenty. From 1961 to 1967 he studied at the Academy under Karl Otto Götz, Gerhard Hoehme and deeply influenced by his teacher Joseph Beuys. In 1963 Polke founded the painting movement "Kapitalistischer Realismus" with Gerhard Richter and Konrad Fischer. It is an anti-style of art, appropriating the pictorial short-hand of advertising. This title also referred to the realist style of art known as "Socialist Realism", then the official art doctrine of the Soviet Union but it also commented upon the consumer-driven art "doctrine" of western capitalism.
Polke's creative output during this time of enormous social, cultural, and artistic changes in Germany and elsewhere, demonstrate most vividly his imagination, sardonic wit, and subversive approach in his drawings, watercolors, and gouaches produced during the 1960s and 1970s. Embedded in these images are incisive and parodic commentaries on consumer society, the postwar political scene in Germany, and classic artistic conventions. The anarchistic element of the work Polke developed, was largely engendered by his mercurial approach. His irreverence for traditional painting techniques and materials and his lack of allegiance to any one mode of representation has established his now-respected reputation as a visual revolutionary. It was not unusual for Polke to combine household materials and paint, lacquers, pigments, screen print and transparent sheeting in one piece. A complicated "narrative" is often implicit in the multi-layered picture, giving the effect of witnessing the projection of a hallucination or dream through a series of veils.
Polke embarked on a series of world travels throughout the 1970s, photographing in Pakistan, Paris, New York City, Afghanistan, and Brazil. From 1977–1991 he was a professor at the Academy of Fine Arts, Hamburg. He settled in Cologne 1978, where he continued to live and work until his death in 2010 after a long battle with cancer. In 2007, Vienna's "Museum Moderner Kunst" held an exhibition of Polke's work that spanned his career from his appropriations of Pop imagery and continuing through decades of perplexing compositions and clever critiques to arrive at current works that employ a haze of chemicals, minerals, and paints.
Oil on canvas; 84 x 66 in.
English painter and printmaker. He studied at Birmingham College of Art and came to public attention at the John Moores exhibition in Liverpool in 1965. Typical of his large-scale paintings of that period is Study (1965; London, Tate), in which folded and dramatically lit shapes are presented against a sprayed fence like background. He continued looking to the American models of Abstract Expressionism and Post-painterly Abstraction in panoramic canvases such as Barrier 3 (1969; British Council), although he combined the insistent flatness of these sources with shapes rendered in the illusion of three dimensions.
In Walker’s next series, such as Juggernaut II (1973–4; Liverpool, Walker A.G.), he reinterpreted Cubist collage on a massive scale, layering shapes of cut-out canvas painted to look like the rusting metal of the industrial vehicles alluded to in the title. As early as his Numinous series (1977–8) of variations on a balcony motif borrowed from Edouard Manet, Francisco de Goya and Henri Matisse, Walker increasingly referred to earlier painted images. Red Strand Infanta II (1981; British Council) was one of a group of canvases that made direct allusion to Velázquez and that introduced into his work illusions of deep space; from this point on, he favored oil painting rather than acrylic.
Following a residency Walker was appointed Dean of Melbourne’s Victoria College of the Arts in 1982. In works such as Oceania My Dilemma III (1984) he began to incorporate elements from Oceanic art such as carved masks, skull racks, painted barks and wall paintings in the bush, while continuing to work in series in an essentially modernist idiom that had much in common with international developments in Neo-Expressionist and ‘New Image’ painting.
Etching and engraving.
Gabor Peterdi,a printmaker and painter, was the son of the leading Hungarian poets of their time, the late Andor Peterdi and Zeseni Varnai. He learned to paint by observation and not formal training. At age 15 he won the Prix de Rome which gave him a year of study in the Italian capital.(He would win another Prix de Rome in 1977). After a year in Italy, He move to Paris where he trained with Stanley William Hayter who taught him how to engrave at his "Studio 17". He came to New York City in 1939 and after serving in the United States Army infantry on the front lines in Europe during World War II, he returned to a position at the Brooklyn Museum School of Art. He later taught at Hunter College (1952-1960) and was a professor at the Yale School of Art (1960-1987). Among his many awards were the Louise Nevelson Award of the American Academy Institute of Arts and Letters (1991), Guggenheim Fellowship (1964-1965), the Pennel Medal (1961), Ford Foundation Award (1960), Sesnan Gold Medal for Oils (1958), and the Paris World's Fair Gold Medal (1937). He was elected a member of the National Academy of Design (1979) and the Florentine Academy of Design (1963). He had 200 one-man exhibitions in this country and abroad and 25 retrospectives. His work can be found in the permanent collections of over 200 museums around the world. The Encyclopdia Britannica selected him to write the 22 page essay on printmaking in it's 15th edition published in 1975 and it's been in all subsequent printings to date. He also wrote "Printmaking:Methods Old and New", a standard text in the field.
Aaron Siskind (December 4, 1903 – February 8, 1991) was an American photographer who sometimes produced images analogous to or in homage of abstract expressionist painting. In his autobiography he wrote that he began his foray into photography when he received a camera for a wedding gift and began taking pictures on his honeymoon. He quickly realized the artistic potential this offered. He worked in both New York City and Chicago.
Siskind's work focuses on the details of nature and architecture. He presents them as flat surfaces to create a new image out of them, which, he claimed, stands independent of the original subject.
Early in his career Siskind was a member of the New York Photo League. Working with that group, Siskind produced several significant socially conscious series of images in the 1930s. Among them the "Harlem Document" remains the most famous.[1] He originally was a grade school English teacher in the New York Public School System.
In 1950 Siskind met Harry Callahan when both were teaching at Black Mountain College in the summer. Later, Callahan persuaded Siskind to join him as part of the faculty of the IIT Institute of Design in Chicago (founded by László Moholy-Nagy as the New Bauhaus). In 1971 he followed Callahan (who had left in 1961) to teach for the rest of his life at the Rhode Island School of Design.
A major character in the film One Hour Photo (about a disturbed photograph developer who stalks what he sees as the perfect family) is named after Siskind. The character of Mr. Siskind is not the main (psychologically disturbed) character, nor is the film in any way modeled after the life and works of Aaron Siskind.
Oil on board; 45 x 32.5 cm.
Mario Schifano was an Italian painter and collagist of the Postmodern tradition. He also achieved some renown as a film-maker and rock musician. He is considered to be one of most significant and pre-eminent artists of Italian postmodernism, alongside contemporaries such as Francesco Clemente, Sandro Chia and Giulio Paolini. His work was exhibited in the famous 1962 "New Realists" show at the Sidney Janis Gallery with all the young Pop art and Nouveau réalisme luminaries, including Andy Warhol and Roy Lichtenstein. He became part of the core group of artists comprising the "Scuola Romana". Reputed as a prolific and exuberant artist, he nonetheless struggled with a life-long drug habit that earned him the label maledetto, or "cursed".
All based on images of the curved concrete staircase at the base of the new Tate Modern Tower in London. All are double exposures created in a process that also involves split-toning and adding a layer of texture. A lot of experimentation went on here today.
All images copyright Stan Farrow FRPS. Not to be copied without permission.
A spontaneous abstract expressionist painting exploring my feelings after and argument with my partner that left me bewildered and confused about her logic…. God women… there enough to drive a man mad .
the rich and textured colours contrast nicely with thinner almost water-colour style areas creating an unexpected balance that adds to the overall power of the painting
80 x 60 cm Oil paint on canvas