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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.
Designed as one of the pieces exploring Jackson Pollack’s early artwork. I used writing Ink, applied as dips, splashes and marks in a seemingly random manor which I applied to the paper with a wooden coffee stirrer. this piece of abstract expressionism was very enlightening and fun to make
approx size 9 x 9 inches Ink on paper
Oil on canvas; 280 x 214 cm.
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).
This is a reproduction of Jackson Pollock's studio at The National Museum of Modern Art, Tokyo. These paints once belonged to Pollock.
A project inspired by Abstract Expressionism, Jackson Pollock, Ciro Totku, and Kilford.
Light painting and layering.
Rue de Brangue (1973)
Oil on canvas
50 1/2 x 40 1/2 inches
Photograph courtesy Spanierman Gallery, LLC, New York
Spanierman Gallery, LLC is the representative of the estate of Balcomb Greene.
49.9 x 34.9 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.
Oil on canvas; 152.4 x 121.9 cm.
Gershon Iskowitz was born in Kielce, Poland. He began as an expressionist painter who dealt with figurative subjects and later painted the Canadian landscape in an abstract expressionist style. At the age of four he was sent to the Chachmei Lublin Yeshiva where he began drawing. After a year and a half he begged his father to be allowed to return home and was given permission. He was tutored in Polish and placed in a public school. He was bullied at school and left after two and a half years. His father set up a small studio area for him in their home and allowed him to spend his time drawing and painting. At age nine he exchanged his art posters for free admission to a local cinema.
He registered at the Academy of Fine Arts in Warsaw in 1939. But war broke out before he began classes so he had to return to Kielce and was put to forced labor. In September 1943 the Kielce Ghetto was burned. Gershon and his brother, Yosl, were sent to Auschwitz. Gershon painted or drew at night only after every one else was asleep. He said "Why did I do it? I think it kept me alive. There was nothing to do. I had to do something in order to forget the hunger. It's very hard to explain, but in the camp painting was a necessity for survival." He was transferred to Buchenwald in 1944. Near the end of the war he tried to escape but was seriously wounded. In 1947 he attended the Academy of Fine Arts Munich and had private study with Oskar Kokoschka who painted in intense expressionistic style.
Gershon's first application to move to Canada was rejected because he had a limp. He reapplied and drew a picture for the bureaucrat in immigration. The fellow declared Gershon a genius, and approved his emigration application. In 1949 he emigrated to Canada. In 1952 he attended Artist's Workshop, Toronto until 1959–60 and began sketching trips to Markham and Uxbridge. He stopped painting scenes from his past in the mid 50's and turned to the Canadian landscape for his models. A major change in his painting style occurred in 1967 when a Canada Council grant permitted him to view the northern landscape from a helicopter. His painting became explosions of color and light.
In 1954 he had his first exhibition with the Canadian Society of Graphic Artists. He also did some part-time teaching at McKellar Lake. In 1964 he became associated with Gallery Moos, where he had many one-man exhibitions. In 1982 Gershon was honored by the AGO with a forty year retrospective of his work. A subset of the exhibition was put on display in London, England. Gershon said [painting] "... is just an extension of myself. It's a plastic interpretation of the way I think. You reflect your own vision. That's what it's all about. Art is like evolution and life, and you've got to search for life, stand on your own feet and continue. The only fear I have is before starting to paint. When I paint, I'm great, I feel great."
Burning through the Motion;
Painting Light in Motion, Abstract Expressionism,
Artist MIRZA AJANOVIC Motion Photography,
OPUS: Painting with light,
Action Expressionism, Rhythm and Movement Painting,
Action Painting, ART Avant-garde,
Mirza Ajanovic Expressive Photography,
These are Unaltered Images.
Oil on masonite; 116.5 x 89 cm.
Enrico Prampolini was an Italian Futurist painter, sculptor and scenographer. He assisted in the design of the Exhibition of the Fascist Revolution and was (like Gerardo Dottori) active in Aeropainting.
He pursued a program of abstract and quasi-abstract painting, combined with a career in stage design. His Spatial-Landscape Construction (1919) is quasi-abstract with large flat areas in bold colours, predominantly red, orange, blue and dark green. His Simultaneous Landscape (1922) is totally abstract, with flat colors and no attempt to create perspective. In his Umbrian Landscape (1929), produced in the year of the Aeropainting Manifesto, Prampolini returns to figuration, representing the hills of Umbria. But by 1931 he had adopted "cosmic idealism", a biomorphic abstractionism quite different from the works of the previous decade, for example in Pilot of the Infinite (1931) and Biological Apparition (1940).
Prampolini was an influence on Tullio Crali.
Color etching; 91.0 x 71.0 cm.
The controversial painter, sculptor and installation artist Damien Hirst is one of the world's most commercially successful contemporary artists. A leading member of the postmodernist generation known as Young British artists, he first came to prominence in the 1990s for his series of dead animals preserved and floating in formaldehyde. Influenced by Francis Bacon, his most famous works of avant-garde art include A Thousand Years (1989), a glass case with maggots and flies feeding off a rotting cow's head; The Physical Impossibility of Death in the Mind of Someone Living (1991), a tiger shark in a glass tank of formaldehyde and For The Love of God, a platinum cast of an 18th century human skull covered in £15,000,000 worth of diamonds. Hirst is also known for his 'spin paintings,' manufactured on a rotating circular surface, and 'spot paintings,' consisting of rows of randomly-colored dots or circles.
Hirst has been praised by many for galvanizing interest in the British arts and in helping to create the image of a 'Cool Britannia'. Moreover, a large number of art professionals and experts have been quick to acknowledge his prowess in marketing works of art. Even so, his critics are no less vocal. A Daily Mail headline stated "For 1,000 years art has been one of our great civilizing forces. Today, pickled sheep and soiled beds threaten to make barbarians of us all." Artist Charles Thomson of the The Stuckist Art Group wrote of Hirst's works: "They're bright and they're zany - but that's all there is at the end of the day." And in a 2008 TV documentary The Mona Lisa Curse, the respected modern art critic Robert Hughes attacked Hirst's work as 'tacky' and 'absurd' . However, despite the sceptics, Hirst continues to be a best-seller and, despite a bust-up with his erstwhile patron Charles Saatchi, the latter remains a staunch supporter of Hirst's artistic talent, commenting: "general art books dated 2105 will be as brutal about editing the late 20th century as they are about almost all other centuries. Every artist other than Jackson Pollock, Andy Warhol, Donald Judd and Damien Hirst will be a footnote."
Christiaan Karel Appel was a Dutch painter, sculptor, and poet. He started painting at the age of fourteen and studied at the Rijksakademie in Amsterdam in the 1940s. He was one of the founders of the avant-garde movement Cobra in 1948.
Mixed technique; 59.5 x 72.9 cm.
Enrico Baj was an Italian artist and writer on art. Many of his works show an obsession with nuclear war. He created prints, sculptures but especially collage. He was close to the surrealist and dada movements, and was later associatied with CoBrA. As an author he has been described as a leading promoter of the avant-garde.
He was born in Milan into a wealthy family, but left Italy in 1944 having upset the authorities and to avoid conscription. He studied at the Milan University law faculty and the Brera Academy of Art.
In 1951 he founded the arte nucleare movement with Sergio Dangelo, which unlike abstract art was overtly political. Baj himself was aligned with the anarchist movement. His most well-known pieces are probably the series of "Generals": absurd characters made from found objects such as belts or medals.
He made numerous works using motifs from other artists, from Leonardo da Vinci to Picasso. Sometimes he recreated entire works of other painters.
In 1972 public display of a major work, "Funeral Of The Anarchist Pinelli" (a reference to Carlo Carrà's famous painting The Funeral of the Anarchist Galli of 1911) was banned after the murder of the police officer believed to be responsible for Giuseppe Pinelli's death in custody. However his work continued to be political. In 1989 he designed thirty marionettes for Le bleu-blanc-rouge et le noir, an opera by Italian composer Lorenzo Ferrero on a libretto by Anthony Burgess, written for the bicentenary of the French Revolution. In his last years he created a series of paintings in protest at the election of Silvio Berlusconi. He died in Vergiate, Italy.
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.
Clyfford Still was an American artist, a painter, and one of the leading figures in Abstract Expressionism. Still was one of the foremost "color field" painters - his paintings are non-objective, and largely concerned with arranging a variety of colors in different formations. However, while Mark Rothko or Barnett Newman organized their colors in a relatively simple way (Rothko in the form of nebulous rectangles, Newman in thin lines on vast fields of color), Still's arrangements are less regular. His jagged flashes of color give the impression that one layer of color has been "torn" off the painting, revealing the colors underneath.
Oil on board; 73.6 x 55.5 cm.
Christian Rohlfs was born in Niendorf in Holstein on 22 December 1849. During a two-year sickbed confinement from 1864-1866 Rohlfs was nursed by a doctor called Stolle, who discovered and supported the painting talent of the boy. At this time, the first drawings came into being.
Upon Theodor Storm's suggestion and recommendation, Christian Rohlfs went to Berlin and began his studies of painting at the Großherzogliche Kunstakademie in Weimar in 1870. A leg condition aggravated so badly during the following years that one of his legs was amputated in 1873.
His works found approval by the Großherzog von Sachsen-Weimar [Grand Duke of Saxonia-Weimar], who supported him for many years. From 1888 on, an independent stylistic development in parallel to the school of Barbizon and to French Impressionism can be recognised. Through Henry van de Velde Rohlfs got acquainted with the founder of the Folkwang Museum, Karl Ernst Osthaus in Hagen/ Westphalia.
In 1901 Rohlfs moved there to run a painting school according to plans by Osthaus - which failed, however. During a summer stay in Soest in 1905, he got acquainted with Emil Nolde. Rohlfs' own tendency of expressive composition corresponded to the beginning Expressionism of the "Brücke", to which early exhibitions at the Folkwang-museum attended. After his years of study at the academy, Rohlfs' work was formed for twenty years by Impressionism, but at the age of sixty, he found a late expressionistic style. Favoring tempera on canvas and paper, he also created watercolors and prints.
Several honors prove the approval of his later works. In 1929 the Christian Rohlfs Museum in Hagen was founded for the artist's 80th birthday. After the Nazis seized power Rohlfs was expelled from the Preußische Kunstakademie der Künste in 1937 and 412 of his paintings were rated "degenerate" and were removed from German museums. One year later, on 8 January 1938 Christian Rohlfs died in his studio in Hagen. He was remembered as one of the most important representatives of German Expressionism in art history.
Lucio Fontana was an Italian/Argentine painter and sculptor. He was mostly known as the founder of Spatialism and his ties to Arte Povera. Born in Rosario, province of Santa Fe, Argentina of Italian parents, Fontana spent the first years of his life in Italy and came back to Argentina in 1905, where he stayed until 1922, working as a sculptor along with his father, and then on his own.
In 1927 he returned to Italy and studied under the sculptor Adolfo Wildt, and there he presented his first exhibition in 1930, organized by the Milano art gallery Il Milione. During the following decade he journeyed Italy and France, working with abstract and expressionist painters. In 1935 he joined the association Abstraction-Création in Paris and from 1936 to 1949 made expressionist sculptures in ceramic and bronze.
In 1940 he returned to Argentina. In Buenos Aires (1946) he founded the Altamira academy together with some of his students, and made public the White Manifesto, where he states that "Matter, color and sound in motion are the phenomena whose simultaneous development makes up the new art". Back in Milano in 1947, he supported, along with writers and philosophers, the first manifesto of spatialism (Spazialismo)**. He also resumed his ceramics works in Albisola.
From 1949 on he started the so-called Spatial Concept or slash series, consisting in holes or slashes on the surface of monochrome paintings, drawing a sign of what he named "an art for the Space Age". In 1948 Fontana experimented the use of neon lighting with "Ambiente spaziale a luce nera" (Galleria del Naviglio, Milan). He then created an elaborate neon ceiling called "Luce spaziale" in 1951 for the Triennale in Milan. In 1959 he exhibited cut-off paintings with multiple combinable elements (he named the sets quanta). He participated in the Bienal de São Paulo and in numerous exhibitions in Europe (including London and Paris) and Asia, as well as New York.
Shortly before his death he was present at the "Destruction Art, Destroy to Create" demonstration at the Finch College Museum of New York. Then he left his home in Milano and went to Comabbio (in the province of Varese, Italy), his family's mother town, where he died in 1968.
Christiaan Karel Appel was a Dutch painter, sculptor, and poet. He started painting at the age of fourteen and studied at the Rijksakademie in Amsterdam in the 1940s. He was one of the founders of the avant-garde movement Cobra in 1948.
Mixed media on canvas; 50 x 40 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 and lacquer on canvas; 170 x 131 cm.
Daniel Richter is a German artist based in Berlin and Hamburg. He attended Hochschule für bildendende Künste Hamburg from 1991-1995. Richter's work has appeared in many exhibitions such as Städtische Galerie Delmenhorst in Berlin, Contemporary Fine Arts in Berlin and David Zwirner in New York. He has also shown at the Irish Museum of Modern Art in Dublin, Museum Morsbroich in Germany, Victoria Miro Gallery in London and the Morris and Helen Belkin Art Gallery in Vancouver. He is represented by Contemporary Fine Arts[6] in Berlin and David Zwirner in New York. A collection of Richter's work is on display at the Denver Art Museum in Denver, Colorado, USA through January 11, 2009. Working for the Salzburg Festival, Richter created two stage designs: for Bluebeard's Castle (2008) and for Lulu (2010).
Awards
* 1998 Otto-Dix-Award, Gera
* 2001 Award for Young Art, Schleswig-Holstein
* 2009 Kunstpreis Finkenwerder, Hamburg
Oil on linen; 41.5 x 33.2 cm.
Irish painter and decorative artist. His sister, Melanie le Brocquy (b 1919), was a distinguished sculptor. In 1934 he joined the family business and studied chemistry at Trinity College and teaching himself to paint. He first exhibited at the Royal Hibernian Academy in 1937 and from 1938 spent two years studying Old Master paintings at the National Gallery, London, the Louvre, the Prado, and in Venice and Geneva.
There's something reverant and poetic about the entire body of work, as is evidenced by le Brocquy's frequent portraits of fellow Irish greats such as Oscar Wilde, WB Yeats and Samuel Beckett. Yet le Brocquy's poetry is always rigorously painterly and visual. He never falls off into literary illustration or compositional melodrama. As Francis Bacon once remarked, le Brocquy continues to be "obsessed by figuration outside and on the other side of illustration". And there is certainly a thematic otherness haunting all of his painterly and graphic work, whether it be the psychologically incisive portraits, ritualized figure gatherings, lyrical still-lifes or the long series of mist-drenched watercolor landscapes.
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, acrylic on canvas; 30 in. x 24 in.
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.
Constant attended the Kunstnijverheidsschool and the Rijksacademie in Amsterdam. He met Asger Jorn in Paris in 1946. After this meeting fantastic beasts and frightening animal and human figures appeared in his paintings. He held his first one-man exhibition in Amsterdam in 1947. In the following year he was co-founder of the Dutch Experimental Group and also of CoBrA. Together with Christian Dotremont he was the leading theoretician of CoBrA. In the work that he produced during the CoBrA years we see the same sort of figures derived from children's drawings as with Karel Appel, in rough lines and deliberately clumsy forms.
In 1950 Constant settled in Paris. In this period he produced his "war paintings," filled by the remains of a destroyed world in which helpless people stretch out their hands to heaven. In the late 1950s Constant developed his ideas about the ideal city, "New Babylon," in which people freed from work, "homo ludens," would be able to develop their creativity. He took part in the 1956 conference "Mouvement pour un Bauhaus Imaginiste" and in 1957 he was one of the co-founders of the "Situationist International." From the 1970s onwards he concentrated more on painting, water colors and drawings, with the work of the old masters forming a source of inspiration. Constant is remembered as one of the best post-war painters The Netherlands produced.
Oil on canvas; 105 x 147 cm.
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).
Perspex and Light!
All images are copyright and should not be used without permission. Make your own instead!
I thought this was quite 'intestinal.' Well, that was my gut feeling! Now, I see another 'tight' effort at looseness.
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.
Egg tempera on canvas; 130.5 x 170.4 cm.
Article provided by Grove Art Online www.groveart.com
Italian painter and printmaker. He was the son of an artisan and was essentially self-taught as an artist.
Vedova participated in the activities of the Corrente group; he was also a member of the Gruppo degli otto pittori italiani. These groups adopted an anti-19th-century style of painting that rejected aesthetic indulgence and demanded the spectator's participation. Vedova attempted to remain faithful to the sense of disinterested moral involvement that he regarded as the basis of each work of art. He reproposed the geometric strictness of Cubism in modern terms and tempered its tonal harshness with a sense of emotional involvement. The painting style developed by Vedova required the will to experiment and a great expenditure of physical energy. It is, therefore, no coincidence that his early studies give the impression of feverishness or convulsion.
From 1948 Vedova began producing series that are either dynamic themselves or structured to exploit the dynamic qualities of light. In 1959 he created large polyptychs, sometimes asymmetrical and L-shaped, consisting of a number of works on the same theme.
In his later creations Vedova continued to pursue his investigations into physical space independently of any prejudged attitudes towards balance, logic and behaviour; awareness of man's destiny and of his tendency to break rules also shows itself in his contributions to various discussions and international debates. Vedova appears to be attempting a ‘total art' dreamt of by the Futurists in 1913, with the difference that his spectacular, centralised creations are not a hymn to modern times, but rather a confirmation of the feelings of alarm and distress that pervade contemporary society.
Highway II (1957)
Oil on linen
38 x 45 inches
Born in France in 1913 Yvonne Thomas emigrated to the US in 1925. She received training at Cooper Union, the Ozenfant School, the Hans Hoffman School of Fine Art and the Art Students League.
Her paintings, though embodying a certain ephemeral quality always were built upon a sound structure of well balnced color saturation and tonal values.
www.artnet.com/gallery/423885474/lohin-geduld-gallery.htm... Thomas
Permission to use this image graciously granted by Lohin Geduld Gallery, New York, NY
www.aspentimes.com/article/20090904/OBITUARIES/909049988/...
Oil and threads on canvas; 69.5 x 50 cm.
Italian painter. He began to study painting and sculpture at the Académie Royale des Beaux-Arts in Brussels in 1952 and graduated in architecture in 1956. In 1959 he had his first one-man show at the Galerie Kasper in Lausanne in which he exhibited abstract works dominated by energetic gestural lines. In autumn of the same year he founded the magazine Azimut with Piero Manzoni and Vincenzo Agnetti (1926–81). In the magazine they discussed the beginnings and the decline of Art informel and put forward a new objective language with the presentation of works by Robert Rauschenberg, Jasper Johns, Yves Klein, Lucio Fontana and others. Azimut expressed the exchange of ideas and information and the lively atmosphere of Milanese artistic circles in the early 1960s. In January 1960 Castellani participated with Manzoni, Klein and artists of the Zero group in the show La nuova concezione artistica, held in Milan at the Galleria Azimut, which Castellani and Manzoni had founded. Here he showed his first ‘picture reliefs’. In his work as a whole, as in the cycle White Surfaces, a multiplicity of indentations and protrusions, and rhythmic tensions on the canvas generated by mathematical arrangements, create a monochrome plastic effect. The materials used are those traditionally associated with painting: however, the canvas is punctuated by nails, and the paint is applied smoothly to avoid any illusion of representation or image, even if abstract. In the 1970s he applied intense colour on reliefs that were shaped into angles to create a sense of enclosure of space. These were even extended into stage designs, for example for a ballet at the Teatro Massimo in Palermo in 1978. From the mid-1970s Castellani’s geometric style became unfashionable, but interest in it revived in the mid-1980s.
Oil on canvas; 240 x 200 cm.
Martin Kippenberger was a German artist known for his extremely prolific output in a dizzying range of styles and media as well as his provocative, jocular and hard-drinking public persona. During the last 10 years of his life he created a series of drawings on hotel stationery, which are commonly referred to as the 'hotel drawings'. He died at age 44 from liver cancer.
Kippenberger was "widely regarded as one of the most talented German artists of his generation," according to Roberta Smith of the New York Times. He was at the center of a generation of German enfants terribles including Albert Oehlen, Markus Oehlen, Werner Büttner, Georg Herold, Dieter Göls, and Günther Förg. He collected and commissioned work by many of his peers: some of his exhibition posters were designed by such prominent artists as Jeff Koons, Christopher Wool, Rosemarie Trockel and Mike Kelley.
His art garnered some recognition in the mid-nineties when three pieces were used by Welsh alternative rock band Manic Street Preachers as the cover artwork on the three singles released from their third album, The Holy Bible, in 1994.
Kippenberger's artistic reputation and influence has grown since his death. He has been the subject of a several large retrospective exhibitions, including at the Tate Modern in 2006 and "the Problem Perspective" at the Museum of Contemporary Art, Los Angeles, in 2008; the exhibition traveled to the Museum of Modern Art, New York, in 2009. In 2008 his sculpture of a toad being crucified called Zuerst die Füsse ("First the Feet") was allegedly condemned by Pope Benedict as blasphemous.
Watercolor; 32 x 33 cm.
Arne Isacsson was one of Sweden's most famous watercolour artists. Studied for Otte Sköld 1944–46.
Isacsson was born in Ronneby, Sweden. He was the founder of the Gerlesborg School of Fine Art in Gerlesborg, Stockholm and Provence. Professor of watercolour art. Recipient of the Illis Quorum medal 1999. Honorary doctor at the University of Umeå 2004. Author of several books on watercolour techniques.
Married to the painter Margareta Blomberg.
Represented at:
The National museum of art, Stockholm, Sweden
The Gothenburg museum of Art
The National Public Art Council (Sweden)
The Nordic Watercolour Museum
"Autumn Rhythm" by Jackson Pollock 1949 -50 approx. 8 x 16 feet.
Seminal Pollock from his classic period. John Link worked up my photo from the Met. Thanks John.
Oil on Canvas (2013)
30 x 70 cm
Prints - fineartamerica.com/featured/untitled-abstract-2-greg-maso...