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Joan Mitchell was an abstract expressionist who played with the big boys. Her canvases are large and often had a wet quality that I enjoy. With this video (edit) I was trying to capture this quality. Playing at full screen is more the look I wanted.
To see the full video follow this link.
Aleksander Mikhailovich Rodchenko was a Russian artist, sculptor, photographer and graphic designer. He was one of the founders of constructivism and Russian design; he was married to the artist Varvara Stepanova.
Rodchenko was one of the most versatile Constructivist and Productivist artists to emerge after the Russian Revolution. He worked as a painter and graphic designer before turning to photomontage and photography. His photography was socially engaged, formally innovative, and opposed to a painterly aesthetic. Concerned with the need for analytical-documentary photo series, he often shot his subjects from odd angles—usually high above or below—to shock the viewer and to postpone recognition. He wrote: "One has to take several different shots of a subject, from different points of view and in different situations, as if one examined it in the round rather than looked through the same key-hole again and again."
Born in Montreal, Guston attended high school in Los Angeles, where he befriended Jackson Pollock. At an age when the latter displayed little more than a talent for teenage rebellion, Guston was already a fine draughtsman. (He later taught a freshman drawing class at New York University.)
Following a sojourn in Italy, Guston adopted a mode of gestural abstract painting—dubbed Abstract Impressionism—in which blurry planes and shapes float in a field of crosshatched brushstrokes. At first glance Guston’s mid-career abstractions, such as this one, appear somewhat pastoral, but in retrospect they reveal an anxiety that emerges, full throttle, in his late, cartoon-like depictions of hooded Klansmen, bare light bulbs, cyclopean eyes, and dispossessed shoes."
Oil on canvas; 115 x 65.5 cm.
Birolli was born at Verona to a family of industrial workers. In 1923 he moved to Milan where he formed an avanguardist group with other artists such as Renato Guttuso, Giacomo Manzù and Aligi Sassu. In 1937 he was a member of the artistical movement called Corrente. in the same year he was arrested by the Fascist government: in the following years he largely left the painting activity to devote himself to the Communist propaganda and, later, to the support of the partisan resistance.
After World War II, in 1947, Birolli moved to Paris. Here his painting style changed swiftly under the influences of Henri Matisse and Pablo Picasso, moving first to a post-Cubist position and then to a somehow abstract form of lyrism.
He died suddenly at Milan in 1959.
Eugène Henri Paul Gauguin (French: [øʒɛn ɑ̃ʁi pol ɡoɡɛ̃]; 7 June 1848 – 8 May 1903) was a leading French Post-Impressionist artist who was not well appreciated until after his death. Gauguin was later recognized for his experimental use of colors and synthetist style that were distinguishably different from Impressionism. His work was influential to the French avant-garde and many modern artists, such as Pablo Picasso and Henri Matisse. Gauguin’s art became popular after his death and many of his paintings were in the possession of Russian collector Sergei Shchukin.[1] He was an important figure in the Symbolist movement as a painter, sculptor, print-maker, ceramist, and writer. His bold experimentation with coloring led directly to the Synthetist style of modern art, while his expression of the inherent meaning of the subjects in his paintings, under the influence of the cloisonnist style, paved the way to Primitivism and the return to the pastoral. He was also an influential proponent of wood engraving and woodcuts as art forms.[2][3]
en.wikipedia.org/wiki/Paul_Gauguin
Gauguin is very well known for his post impressionist and primitivist paintings. This piece is unique for him. Way ahead of its time.
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.
Jasper Johns, Jr. (born May 15, 1930) is an American contemporary artist who works primarily in painting and printmaking.
Johns is best known for his painting Flag (1954–55), which he painted after having a dream of the American flag. His work is often described as a Neo-Dadaist, as opposed to pop art, even though his subject matter often includes images and objects from popular culture.[citation needed] Still, many compilations on pop art include Jasper Johns as a pop artist because of his artistic use of classical iconography.
Early works were composed using simple schema such as flags, maps, targets, letters and numbers. Johns' treatment of the surface is often lush and painterly; he is famous for incorporating such media as encaustic and plaster relief in his paintings. Johns played with and presented opposites, contradictions, paradoxes, and ironies, much like Marcel Duchamp (who was associated with the Dada movement). Johns also produces intaglio prints, sculptures and lithographs with similar motifs.
Johns' breakthrough move, which was to inform much later work by others, was to appropriate popular iconography for painting, thus allowing a set of familiar associations to answer the need for subject. Though the Abstract Expressionists disdained subject matter, it could be argued that in the end, they had simply changed subjects. Johns neutralized the subject, so that something like a pure painted surface could declare itself. For twenty years after Johns painted Flag, the surface could suffice – for example, in Andy Warhol's silkscreens, or in Robert Irwin's illuminated ambient works.
Abstract Expressionist figures like Jackson Pollock and Willem de Kooning subscribed to the concept of a macho "artist hero," and their paintings are indexical in that they stand effectively as a signature on canvas. In contrast, Neo-Dadaists like Johns and Rauschenberg seemed preoccupied with a lessening of the reliance of their art on indexical qualities, seeking instead to create meaning solely through the use of conventional symbols. Some have interpreted this as a rejection of the hallowed individualism of the Abstract Expressionists. Their works also imply symbols existing outside of any referential context. Johns' Flag, for instance, is primarily a visual object, divorced from its symbolic connotations and reduced to something in-itself.
Percy Wyndham Lewis was an English painter and author. He was a co-founder of the Vorticist movement in art, and edited the literary magazine of the Vorticists, BLAST.
In the years 1913-15 that he developed the style of geometric abstraction for which he is best known today, a style which his friend Ezra Pound dubbed "Vorticism". Lewis found the strong structure of Cubist painting appealing, but said it did not seem "alive" compared to Futurist art, which, conversely, lacked structure. Vorticism combined the two movements in a strikingly dramatic critique of modernity.
Dutch painter, theorist and draughtsman. His work marks the transition at the start of the 20th century from the Hague school and Symbolism to Neo-Impressionism and Cubism. His key position within the international avant-garde is determined by works produced after 1920. He set out his theory in the periodical of DE STIJL, in a series of articles that were summarized in a separate booklet published in Paris in 1920 under the title NEO-PLASTICISM. The essence of Mondrian’s ideas is that painting, composed of the most fundamental aspects of line and color, must set an example to the other arts for achieving a society in which art as such has no place but belongs instead to the total realization of ‘beauty’. The representation of the universal, dynamic pulse of life, also expressed in modern jazz and the metropolis, was Mondrian’s point of departure. Even in his lifetime he was regarded as the founder of the most modern art. His artistic integrity caused him to be honored as a classical master by artists who were aligned with entirely different styles, as well as by musicians and architects. He was able to make a living from the sale of his works in the Netherlands, Germany, Switzerland, England and the USA.
I love this painting. It's endlessly thought provoking.
Untitled (2009)
Mixed media on paper
27.5 by 38 in.
Courtesy of Lohin-Geduld Gallery, New York
www.artnet.com/gallery/423885474/lohin-geduld-gallery.htm... Carone
Desert Landscape (1951)
Oil on canvas
50 x 65 inches
Courtesy of Spanierman Modern, New York
Bio:
www.spaniermanmodern.com/inventory/F/John-Ferren/John-Fer...
Sironi was an avid supporter of Mussolini. His fascist reputation hurt his reputation and popularity after the war.
László Moholy-Nagy was a Hungarian painter and photographer as well as professor in the Bauhaus school. He was highly influenced by constructivism and a strong advocate of the integration of technology and industry into the arts.
He said “Everybody is talented.” As a teacher, Hungarian artist László Moholy-Nagy lived by these words. As a painter and photographer he demonstrated his own talent. His vision of a nonrepresentational art consisting of pure visual fundamentals—color, texture, light, and equilibrium of forms—was immensely influential in both the fine and applied arts.
A painter, educator, art critic, music connoisseur, and curator, Raffi Lavie was the most central, charismatic figure in the art scene in Israel for the past four decades until his death in 2007. Influenced by Paul Klee, Jean Dubuffet, and Robert Rauschenberg, as well as by local artists such as Aviva Uri and Arie Aroch, he introduced the avant-garde of his time to Israel by adapting its components into a local discourse. Lavie was the founder of the "10+" group which started its activities in 1965 in a series of theme exhibitions that brought home current international trends. He was also the key figure in the style that formed around him in the 1970s, which would become known as the "Want of Matter" due to its adherence to inexpensive, ascetic materials such as plywood, and the use of collage; a style associated with the city of Tel Aviv, conveying urban, secular, local values untainted by the narratives of any given ideology.
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.
Felt pen, pastel, ink on vegetable tracing paper; 46 x 51 cm.
Sculptor and painter. He began work as a painter in Turin during the 1950s in the then dominant style of Art informel. Analysing, on a macroscopic scale, certain natural phenomena such as the leaves of plants, he aimed to expose their essential structure and in so doing created paintings containing spirals and parabolic lines within a ‘picturesque’ network, for example Seed in the Wind (1953; priv. col.). He also addressed himself to the human image, as in The Welder (1956; Turin, Gal. Civ. A. Mod.). After experiencing a crisis in his work during the early 1960s, from 1966 (probably under the influence of Neo Dada and Nouveau Réalisme) Merz rejected the reproduction of images by means of paint on canvas, replacing such traditional methods with the direct use of objects such as bottles or raincoats. Merz did not content himself, however, with the mere presentation of ready-made objects; it was not that he turned his back on the informal, organic inspiration of his work, but that he now entrusted it to a medium derived from the technical world, from human intervention. In works such as Pierced Glass, Pierced Bottle (1967; priv. col.) this took the form of the neon tube, which acts as a shaft of cosmic, yet ‘cold’ and concentrated energy, that penetrates objects and prevents them from becoming enclosed in static isolation. NEON had already been used by other artists including Dan Flavin, but in ways still linked to the old Constructivist ideal. Merz’s ideas were closer to those of Bruce Nauman, who also used neon in an organic way, as though it were a capillary vein, a thin irrigation canal.