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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.
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.
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...
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.
Acrylic on canvas; 240 x 196.2 cm.
Albert Oehlen is a German artist. He graduated at the Hochschule für Bildende Kunst, Hamburg, in 1978. Closely associated with the Cologne art scene, he was a member of the Lord Jim Lodge along with Martin Kippenberger among others. His art is related to the Neue Wilde movement.
Oehlen has shown work internationally in many exhibitions including Grounswell at the Museum of Modern Art in New York, Provins – Legende at Museet for Samtidskunst in Roskilde and Spiegelbilder 1982-1985 at Max Hetzler in Berlin. He is represented by Max Hetzler in Berlin and Luhring Augustine in New York. He has worked collaboratively with Jonathan Meese. Since the late 1990s Oehlen has played in the bands Red Krayola and Van Oehlen. He is the brother of Markus Oehlen.
Oil and gouache on paper and glass; 53.5 x 79.5 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.
Etching.
Adja Yunkers (1900–1983) was an American abstract painter and printmaker. He was born in Riga, Governorate of Livonia, Russian Empire in 1900. He studied art in Leningrad, Berlin, Paris, and London. He lived in Paris for 14 years, and then moved to Stockholm in 1939. In Stockholm, he published and edited the arts magazines ARS magazine and Creation magazine. In 1947 he moved to the United States, where he lived for the rest of his life. In 1949, he received a Guggenheim Fellowship. During the 1950s he primarily worked in color woodcuts, introducing brushwork into the genre. In 1960, he began producing lithographs. He produced two important series of lithographs at the Tamarind Lithography Workshop in Los Angeles―Salt (five lithographs) and Skies of Venice (ten lithographs). Yunkers died in New York City in 1983.
Not that it's obvious, this work on glass was inspired by a photograph of a waterfall taken on holiday in New York some years ago.
Mixed technique on metal; 36 x 51 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.
Gerhard Richter is a German artist. He had his first solo show in 1964 at Galerie Schmela in Düsseldorf. Soon after, he had exhibitions in Munich and Berlin and by the early 1970s exhibited frequently throughout Europe and the United States. His fourth retrospective, Gerhard Richter: 40 Years of Painting, opened at New York's Museum of Modern Art in February 2002. Although Richter gained popularity and critical praise throughout his career, his fame burgeoned during his 2005 retrospective exhibition, which declared his place among the most important artists of the 20th century. Today, many call Gerhard Richter the best living painter.
Oil on canvas; 80 x 161.5 cm.
Italian painter, printmaker and illustrator. He studied at the Accademia di Belle Arti, Venice, and emerged from his early training into a Post-Impressionist milieu. During the first phase of his career, two of his most significant influences were Italian artists of the previous generation: the painter Pio Semeghini (1878-1964) and the sculptor Medardo Rosso. By 1936 he had become interested in the work of van Gogh, and the following year he traveled to Amsterdam. In 1939 he visited Paris, where he was able to study at first hand the works of Braque and Matisse. Composition with Figure (1939; Rome, G.N.A. Mod.) is a mature work of the early figurative phase and represents a synthesis of Santomaso's early influences.
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ARTE DEL MONDO www.arte-del-mondo.de
The artworks of Martin GRUNEBERG are exclusively available at
ARTE DEL MONDO www.arte-del-mondo.de
We are happy to answer your questions about the artwork.
Please write to us at shop@arte-del-mondo.de.
You can also visit us on
INSTAGRAM @arte-del-mondo.de
Please also have a look at the artworks by
Otto FRÜHWACH
Toshima HAYASHI
Ziggy M. BROOKS
Pavel POLIAKOV
Eric Sven LARSGAARD
Angelo MONTESALVINI
Jackson CUSHMAN
Gus ANDERSON
We look forward to seeing you !
ARTE DEL MONDO www.arte-del-mondo.de
Last night I saw a phenomenal exhibit at London's Tate Modern... a retrospective of the grandfather of the American Abstract Expressionism - Arshile Gorky, a tragic man, fighting demons stemming from his Armenian origins.
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."
The Sailboat (1968)
Oil on canvas
h: 46 x w: 56 in
Courtesy of Spanierman Modern, New York
www.easthamptonstar.com/dnn/Archive/Home20081225/Arts/Gre...
Oil on wood and glass; 193 x 165 cm.
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.