Barnett Newman was an American artist. He is seen as one of the major figures in abstract expressionism and one of the foremost of the color field painters. He was born in New York City, the son of Russian Jewish immigrants. He studied philosophy at the City College of New York. From the 1930s he made paintings, said to be in an expressionist style, but eventually destroyed all these works.

Utilizing his writing skills, Newman fought every step of the way to reinforce his newly established image as an artist and to promote his work. An example is his letter in April 9, 1955, "Letter to Sidney Janis: ---It is true that [Marc] Rothko talks the fighter. He fights, however, to submit to the philistine world. My struggle against bourgeois society has involved the total rejection of it."

Oil on canvas; 169 x 130cm.

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

Relief print on paper; 65.1 x 50.2 cm.

German painter, printmaker, and sculptor who is considered to be a pioneering Neo-Expressionist. Baselitz was part of a wave of German painters who in the late 1970s rejected abstraction for highly expressive paintings with recognizable subject matter ( Neo-Expressionism). His trademark work was painted and displayed upside down to emphasize its surface rather than its subject matter.

Baselitz began art studies in 1956 at the Academy of Fine and Applied Art in East Berlin. He was expelled and left East Berlin in 1957 for West Berlin. There he entered the Academy of Fine Arts, completing postgraduate studies in 1962. During this period he also changed his surname to Baselitz. From his youth he was interested in the tradition of German Expressionist painting and its reliance on “primitive” sources such as non-Western art, folk art, children's art, and the art of the insane. Like his predecessors Ernst Ludwig Kirchner and Emil Nolde (both involved in a group known as Die Brücke), Baselitz employed a deliberately crude style of rendering and a heightened palette in order to convey raw emotion. In the mid-1960s Baselitz turned to the subject of heroes, rebels, and shepherds, often fragmenting the figures and continuing to make the thick impasto carry much of his paintings' emotional content. He also often used shocking or disturbing imagery to provoke a response in the viewer. In 1969 he began to paint and display his subjects upside down. Baselitz also created art in other media; his etchings, woodcuts, and wood sculptures are as direct and expressionistically charged as his mature paintings. His first American retrospective was organized in 1995 at the Guggenheim Museum in New York.

Said Nami

my first experimentation with a filter, vaseline, my DSLR and Photoshop.

I wonder has it worked?

Acrylic on canvas painting that I did at my house party 6 years ago.

Gouache on paper laid down on linen; 41.2 x 31 cm.

Ernst Wilhelm Nay studied under Karl Hofer at the Berlin Art Academy from 1925 until 1928. His first sources of inspiration resulted from his preoccupation with Ernst Ludwig Kirchner and Henri Matisse as well as Caspar David Friedrich and Nicolas Poussin.

Nay's still lifes, portraits and landscapes were widely acclaimed. In 1931 Ernst Wilhelm Nay received a nine-months' study bursary to the Villa Massimo in Rome, where he began to paint in the abstract Surrealist manner. On the recommendation of the Lübeck museum director, C.G. Heise, Nay was given a work grant financed by Edvard Munch, which enabled Nay to spend time in Norway and on the Lofoten Islands in 1937. The "Fischer- und Lofotenbilder" represented a first pinnacle of achievement.

That same year, however, two of his works were shown in the notorious exhibition of "Degenerate Art" and Ernst Wilhelm Nay was forbidden to exhibit any longer. Conscripted into the German armed forces in 1940, Nay went with the infantry to France, where a French sculptor placed his studio at Nay's disposal. In the "Hekatebildern" (1945-48), featuring motifs from myth, legend and poetry, Nay worked through his war and postwar experiences.

The "Fugale Bilder" (1949-51) proclaim new beginnings in a fiery palette and entwined forms. In 1950 the Kestner Gesellschaft Hannover mounted a first retrospective of Nay's work. The following year the artist moved to Cologne, where, with the "Rhythmischen Bildern" he took the final step towards entirely non-representational painting. In them he began to use color purely as figurative values. From 1955 Nay's painted "Scheibenbilder", in which round color surfaces organize subtle modulations of space and color. These are developed further in 1963-64 in what are known as the "Augenbilder". A first one-man-show in America at the Kleeman Galleries, New York, in 1955, participation in the 1956 Venice Biennale and the Kassel "documenta" (1955, 1959 and 1964) are milestones marking Nay's breakthrough on the international art scene. Nay was awarded important prizes and is represented by work in nearly all major exhibitions of German art in Germany and abroad.

Mixed technique on paper; 36 x 29.5 cm.

Valerio Adami is an Italian painter. Educated at the Accademia di Brera in Milan , he has since worked in both London and Paris. His art carries obvious influence from Pop Art. He was born in Bologna, and by 1945 he was studying painting from Felice Carena. He was accepted into the Brera Academy in 1951, and there studied as a draughtsman until 1954 in the studio of Achille Funi. In 1955 he went to Paris, where he met and was influenced by Roberto Matta and Wifredo Lam. His first solo exhibition came in 1959 in Milan.

In these early years, Adami's works were expressionistic, but around the time of his second exhibition in 1964 at Kassel, he had developed a style of painting reminiscent of French cloisonnism, featuring regions of flat color bordered by black lines. Unlike Gauguin, however, Adami's subjects were highly stylized and often presented in fragments, as seen in Telescoping Rooms (1965).

In the 1970s, Adami began to address politics in his art, and incorporated subject matter such as modern European history, literature, philosophy, and mythology. In 1971, he and his brother Gioncarlo created the film Vacances dans le désert. From 1985 to 1998, there were four retrospective exhibits of Adami's work in Paris, the Centre Julio-Gonzalez de Valence (Spain), Tel Aviv, and Buenos Aires.

Jacques Derrida, the famous philosopher, launched an investigation of Adami's works in 'The Truth in Painting', specifically on his use of the frame ('the paregon').

The Grand Canal (Italian: Canal Grande, Venetian: CanaÅasso) is a canal in Venice, Italy. It forms one of the major water-traffic corridors in the city. Public transport is provided by water buses (Italian: vaporetti) and private water taxis, and many tourists explore the canal by gondola.

At one end, the canal leads into the lagoon near the Santa Lucia railway station and the other end leads into Saint Mark Basin; in between, it makes a large reverse-S shape through the central districts (sestieri) of Venice. It is 3,800 m long, 30â90 m wide, with an average depth of five meters (16.5 ft).

Description

The Grand Canal in Venice, Italy, shot southwards from Rialto Bridge

The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola, Canaletto, about 1738. The J. Paul Getty Museum, Los Angeles

The banks of the Grand Canal are lined with more than 170 buildings, most of which date from the 13th to the 18th century, and demonstrate the welfare and art created by the Republic of Venice. The noble Venetian families faced huge expenses to show off their richness in suitable palazzos; this contest reveals the citizensâ pride and the deep bond with the lagoon. Amongst the many are the Palazzi Barbaro, Ca' Rezzonico, Ca' d'Oro, Palazzo Dario, Ca' Foscari, Palazzo Barbarigo and to Palazzo Venier dei Leoni, housing the Peggy Guggenheim Collection. The churches along the canal include the basilica of Santa Maria della Salute. Centuries-old traditions, such as the Historical Regatta, are perpetuated every year along the Canal.

Because most of the city's traffic goes along the Canal rather than across it, only one bridge crossed the canal until the 19th century, the Rialto Bridge. There are currently three more bridges, the Ponte degli Scalzi, the Ponte dell'Accademia, and the recent, controversial Ponte della Costituzione, designed by Santiago Calatrava, connecting the train station to Piazzale Roma, one of the few places in Venice where buses and cars can enter. As was usual in the past, people can still take a ferry ride across the canal at several points by standing up on the deck of a simple gondola called a traghetto, although this service is less common than even a decade ago.

Most of the palaces emerge from water without pavement. Consequently, one can only tour past the fronts of the buildings on the grand canal by boat.

History

The first settlements

The Grand Canal probably follows the course of an ancient river(possibly a branch of the Brenta) flowing into the lagoon. Adriatic Veneti groups already lived beside the formerly-named "Rio Businiacus" before the Roman age. They lived in stilt houses and on fishing and commerce (mainly salt). Under the rule of the Roman empire and later of the Byzantine empire the lagoon became populated and important, and in the early 9th century the doge moved his seat from Malamocco to the safer "Rivoaltus".

Increasing trade followed the doge and found in the deep Grand Canal a safe and ship accessible canal-port. Drainage reveals that the city became more compact over time: at that time the Canal was wider and flowed between small, tide-subjected islands connected by wooden bridges.

"Fondaco" houses

The Fondaco dei Turchi

Along the Canal, the number of "fondaco" houses increased, buildings combining the warehouse and the merchant's residence.

A portico (the curia) covers the bank and facilitates the ships' unloading. From the portico a corridor flanked by storerooms reaches a posterior courtyard. Similarly, on the first floor a loggia as large as the portico illuminates the hall into which open the merchant's rooms. The façade is thereby divided into an airy central part and two more solid sides. A low mezzanine with offices divides the two floors.

The fondaco house often had two lateral defensive towers (torreselle), as in the Fondaco dei Turchi (13th century, heavily restored in the 19th). With the German warehouse, the Fondaco dei Tedeschi (which is also situated on the Grand Canal), it reflects the high number of foreign merchants working in Venice, where the republic supplied them with storerooms and lodging and simultaneously controlled their trading activity.

More public buildings were built along the Canal at Rialto: palaces for commercial and financial Benches (Palazzo dei Camerlenghi and Palazzo dei Dieci Savi, rebuilt after 1514 fire) and a mint. In 1181 Nicolò Barattieri constructed a pontoon bridge connecting Rialto to Mercerie area, which was later replaced by a wooden bridge with shops on it. Warehouses for flour and salt were more peripheral.

The Venetian-Byzantine style

From the Byzantine empire, goods arrived together with sculptures, friezes, columns and capitals to decorate the fondaco houses of patrician families. The Byzantine art merged with previous elements resulting in a Venetian-Byzantine style; in architecture it was characterized by large loggias with round or elongated arches and by polychrome marbles abundance.

Along the Grand Canal, these elements are well preserved in Ca' Farsetti, Ca' Loredan (both municipal seats) and Ca' da Mosto, all dating back to the 12th or 13th century. During this period Rialto had an intense building development, determining the conformation of the Canal and surrounding areas. As a matter of fact, in Venice building materials are precious and foundations are usually kept: in the subsequent restorations, existing elements will be used again, mixing the Venetian-Byzantine and the new styles (Ca' Sagredo, Palazzo Bembo). Polychromy, three-partitioned façades, loggias, diffuse openings and rooms disposition formed a particular architectural taste that continued in the future.

The Fourth Crusade, with the loot obtained from the sack of Constantinople (1204), and other historical situations, gave Venice an Eastern influence until the late 14th century.

Venetian Gothic

Ca' d'Oro

Venetian Gothic architecture found favor quite late, as a splendid flamboyant Gothic ("gotico fiorito") beginning with the southern façade of the Doge's Palace. The verticality and the illumination characterizing the Gothic style are found in the porticos and loggias of fondaco houses: columns get thinner, elongated arches are replaced by pointed or ogee or lobed ones. Porticos rise gently intertwining and drawing open marbles in quatrefoils or similar figures. Façades were plastered in brilliant colors.

The open marble fascias, often referred as "laces", quickly diffused along the Grand Canal. Among the 15th-century palaces still showing the original appearance are Ca' d'Oro, Palazzo Bernardo, Ca' Foscari (now housing the University of Venice), Palazzo Pisani Moretta, Palazzi Barbaro, Palazzo Cavalli-Franchetti.

Renaissance

By the start of the 15th century, Renaissance architecture motifs appear in such buildings as the Palazzo Dario and the Palazzo Corner Spinelli; the latter was designed by Mauro Codussi, pioneer of this style in Venice. Ca' Vendramin Calergi, another of his projects (now hosting the Casino), reveals a completed transition: the numerous and large windows with open marbles are round-arched and have columns in the three classical orders.

Classical architecture is more evident in Jacopo Sansovino's projects, who arrived from Rome in 1527. Along the Canal he designed Palazzo Corner and Palazzo Dolfin Manin, known for grandiosity, for the horizontal layout of the white façades and for the development around a central courtyard. Other Renaissance buildings are Palazzo Papadopoli and Palazzo Grimani di San Luca. Several palaces of this period had façades with frescoes by painters such as Il Pordenone, Tintoretto, Paolo Veronese, all of them unfortunately lost. Particularly noteworthy were the frescoes by Veronese and Zelotti on Ca Cappello, overlooking the Grand Canal at the intersection with the Rio de S. Polo.

Venetian Baroque

Santa Maria della Salute

In 1582, Alessandro Vittoria began the construction of Palazzo Balbi (now housing the Government of Veneto), in which Baroque elements can be recognized: fashioned cornices, broken pediments, ornamental motifs.

The major Baroque architect in Venice was Baldassarre Longhena. In 1631 he began to build the magnificent Santa Maria della Salute basilica, one of the most beautiful churches in Venice and a symbol of Grand Canal. The classical layout of the façade features decorations and by many statues, the latter crowning also the refined volutes surrounding the major dome.

Longhena later designed two majestic palaces like Ca' Pesaro and Ca' Rezzonico (with many carvings and chiaroscuro effects) and Santa Maria di Nazareth church (Chiesa degli Scalzi). For various reasons the great architect did not see any of these buildings finished, and the designs for all but Santa Maria della Salute were modified after his death.

Longhena's themes recur in the two older façades of Palazzo Labia, containing a famous fresco cycle by Giambattista Tiepolo. In the Longhenian school grew Domenico Rossi (San Stae's façade, Ca' Corner della Regina) and Giorgio Massari, who later completed Ca' Rezzonico.

The 16th and 17th centuries mark the beginning of the Republic's decline, but nevertheless they saw the highest building activity on the Grand Canal. This can be partially explained by the increasing number of families (like the Labia) becoming patrician by the payment of an enormous sum to the Republic, which was then facing financial difficulties. Once these families had achieved this new status, they built themselves with impressive residences on the Canal, often inducing other families to renew theirs.

Neoclassical architecture

Neoclassical architectures along the Canal date to 18th century: during the first half was built San Simeone Piccolo, with an impressive corinthian portico, central plan and a high copper-covered dome ending in a cupola shaped as a temple. Date to the second half Massari's Palazzo Grassi.

Modern era

Ocean liner passing San Giorgio Maggiore island

After the fall of the Republic 1797, construction of housing in Venice was suspended, as symbolized by the unfinished San Marcuola and Palazzo Venier dei Leoni (housing the Peggy Guggenheim Collection). Patrician families lost their desire of self-exaltation and many of them died out. Several historical palaces were pulled down, but most of them survived and good restorations have saved their 18th century appearance. The most important are publicly owned and host institutions and museums.

Religious buildings underwent the consequences of religious orders suppression decreed by Napoleon in the Kingdom of Italy period. Many churches and monasteries were deprived of furnishings and works of art, changed their function (like Santa Maria della Carità complex, now housing the Gallerie dell'Accademia) or were demolished. The Santa Croce complex, for which the Sestiere was named, was situated in Papadopoli Gardens area; Santa Lucia complex (partially designed by Palladio) was razed to the ground to build Santa Lucia Station.

The Kingdom of Italy accession restored serenity in the city and stimulated construction along the Grand Canal respecting its beauty, often reproduced in Gothic Revival architectures like the Pescaria at Rialto.

Acrylic on canvas; 100 x 120 cm.

People's Artist of Ukraine, laureate of T.Shevchenko National award, prize-winner of the All-Ukrainian contest «Man of the Year-2003», holder of the list «100 great people of Ukraine» compiled by the country’s mass media.

In 2006 he joined the «Golden Guild» within International Academy of Modern Art in Rome as the «maestro of the highest prestige, who has written the most beautiful page in the history of modern art». In October 2007, a reputable London newspaper The Daily Telegraph published a list of «100 geniuses now living in the world», a survey carried out among British population by the global consulting company Creators Synectics based in Great Britain. Ivan Marchuk, the only one from Ukraine, was assigned number 72 on the list.

• Ivan Marchuk was born in 1936 in the village of Moskalivka in Ternopil region.

• In 1956 he graduated from the Lviv School of Decorative Arts.

• In 1965 he graduated from the Lviv Institute of Decorative Arts, ceramic department.

• In 1979 - the first official personal exhibition in Moscow (exhibition halls on Malaya Gruzinskaya str.).

• From 1980 to 1989, without any official recognition and admission to the Union of Artists, he was arranging exhibitions in various institutions and organizations, such as, for instance, in the Art department of the National Library of the Academy of Sciences of Ukraine. At the same time he is distinguished as an informal leader of the Ukrainian art underground.

• In 1989 he immigrated to Australia, then he moved to Canada and finally to the United States.

• In 1990 - Marchuk visited Ukraine and opened his first official exhibition in Kyiv, in the Ukrainian State Art Museum of Fine Arts (now - National Art Museum of Ukraine).

• In 1997 he became the laureate of T.Shevchenko National award.

• In 2001 Marchuk settled permanently in Ukraine.

• In 2006 the International Academy of Modern Art in Rome admitted Ivan Marchuk to the «Golden Guild» and elected him an honorary member of the Scientific Council of the Academy. It was the first recognition of the Ukrainian artist by the institution of such a high level. Today there are 51 artists from all over the world who are members of «Golden Guild».

• In 2007 according to the British paper The Daily Telegraph Ivan Marchuk was called a genius of nowadays among hundreds of prominent figures of our time (72 place).

• From 1979 to 2007 Ivan Marchuk held more than 60 personal exhibitions, among them:

1991 - Ukrainian Center, Philadelphia, USA

1992 - Gallery «13», New York, USA

1993 - Gallery «SAVAH», Sydney, Australia

1999 - Gallery of the city municipality, Lille, France

• 2005 – Exhibition devoted to the 40th anniversary of the artist’s creative work, «Ukrainian House», Kyiv

• 2006 - Cultural Bridge Kyiv-Paris «Strings of Sadness and Hope». The simultaneous exhibitions dedicated to the 20th anniversary of Chernobyl tragedy, «Ukrainian House» (Kyiv, Ukraine), the Cultural Center, Embassy of Ukraine in Paris and UNESCO (France)

• 2007 - Kyiv Museum of Russian Art

• 2008 - Kyiv Museum of Russian Art, «The Way Home» (exhibition of landscapes of different years).

For me, art is the life and revelation. There is no other alternative. At the same time art is drudgery. I work 365 days through a year, and can not help but do it. It is the verdict of fate, karma, doom. There is no escape from it. I dream of going to the warm beach, lying in the grass and listening to its growth, I want to watch the clouds soaring high up in the sky. I want to enjoy life, have fun, to mix up with people in a good company. I wouldn’t mind going to school to teach someone there. And then it occurs to me: but more than that I want to do something myself. Invincible belief!

Ivan Marchuk

www.ukrainianart.com/index.php?page=artistinfo&artist...

Ivan Marchuk is Ukraine’s most prominent artist. Having made his name in America, Canada and Australia, Marchuk returned to Kiev after the September 11 attacks. One of the Ukrainian president's favourites, Marchuk was also named as one of 100 contemporary geniuses by Synectics UK& Europe consulting company, alongside such luminaries as Albert Hoffman, Nelson Mandela and ‘Simpsons’ creator Matt Groening.

via Instagram ift.tt/2LU99us

Oil on canvas; 280 x 300 cm.

Oil on canvas; 270 x 220 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.

24"x36" charcoal and gesso on board with printed map

2022

Abstract composition in red, yellow, green of June 17, 2015. Photo by Alecsey Boldeskul.

Paul Jackson Pollock (January 28, 1912 – August 11, 1956), known as Jackson Pollock, was an influential American painter and a major figure in the abstract expressionist movement. He was well known for his unique style of drip painting.

During his lifetime, Pollock enjoyed considerable fame and notoriety, a major artist of his generation. Regarded as reclusive, he had a volatile personality, and struggled with alcoholism for most of his life. In 1945, he married the artist Lee Krasner, who became an important influence on his career and on his legacy.[1]

Pollock died at the age of 44 in an alcohol-related, single-car accident; he was driving. In December 1956, several months after his death, Pollock was given a memorial retrospective exhibition at the Museum of Modern Art (MoMA) in New York City. A larger, more comprehensive exhibition of his work was held there in 1967. In 1998 and 1999, his work was honored with large-scale retrospective exhibitions at MoMA and at The Tate in London.[2][3]

In 2000, Pollock was the subject of the film Pollock, directed by and starring Ed Harris, which won an Academy Award.

en.wikipedia.org/wiki/Jackson_Pollock

© picture by Klaas Vermaas

Deconstruction: Zen and the Art of Photoshop

Gracias por las visitas, amables comentarios e invitaciones

Thank you for the visits, kind comments and invitations

Virtual gestures made with swipes along a touch-screen

Very cool web app that allows you to pretend you are Jackson Pollock

My son's reaction to Abstract Expressionism (my wife's too)

Rothko at the Philadelphia Museum of Art

shot with my iPhone

An important canvas from the 1940s, full of gas pumps, trees, storefronts,it was the first in which he used his"colour-space" theory. In this work some colours advance, while others

recede, giving the impression of three-dimensional space.

Oil on canvas; 98 x 118 cm.

Carl-Henning Pedersen was a Danish painter and a key member of the COBRA movement. He was known as the "Scandinavian Chagall", and was one of the leading Danish artists of the second half of the 20th century.

Pedersen was born in Copenhagen and brought up in the poor area near Vigerslev Alle. He held radical political beliefs. He joined the International Folk High School in Elsinore in 1933, where he met self-taught painter Else Alfelt. They married in 1934, and their first daughter, Vibeke Alfelt, was born later that year. Alfelt encouraged Pedersen to paint, and he first exhibited at the Artists' Autumn Exhibition (Kunstnernes Efterårsudstilling) in Copenhagen in 1936, where he showed four abstract works. His modernist style was at odds with the socialist realism preferred by his communist friends, who snubbed him: he argued with Bertolt Brecht about his art. His abstract works, with flat planes of colour, emulated the works of cubists and of Paul Klee.

Pedersen travelled on foot to Paris in 1939, where he saw works by Picasso and Matisse. He visited the exhibition of "degenerate art" (entartete Kunst) in Frankfurt am Main on his way home, where he was inspired by the paintings on show, particularly the works of Chagall, which remained a strong influence on his art for the rest of his life. His second daughter, Kari-Nina, was born in 1940. He joined the Høst group during the Nazi occupation of Denmark, writing about medieval Danish murals for its journal, Helhesten, and continued to produce seditiously modern abstract works.

He and his wife were founder members of the CoBrA movement in 1948. The movement took its name from the European cities where its founders were based: Copenhagen, Brussels and Amsterdam. They remaining with the group until it dissolved in 1951, producing free-form, spontaneous images in strong, fantastic colours. He won the Eckersberg Award in 1950 and the Guggenheim Award in 1958. A retrospective was put on at the Carnegie Institute in Pittsburgh in 1961, and he was Denmark's representative at the Venice Biennale in 1962. He won the Thorvaldsen Medal ion 1963.

Pedersen moved into monumental art in the 1960s and 1970s, producing a large mosaic, "Cosmic Sea", for the H. C. Ørsted Institute at Copenhagen University, and a huge tiled wall decoration, "Fantasy Play Around the Wheel of Life", for the Angli courtyard in Herning.

Else Alfelt died in 1974. Notorious for resisting selling his works, he donated thousands to the Carl-Henning Pedersen and Else Alfelt Museum, which opened in Herning in 1976. Further works were donated to the Danish National Gallery (Statens Museum for Kunst) in early 2007.

He moved to Burgundy in the 1980s, but most of his work still came from Danish sources. He surprised many when he worked on the redecoration of the Gothic cathedral in Ribe, working on the murals, painted glass and mosaics to illustrate Bible stories from 1983 to 1987. He also produced bronze sculptures, and works in oils and watercolour.

en.wikipedia.org/wiki/Carl-Henning_Pedersen

Oil on canvas; 175 x 121 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

Inspired by en.wikipedia.org/wiki/Gene_Davis_(painter)

The Power of Life,Oil on Canvas,2013,29.9" x 29.9" / 76cm x 76cm

Oil on canvas; 76.2 x 88.9 cm.

Winifred Nicholson was an English painter and colorist who developed a personalized impressionistic style that concentrated on domestic subjects and landscapes. In her work, the two motifs are often combined in a view out of a window, featuring flowers in a vase or a jug.

Nicholson was born in Oxford. Her parents were Charles Henry Roberts and Lady Cecilia, daughter of George Howard, 9th Earl of Carlisle. Her interest in painting started early in life. George Howard was an accomplished painter as well as a friend and patron of many distinguished artists. Nicholson began painting with Howard around age 11. She attended the Byam Shaw Art School.

Nicholson married the artist Ben Nicholson in 1920. There were three children; Kate Nicholson also became an artist. In the 1920s Winifred became a Christian Scientist, an allegiance that lasted for the rest of her life. Although it is sometimes said incorrectly that with Ben, Winifred formed part of the artist colony at St Ives, Cornwall, she was never permanently living there. Although she painted less in the abstract style than in the representational, she did experiment with her own form of abstraction in the 1930s. Influences between her and Ben were mutual, Ben often admitting he learned much about color from his first wife. After they separated, she lived half of each year during the 1930s in Paris.

After her divorce from Ben Nicholson in 1938, she spent most of the rest of her life in Cumberland, at Boothby and at Bankshead. She painted prolifically throughout her life, largely at home but also on trips to Greece and Scotland, among other places. Many of her works are still in private collections, but a number are in the Kettle's Yard art gallery, Cambridge, and several key works belong to Tate. One painting is believed to have hung at 10 Downing Street. She had a lifelong fascination for rainbow and spectrum colors and in the 1970s she made particularly strong, innovative use of such colors in many of her paintings.

Oil on canvas; 175.3 x 149.8 cm.

TWORKOV, JACK (1900–1982), U.S. educator, printmaker, painter. Tworkov was born in Biala, Poland and immigrated to the U.S. in 1913. He studied at Columbia University, the National Academy of Design, and the Art Students League. Tworkov worked as an artist for the Works Project Administration's Federal Art Project in 1935, where he met Willem de Kooning. Both men emerged as forces in the Abstract Expressionist movement. Tworkov was also one of the founders of The Club, a loose New York association of Abstract Expressionists which met to discuss matters relating to art making. Like many other Abstract Expressionists, Tworkov's early work consisted of figures and still-lifes. He also rendered images in a cubist style before adopting the visual aspects of Abstract Expressionism. As to be expected, his early work shared many stylistic characteristics with that of de Kooning. As Tworkov gained eminence along with his colleagues in the New York School representational subject matter became subsumed in abundantly textured long, dashing, diagonal brush strokes, as in his painting Blue Note from 1959. Among other influences, Tworkov also turned to the art of the marginalized Expressionist painter Chaim Soutine as a source of inspiration; in fact, Tworkov wrote an article on Soutine during the latter's 1950 show at MOMA. Tworkov achieved the illusion of vibrating and multiple fields or screens of color from a cool, restricted palette and subtle nuances of tone. Likely influenced by the Minimalists, Tworkov integrated grids and other ordering systems into his images from the 1960s onward, such as Shield (1961) and Variables II (1964–65). One of his major series of paintings, House of the Sun, refers to Ulysses, whose epic adventures suggested a variety of themes to the artist. Tworkov taught at numerous institutions: the American University, Black Mountain College (other luminaries of this period such as John Cage, Franz Kline, and Lyonel Feininger also taught here during the 1940s), Queens College, the Pratt Institute, and Yale University, where he functioned as chairman of the art department. He was a recipient of a Corcoran Gold Medal in 1963. Tworkov's art has been exhibited at numerous major museums, including the Art Institute of Chicago, the Guggenheim Museum, the Museum of Modern Art, New York, the Pennsylvania Academy, and the Whitney Museum, among other venues. His work is in the collections of the Hirschhorn Museum and Sculpture Garden, the National Gallery of Art, Washington, D.C., and the Smithsonian Museum of American Art.

Clyfford Still Museum in Denver, CO. Clyfford Still was an American painter, and one of the leading figures of Abstract Expressionism.

Synthetic polymer paint on canvas; 183.2 x 106.7 cm.

Hedda Sterne was an artist best remembered as the only woman in a group of Abstract Expressionists known as "The Irascibles" which consisted of Jackson Pollock, Willem de Kooning, Barnett Newman, Mark Rothko, and others. In her artistic endeavors she created a body of work known for exhibiting a stubborn independence from styles and trends, including Surrealism and Abstract Expressionism. Sterne has been almost completely overlooked in art historical narratives of the post-war American art scene. At the time of her death, possibly the last surviving artist of the first-generation of the New York School, Hedda Sterne viewed her widely varied works more as in flux than as definitive statements. In 1944 she married Saul Steinberg the Romanian-born American cartoonist and illustrator, best known for his work for The New Yorker.

During the late 1940s she became a member of The Irascible Eighteen, a group of abstract painters who protested the Metropolitan Museum of Art's policy towards American painting of the 1940s; members of the group besides Sterne included: Willem de Kooning, Adolph Gottlieb, Ad Reinhardt, Richard Pousette-Dart, William Baziotes, Jimmy Ernst, Jackson Pollock, James Brooks, Clyfford Still, Robert Motherwell, Bradley Walker Tomlin, Theodoros Stamos, Barnett Newman, and Mark Rothko. Her works are in the collections of museums including the Museum of Modern Art (MoMA) in New York, and the National Gallery of Art in Washington D.C.

Sterne was born in Bucharest, Romania in 1910 as Hedwig Lindenberg. Born to Simon Lindenberg, a high school language teacher,and Eugenie (Wexler) Lindenberg. She was the second child with her only sibling, Edouard, who later became a prominent conductor in Paris. Sterne was raised with artistic values from a young age, most notably, her tie to Surrealism, which stemmed from a family friend, Victor Brauner. Sterne was homeschooled until age 11. Upon her high school graduation in 1927,at age 17, she attended art classes in Vienna, then had a short attendance at the University of Bucharest studying philosophy and art history before she dropped out to pursue artistic training independently. She spent time traveling, especially to Paris developing her technical skills as both a painter and sculptor. Hedda Sterne married a childhood friend Frederick Sterne in 1932 when she was 22. In 1941 she escaped a certain death from Nazi encroachment during WWII when she fled to New York to be with Frederick. In 1944 she remarried Saul Steinberg and became a U.S. citizen. It is not mentioned if she ever had children. She was involved in many shows and exhibits in New York and practiced her art up until macular degenration set in and she could no longer paint, but continued to draw. Then when she was 94 Sterne had a stroke that affected her vision and movement and thereafter was unable to make art at all.

Oil on cavas; 115.2 x 72.5 cm.

Jean-Paul Riopelle was born in Montreal on October 7, 1923. He studied painting with Henri Bisson and in 1943 he enrolled at the Ecole du Meuble in Montreal. In 1945 Riopelle began a close association with his instructor Paul-Emile Borduras, and other Canadian avant-garde artists who formed the Automatiste group. That year he also traveled to Paris on a Canadian Government Fellowship. In 1946 the artist visited New York, Where his work was included in the International Surrealist Exhibition and where he met Hayter, Miró and Lipchitz.

Riopelle settled in Paris in 1947, where he soon met Pierre Loeb and André Breton. He also made the acquaintance of many of the artists involves with art informel, including Georges Mathieu, Wols and Hans Hartung. In 1948 the Automatiste manifesto Refus global, which Riopelle signed, was published. Beginning in that year he participated regularly in the Salon de Mai. In 1949 he was represented in the Salon des Surindépendants and was given his first one-man exhibition, at the Galerie Nina Dausset. Additional Riopelle shows followed in Paris. He participated in the São Paolo Bienal in 1951 and 1955, receiving an Honorable Mention at the latter. In 1954 and again in 1962 Riopelle was included in the Venice Biennale. Also in 1954 the first of many Riopelle shows was held at the Pierre Matisse Gallery in New York.

In 1958 Riopelle received an Honorable Mention at the Guggenheim Museum’s Guggenheim International Award exhibition and a major retrospective of his work was held at the Kölnischer Kunstverein, Cologne. Also that year the artist began to make bronze sculpture, which he exhibited for the first time at the Galerie Jacques Dubourg, Paris, in 1962. Retrospectives of Riopelle’s work held in the early 1970s include those at the Fondation Maeght, Saint Paul-de-Vence, France, in 1971, and at the Musée d’Art Moderne de la Ville de Paris the following year. In 1977 the artist began his black and white Iceberg series of paintings. Two years later he commenced work on a ceramic wall for the Fondation Maeght, which he completed in 1981. When his wife, the artist Joan Mitchell, died in 1992, Riopelle dedicated to her his Hommage à Rosa Luxemburg, a work composed of three big canvases. Soon after the artist would stop to paint completely. Riopelle died in Île aux Grues, Quebec.

Oil on canvas; 100 x 81 cm.

Italian painter and printmaker. Born at Carpignano Sesia (Novara). Moved to Milan in 1941 and studied painting at the Brera Academy under Funi and Carr-32; became friendly with Cassinari and Morlotti. Joined the groups Numero and Pittura, and helped to edit their periodicals. Published etchings illustrating poems by Cesare Pavese 1947; first one-man exhibition at the Galleria della Bottega, Novara, 1948. After naturalistic beginnings, evolved c.1950-1 an abstract style influenced by the colours and light of Bonnard and by the structure of the Cubist pictures of Braque. Took studies from nature as his starting-point, but tried to capture the essence of natural forms bathed in light. Spent part of each year in the countryside of Piedmont, from which he drew inspiration. After 1960 his work started to become more figurative, with paintings of still life and shadowy nudes in interiors related to de Sta-21l and Bacon. Lives in Milan.

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.3

Oil on canvas; 153.7 x 183.5 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.

Monotype with an intervention by wax pastels on paper; 21 x 33 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.

Clyfford Still Museum in Denver, CO. Clyfford Still was an American painter, and one of the leading figures of Abstract Expressionism.

Dutch abstract painter, sculptor, printmaker, ceramicist, designer, and writer, regarded as the most powerful of the post-war generation of Dutch artists. In 1948 he was a founder of the Cobra group. He moved to Paris in 1950 and by the end of the decade he had gained an international reputation, having traveled widely and won several prestigious prizes. His most characteristic paintings are in an extremely uninhibited and agitated Expressionist vein, with strident colors and violent brushwork applied with very thick impasto. The images usually look purely abstract at first glance, but they often retain suggestions of human masks or of animal or fantasy figures. Herbert Read wrote that in looking at his pictures one has the impression ‘of a spiritual tornado that has left these images of its passage’. Such works were influential on Neo-Expressionism. Appel has also made sculpture, prints, and ceramics, and he has done a wide range of design work.

West 23rd, 1963. Oil on canvas (1900-1982) MOMA

Mordecai Ardon (1896-1992) is considered by many to be Israel's greatest painter. He studied at the Bauhaus (1921-25) under Klee, Kandinsky, Feininger and Itten. The influence of the Bauhaus and especially of Paul Klee on his artistic development was profound and lasted a life time. The other great source of inspiration were the Old Masters, especially Rembrandt, and El Greco. After graduating from the Bauhaus he studied the painting techniques of the Old Masters under Max Doerner, at the Munich Academy (1926). These dual, seemingly contradicting elements, forged the character of his painting throughout the 70 years of his artistic career. Ardon's unique position in Modern Art stems from the union of these two opposites in his paintings: A Modern, Expressionist, and mainly Abstract, style, with the classical painting technique of the Old Masters. The depth and richness of his colours owe their quality to this technique. He liberated them from the figurative context of the Old Masters, and turned them into tools for the creation of his original contribution to Modern Art of the 20th Century.

detail of "berkeley #57," oil on canvas, 1955, by richard diebenkorn, american (it's a big canvas with lots of great detail and small compositions within)

Abstract composition of 8/8/2015 in golden brown. Work by Alecsey Boldeskul