View allAll Photos Tagged expressionism
Oil on canvas; 65 x 50 cm.
The artist Lasar Segall was a Brazilian Jewish painter, engraver and sculptor born in Lithuania. Segall's work is derived from impressionism, expressionism and modernism. His most significant themes were depictions of human suffering, war, persecution and prostitution. Segall was born in the Jewish ghetto of Vilnius, Lithuania and was the son of a Torah scribe. Segall moved to Berlin at the age of 15 and studied first at Berlin Königliche Akademie der Künste from 1906 to 1910. At the end of 1910 he moved to Dresden to continue his studies at the Kunstakademie Dresden as a "Meisterschüler".
Segall published a book of five etchings in Dresden, Sovenirs of Vilna in 1919, and two books illustrated with lithographs titled Bubu and die Sanfte.[1] He then began to express himself more freely and developed his own style, which incorporated aspects of Cubism, while exploring his own Jewish background. His earlier paintings throughout 1910 to the early 1920s depicted troubled figures surrounded in claustrophobic surroundings with exaggerated and bold features, influenced by African tribal figures.[2] In 1912 his first painted series of works were conducted in an elderly insane asylum.[3] Segall's work largely portrayed the masses of persecuted humanity in his Expressionist form. Later that year, he moved to São Paulo, Brazil, where three of his siblings were already living. He returned to Dresden in 1914 and was still quite active in the Expressionist style. In 1919 Segall founded the 'Dresdner Sezession Gruppe 1919' with Otto Dix, Conrad Felixmüller, Otto Lange and other artists. Segall's exhibition at the Galery Gurlitt received multiple awards. However successful Segall was in Europe, he had already been greatly influenced by his time spent in Brazil, which had already transformed both his style and his subject matter. The visit to Brazil gave Segall the opportunity to obtain a strong idea of South American art and, in turn, made Segall return to Brazil.
Segall's subject matter was portrayed more subtly and softer in his early career. He did not depict much of the African influence on his artwork until he moved to Brazil. It was not until Segall visited Brazil for the first few times, that he branched out towards the Expressionist style. He was able to express himself in a freer manner while he portrayed the lifelong theme of his Jewish culture depicting the tribulations of European Jews.[1] Although he was a humanist, he never forgot his Jewish roots.[9]
Segall's initial paintings in Brazil reflect a strong national connection and passion for his newfound homeland. He portrayed the landscapes in São Paulo and Rio de Janeiro and portrayed the different races without tension or malintention.[10] However, Segall remained faithful towards his Cubist nature throughout the majority of his artworks. Specifically, one of his famous artworks, entitled Banana Plantation, shows a Brazilian banana plantation, thick in density.[7] Segall achieved balance in this painting by centering the worker's neck and head protruding from the bottom of the painting. This causes the audience to be fully focused towards the center space. This significant symmetrical balance emphasizes the human element involved in the Brazilian agricultural system.[7] The diminished amount of slavery in Brazil during this time period, the 1920s, abolished Brazilian-Negro slaves and replaced them with an overwhelming amount of European workers coming to Brazil. This particular image portrays the engulfment of the plantations by the Europeans.
Other prominent theme in Segall's work is human suffering and emigration. In another famous artwork of Segall's, entitled Ship of Emigrants, a ship dock is overcrowded and engulfed with emigrant passengers. Not only does the image portray a dark and saddening emotion, but it significantly portrays the troubled figures aboard the ship.[2] The solemn faces and lack of expression on the passengers blatantly shows the harsh reality of emigrants and their depressing lifestyles of forced moves.
La moral no consiste en no tranzar las convicciones y no equivocarse nunca, sino justamente, en saber darse cuenta cuando uno se equivoca.
Eso diferencia a un hombre fuerte de un fracasado.
(Para un amigo querido)
36x36 in.
Oil, oil-based paint marker, spray paint on gallery canvas
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28x22 in.
Oil, oil stick, oil pastel on posterboard
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Abstract Expressionism in photography, inspired by well-known abstract artists of the mid-20th Century such as Mark Rothko, Jackson Pollock, Frank Bowling, Gerhardt Richter and orthers.
28x22 in.
Oil, oil stick, oil pastel on posterboard
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Prints, etc. are available at www.redbubble.com/people/atj1958 and www.artslant.com/global/artists/show/52481-alan-taylor-je...
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“Spirited Nature, Traces of Light”
La Stella Gallery presents "Spirited Nature, Traces of Light"
La Stella Gallery invites you to the debut of “Spirited Nature, Traces of Light”, a digital and fine art exhibition celebrating a new collaboration between American artist Tony DeVarco and Japanese artist Mayako Nakamura.
会期：6月17日 (金) 18:30-21:30 プレビュー・オープニングレセプション
6月18日 (土) 10:00-16:00 一般公開
場所：The George J. Doizaki Gallery
(Japanese American Cultural & Community Center (JACCC))
Location Address: 244 S San Pedro St Los Angeles, CA 90012
United States
La Stella Gallery
www.lastellagallery.com/#spiritednaturetracesoflight
JACCC
www.jaccc.org/#japanese-american-cultural-community-center
FB artist pag
www.facebook.com/spiritednaturetracesoflight/?pnref=story
Tony’s Flickr: CoLab with Mayako
www.flickr.com/photos/tonydevarco/albums/72157649519692395
Mayako’s Flickr: CoLab with Tony
Oil on canvas; 61 x 50 cm.
Anita Catarina Malfatti (December 2, 1889 – November 6, 1964) is heralded as the first Brazilian artist to introduce European and American forms of Modernism to Brazil. Her solo exhibition in Sao Paulo from 1917-1918, was extraordinarily controversial at the time, and her expressionist style and subject were revolutionary for the rather complacently old fashioned art expectations of Brazilians who were searching for a national identity in art, but who were not at all prepared for the influences Malfatti would bring to the country. Malfatti's presence was also highly felt during the Week of Modern Art (Semana de Arte Moderna) in 1922, where she and the Group of Five made huge revolutionary changes in the structure and response to modern art in Brazil.
30x24 in.
Oil on traditional canvas
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40x30 in.
Acrylic on traditional canvas
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Original abstract artwork
48x36 in.
Oil on traditional canvas
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28x22 in.
Oil, oil pastel, pencil on posterboard
To purchase original please contact ajeffries101958@yahoo.com
Prints, etc. are available at www.artslant.com/global/artists/show/52481-alan-taylor-je... and www.redbubble.com/people/atj1958
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