View allAll Photos Tagged expressionism
Henri de Toulouse-Lautrec (1864-1901), La clownesse Cha-U-Kao, 1895, oil on cardboard, 64 x 49 cm, Musée d'Orsay
The Clowness Cha-U-Kao
Original abstract artwork
40x30 in.
Oil, oil-based paint marker, spray paint, pencil on traditional canvas
To purchase original please contact ajeffries101958@yahoo.com
Prints, etc. are available at www.redbubble.com/people/atj1958
Thanks for taking the time to look at my work.
40x30 in.
Oil & spray paint on traditional canvas
To purchase original please contact ajeffries101958@yahoo.com
Prints, etc. are available at www.redbubble.com/people/atj1958 and atj1958.deviantart.com/
Thanks for taking the time to look at my work.
There is a big amount of organic debris on the ground in this creek. Bacteria form in an anaerobic process gas (methane) and release it into the atmosphere. The greenjouse effect of methane is about 300 times more than the same quantity of carbondioxide! The bubbles are causing rings of wavelets on the surface of the water.
Sculptures in wood by Albert Müller, Herman Scherer and Ernst Ludwig Kirchner. Interesting to see these and how they related to their paintings and the primitivism that influenced there 2D art.
The She-Wolf, 1943
Oil, gouache, and plaster on canvas, 41 7/8 x 67" (106.4 x 170.2 cm)
Jackson Pollock (American, 1912-1956)
When Pollock painted The She-Wolf he had not yet arrived at his so-called "drip" style, one of the great inventions of Abstract Expressionism. The canvas's traces of multicolored washes and spatters show that a free-form abstraction and an unfettered play of materials were already parts of his process; but in this work and others his focus is a compound of mythology and an iconography of the unconscious. (He was influenced here both by Surrealism and his own Jungian analysis.) Perhaps Pollock's she-wolf is the legendary foster-mother to Romulus and Remus, the founders of ancient Rome. But he himself refused to identify her, saying, "She-Wolf came into existence because I had to paint it. Any attempt on my part to say something about it, to attempt explanation of the inexplicable, could only destroy it."
Drawn in heavy black and white lines, the wolf advances leftward. Her body is overlaid with abstract lines and patches, a thick, unreadable calligraphy that spreads throughout the canvas. These hieroglyphic intimations, along with the somber palette and the conjuring of myth, reflect the climate of a period shadowed by war. Intended to approach ultimate human mysteries, they were to be simultaneously meaningful and unknowable.
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The Museum of Modern Art (MoMA) was founded in 1929 and is often recognized as the most influential museum of modern art in the world. Over the course of the next ten years, the Museum moved three times into progressively larger temporary quarters, and in 1939 finally opened the doors of its midtown home, located on 53rd Street between Fifth and Sixth Avenues in midtown.
MoMA's holdings include more than 150,000 paintings, sculptures, drawings, prints, photographs, architectural models and drawings, and design objects. Highlights of the collection inlcude Vincent Van Gogh's The Starry Night, Salvador Dali's The Persistence of Memory, Pablo Picasso's Les Demoiseels d'Avignon and Three Musicians, Claude Monet's Water Lilies, Piet Mondrian's Broadway Boogie Woogie, Paul Gauguin's The Seed of the Areoi, Henri Matisse's Dance, Marc Chagall's I and the Village, Paul Cezanne's The Bather, Jackson Pollack's Number 31, 1950, and Andy Warhol's Campbell's Soup Cans. MoMA also owns approximately 22,000 films and four million film stills, and MoMA's Library and Archives, the premier research facilities of their kind in the world, hold over 300,000 books, artist books, and periodicals, and extensive individual files on more than 70,000 artists.
Abstract Expressionism is an American post - World War II art movement.
It was the first American movement that managed to garner a worldwide
influence, causing New York City to replace Paris as the center of the art world...
Read The Full Blog Post -
Original abstract artwork
36x48 in.
Oil, acrylic, oil stick, oil pastel, spray paint on gallery canvas
Original not for sale
Thanks for taking the time to look at my work.
Artwork by David Paul Mesler. Pianist, Vocalist, Composer, Songwriter. Seattle, Washington USA. 2012.
SITES: www.davidpaulmesler.com, www.ihearamericasing.com
ALBUMS: www.cdbaby.com/artist/davidpaulmesler
PHOTOS: www.flickr.com/photos/davidpaulmesler
VIDEOS: www.youtube.com/doublepianomaniac
ALL FOR THE GLORY OF GOD.
modern art contemporary postmodern moody surreal abstract expressionism impressionism colorful picture photo graphic photographer animation cell image fantasy film cinematic artwork painting photoshop manipulation illustration male portrait man masculine face “close up” close-up detailed interesting dutch scandinavian christian spiritual representational american “united states” holland netherlands norwegian swedish “modern art” “expressionist portrait” drawing watercolor “abstract painting” “abstract art” “on black” digital texture color colors “photo art” photoart landscape arte “vivid colors” photomanipulation “digital art” light dark moment lumiere couleurs day night surrealism saturation photomorphing best artistic tone colorgrading fullcolor techniques multicolor technicolor “generative art” contrast sketch artista artiste portraiture illusion effect virtual fun abstrait cg figurative self me “david paul mesler” “david paul” “david mesler” david paul mesler jazz classical music “singer songwriter” instrument musical musician composer artist singer pianist songwriter vocalist bluecentaur “blue centaur” doublepianomaniac “double piano maniac”
Alexej von Jawlensky, Torschok, Russisches Kaiserreich 1865 - Wiesbaden 1941
Kirche in Prerow - Church at Prerow
Fondazione Marianne Werefkin, Museo Comunale d'Arte Moderna, Ascona, Schweiz
Acabo de acordarme que la última vez que lloré fue hace cinco años.
¡Cinco años sin derramar una lágrima!
Lo malo es que muchas veces he tenido ganas de llorar. Como ahora. Pero simplemente no puedo, o no sé cómo.
Una persona a la que quiero más que la vida me contó que una vez le dijeron que si no lloraba de vez en cuando, iba a explotar. No sé si ella todavía me quiere, pero si ya no lo hace, supongo que tiene razón en no hacerlo.
Por eso aveces pienso que un día voy a explotar, y toda la tristeza contenida se va convertir en algo más. No sé, voy a matar a alguien o algo así. Quizá me metan a un manicomio después. Es raro pensarlo. Me imagino con una camisa de fuerza, en una pieza acolchada, y no sé porque me produce una sonrisa tonta.
Tal vez estar loco no sea tan malo.
Vincent Van Gogh (1853-1890), Fritillaires couronne impériale dans un vase de cuivre, 1886, oil on canvas, 74 x 61 cm.
Musée d'Orsay
Fritillaries in a copper Bowl
Monet bis Picasso in the Albertina Museum - Wien.
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Lyonel Charles Feininger (July 17, 1871 – January 13, 1956) was a German-American painter, and a leading exponent of Expressionism. He also worked as a caricaturist and comic strip artist. He was born and grew up in New York City, traveling to Germany at 16 to study and perfect his art. He started his career as a cartoonist in 1894 and met with much success in this area. He was also a commercial caricaturist for 20 years for magazines and newspapers in the USA and Germany. At the age of 36, he started to work as a fine artist. He also produced a large body of photographic works between 1928 and the mid 1950s, but he kept these primarily within his circle of friends. He was also a pianist and composer, with several piano compositions and fugues for organ extant.
Lyonel Feininger was born to German-American violinist and composer Karl Feininger and American singer Elizabeth Feininger. He was born and grew up in New York City, but traveled to Germany at the age of 16 in 1887 to study. In 1888, he moved to Berlin and studied at the Königliche Akademie Berlin under Ernst Hancke. He continued his studies at art schools in Berlin with Karl Schlabitz, and in Paris with sculptor Filippo Colarossi. He started as a caricaturist for several magazines including Harper's Round Table, Harper's Young People, Humoristische Blätter, Lustige Blätter, Das Narrenschiff, Berliner Tageblatt and Ulk.
In 1900, he met Clara Fürst, daughter of the painter Gustav Fürst. He married her in 1901, and they had two daughters. In 1905, he separated from his wife after meeting Julia Berg. He married Berg in 1908 and the couple had three boys.
The artist was represented with drawings at the exhibitions of the annual Berlin Secession in the years 1901 through 1903.
Feininger's career as cartoonist started in 1894. He was working for several German, French and American magazines. In February 1906, when a quarter of Chicago's population was of German descent, James Keeley, editor of The Chicago Tribune traveled to Germany to procure the services of the most popular humor artists. He recruited Feininger to illustrate two comic strips "The Kin-der-Kids" and "Wee Willie Winkie's World" for the Chicago Tribune. The strips were noted for their fey humor and graphic experimentation. He also worked as a commercial caricaturist for 20 years for various newspapers and magazines in both the United States and Germany. Later, Art Spiegelman wrote in The New York Times Book Review, that Feininger's comics have “achieved a breathtaking formal grace unsurpassed in the history of the medium.”
Feininger started working as a fine artist at the age of 36. He was a member of the Berliner Sezession in 1909, and he was associated with German expressionist groups: Die Brücke, the Novembergruppe, Gruppe 1919, the Blaue Reiter circle and Die Blaue Vier (The Blue Four). His first solo exhibit was at Sturm Gallery in Berlin, 1917. When Walter Gropius founded the Bauhaus in Germany in 1919, Feininger was his first faculty appointment, and became the master artist in charge of the printmaking workshop.
From 1909 until 1921, Feininger spent summer vacations on the island of Usedom to recover and to get new inspiration. He continued to create paintings and drawings of Benz for the rest of his life, even after returning to live in the United States. A tour of the sites appearing in the works of Feininger follows a path with markers in the ground to guide visitors.
He designed the cover for the Bauhaus 1919 manifesto: an expressionist woodcut 'cathedral'. He taught at the Bauhaus for several years. Among the students who attended his workshops were Ludwig Hirschfeld Mack (German/Australian (1893–1965), Hans Friedrich Grohs (German 1892 - 1981), and Margarete Koehler-Bittkow (German/American, 1898–1964).
When the Nazi Party came to power in 1933, the situation became unbearable for Feininger and his wife. The Nazi Party declared his work to be "degenerate."[1] They moved to America after his work was exhibited in the 'degenerate art' (Entartete Kunst) in 1936, but before the 1937 exhibition in Munich. He taught at Mills College before returning to New York. He was elected to the American Academy of Arts and Letters in 1955.
In addition to drawing, Feininger created art with painted toy figures being photographed in front of drawn backgrounds.
Feininger produced a large body of photographic works between 1928 and the mid-1950s. He kept his photographic work within his circle of friends, and it was not shared with the public in his lifetime. He gave some prints away to his colleagues Walter Gropius and Alfred H. Barr, Jr..
Feininger also had intermittent activity as a pianist and composer, with several piano compositions and fugues for organ extant.
His sons, Andreas Feininger and T. Lux Feininger, both became noted artists, the former as a photographer and the latter as a photographer and painter. T. Lux Feininger died July 7, 2011 at the age of 101.
A major retrospective exhibition of Lyonel Feininger's work, initially at the Whitney Museum of American Art during June 30 October 16, 2011, was subsequently due to run at the Montreal Museum of Fine Arts during January 20–May 13, 2012. The exhibition is described as "the first in Feininger’s native country in more than forty-five years, and the first ever to include the full breadth of his art" and as "accompanied by a richly illustrated monograph with a feature essay that provides a broad overview of Feininger’s career..." Many critics have argued that the artist's work was at its most mature around 1910 in works in which the power of Feininger as illustrator balance his abstract side; however, we have to consider the possibility that Feininger used cubism as a more artistically succinct tool to establish his version of the concept known as the objective correlative. In tandem with the Whitney retrospective, the American Symphony Orchestra under Leon Botstein, at Carnegie Hall on 21 October 2011, performed three orchestral fugues written by Feininger. Barbara Haskell, curator of the Whitney exhibit, wrote that for his entire life, Feininger credited Bach with having been his “master in painting.” (Wikipedia).