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Ernst Ludwig Kirchner was a German expressionist painter and printmaker and one of the founders of the artists group Die Brücke or "The Bridge", a key group leading to the foundation of Expressionism in 20th-century art.
In the realm where dreams blend with reality, "Whispers of the Dreaming Soul" emerges as a profound exploration of the ethereal dance between the conscious and the subconscious. Through vibrant hues, daring shapes, and emotive textures, this collection invites you on a journey deep into the heart of human emotion, where the lines between the seen and unseen are beautifully blurred. Each piece serves as a gateway to understanding the unspoken dialogues within us, offering a unique perspective on the continuum of existence. As you immerse yourself in this exquisite display, allow the whispers of the dreaming soul to guide you through a landscape of inner discovery and transcendental beauty.
Poem:
Upon the Canvas of the Night
In strokes of shadow, bursts of light,
A dreamer paints the soul's flight,
Where fears and hopes in colors bright,
Entwine in dance, dispel the plight.
In depths where silent whispers dwell,
Beneath the conscious, surface swell,
Emotions in rebellion yell,
Yet in the chaos, beauty's spell,
Weaves tales that only art can tell.
A journey through the heart's domain,
Where joy meets sorrow, pleasure, pain,
And through the tempest, calm again,
The canvas holds, in every stain,
The essence of the dreamer's reign.
Within this realm, no boundaries known,
Where seeds of unseen worlds are sown,
Expression's purest form is shown,
And through such art, we're gently thrown
Into realms to us, previously unknown.
Haiku:
Dreams weave through the void,
Colours blend, emotions swirl,
Souls speak without words.
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.
Acrylic on canvas; 73 by 92.1 cm.
Jean Dubuffet was a French painter, sculptor, and printmaker, best known for his development of art brut (“raw art”). As an art student in Paris, Dubuffet demonstrated a facility for academic painting. In 1924, however, he gave up his painting, and by 1930 was making a living as a wine merchant. He did not return to a full-time art career until the early 1940s.
After World War II, as one of the leading artists of the School of Paris, he developed the techniques and philosophy of art brut. Derived from Dubuffet’s studies of the art of children and of the mentally ill, art brut is intended to achieve immediacy and vitality of expression not found in self-conscious, academic art. To reflect these qualities, Dubuffet often used crude ideographic images incised into a rough impasto surface made up of such materials as tar, gravel, cinders, ashes, and sand bound with varnish and glue. His drawings and paintings are by turns childlike and obsessive, and their unfinished appearance excited much controversy.
During the 1960s Dubuffet experimented with musical composition and the creation of architectural environments. In various graphic and sculptural mediums he continued to explore the potentials of art brut. In his later years he also created several large sculptures of black-and-white painted fiberglass for various public spaces.
The Peggy Guggenheim Collection
[Bibliography]
Peggy Guggenheim's career belongs in the history of 20th century art. Peggy used to say that it was her duty to protect the art of her own time, and she dedicated half of her life to this mission, as well as to the creation of the museum that still carries her name.
Peggy Guggenheim was born in New York on 26 August 1898, the daughter of Benjamin Guggenheim and Florette Seligman. Benjamin Guggenheim was one of seven brothers who, with their father, Meyer (of Swiss origin), created a family fortune in the late 19th century from the mining and smelting of metals, especially silver, copper and lead. The Seligmans were a leading banking family. Peggy grew up in New York. In April 1912 her father died heroically on the SS Titanic. (1)
In her early 20s, Peggy volunteered for work at a bookshop, the Sunwise Turn, in New York and thanks to this began making friends in intellectual and artistic circles, including the man who was to become her first husband in Paris in 1922, Laurence Vail. Vail was a writer and Dada collagist of great talent. He chronicled his tempestuous life with Peggy in a novel, Murder! Murder! of which Peggy wrote: "It was a sort of satire of our life together and, although it was extremely funny, I took offense at several things he said about me."
In 1921 Peggy Guggenheim traveled to Europe. Thanks to Laurence Vail (the father of her two children Sindbad and Pegeen, the painter), Peggy soon found herself at the heart of Parisian bohème and American ex-patriate society. Many of her acquaintances of the time, such as Constantin Brancusi, Djuna Barnes and Marcel Duchamp, were to become lifelong friends. Though she remained on good terms with Vail for the rest of his life, she left him in 1928 for an English intellectual, John Holms, who was the greatest love of her life. There is a lengthy description of John Holms, a war hero with writer's block, in chapter five of Edwin Muir's An Autobiography. Muir wrote: "Holms was the most remarkable man I ever met." Unfortunately, Holms died tragically young in 1934.
In 1937, encouraged by her friend Peggy Waldman, Peggy decided to open an art gallery in London. When she opened her Guggenheim Jeune gallery in January 1938, she was beginning, at 39 years old, a career which would significantly affect the course of post-war art. Her friend Samuel Beckett urged her to dedicate herself to contemporary art as it was âa living thing,â and Marcel Duchamp introduced her to the artists and taught her, as she put it, âthe difference between abstract and Surrealist art.â The first show presented works by Jean Cocteau, while the second was the first one-man show of Vasily Kandinsky in England.
In 1939, tired of her gallery, Peggy conceived âthe idea of opening a modern museum in London,â with her friend Herbert Read as its director (2). From the start the museum was to be formed on historical principles, and a list of all the artists that should be represented, drawn up by Read and later revised by Marcel Duchamp and Nellie van Doesburg, was to become the basis of her collection.
In 1939-40, apparently oblivious of the war, Peggy busily acquired works for the future museum, keeping to her resolve to âbuy a picture a day.â Some of the masterpieces of her collection, such as works by Francis Picabia, Georges Braque, Salvador DalÃ- and Piet Mondrian, were bought at that time. She astonished Fernand Léger by buying his Men in the City on the day that Hitler invaded Norway. She acquired Brancusiâs Bird in Space as the Germans approached Paris, and only then decided to flee the city.
In July 1941, Peggy fled Nazi-occupied France and returned to her native New York, together with Max Ernst, who was to become her second husband a few months later (they separated in 1943).
Peggy immediately began looking for a location for her modern art museum, while she continued to acquire works for her collection. In October 1942 she opened her museum/gallery Art of This Century. Designed by the Rumanian-Austrian architect Frederick Kiesler, the gallery was composed of extraordinarily innovative exhibition rooms and soon became the most stimulating venue for contemporary art in New York City. (3)
Of the opening night, she wrote: âI wore one of my Tanguy earrings and one made by Calder in order to show my impartiality between Surrealist and Abstract Art" (4). There Peggy exhibited her collection of Cubist, abstract and Surrealist art, which was already substantially that which we see today in Venice. Peggy produced a remarkable catalogue, edited by André Breton, with a cover design by Max Ernst. She held temporary exhibitions of leading European artists, and of several then unknown young Americans such as Robert Motherwell, William Baziotes, Mark Rothko, David Hare, Janet Sobel, Robert de Niro Sr, Clyfford Still, and Jackson Pollock, the âstarâ of the gallery, who was given his first show by Peggy late in 1943. From July 1943 Peggy supported Pollock with a monthly stipend and actively promoted and sold his paintings. She commissioned his largest painting, a Mural, which she later gave to the University of Iowa.
Pollock and the others pioneered American Abstract Expressionism. One of the principal sources of this was Surrealism, which the artists encountered at Art of This Century. More important, however, was the encouragement and support that Peggy, together with her friend and assistant Howard Putzel, gave to the members of this nascent New York avant-garde. Peggy and her collection thus played a vital intermediary role in the development of Americaâs first art movement of international importance.
In 1947 Peggy decided to return in Europe, where her collection was shown for the first time at the 1948 Venice Biennale, in the Greek pavilion (5). In this way the works of artists such as Arshile Gorky, Jackson Pollock, and Mark Rothko were exhibited for the first time in Europe. The presence of Cubist, abstract, and Surrealist art made the pavilion the most coherent survey of Modernism yet to have been presented in Italy.
Soon after Peggy bought Palazzo Venier dei Leoni, on the Grand Canal in Venice, where she came to live. In 1949 she held an exhibition of sculptures in the garden (6) curated by Giuseppe Marchiori, and from 1951 she opened her collection to the public.
In 1950 Peggy organized the first exhibition of Jackson Pollock in Italy, in the Ala Napoleonica of the Museo Correr in Venice. Her collection was in the meantime exhibited in Florence and Milan, and later in Amsterdam, Brussels, and Zurich. From 1951 Peggy opened her house and her collection to the public annually in the summer months. During her 30-year Venetian life, Peggy Guggenheim continued to collect works of art and to support artists, such as Edmondo Bacci and Tancredi Parmeggiani, whom she met in 1951. In 1962 Peggy Guggenheim was nominated Honorary Citizen of Venice.
In 1969 the Solomon R. Guggenheim Museum in New York invited Peggy Guggenheim to show her collection there. In 1976 she donated her palace and works of art to the Solomon R. Guggenheim Foundation. The Foundation had been created in 1937 by Peggy Guggenheimâs uncle Solomon, in order to operate his collection and museum which, since 1959, has been housed in Frank Lloyd Wrightâs famous spiral structure on 5th Avenue.
Peggy died aged 81 on 23 December 1979. Her ashes are placed in a corner of the garden of Palazzo Venier dei Leoni, next to the place where she customarily buried her beloved dogs. Since this time, the Guggenheim Foundation has converted and expanded Peggy Guggenheim's private house into one of the finest small museums of modern art in the world.
[Info]
Address
Peggy Guggenheim Collection
Palazzo Venier dei Leoni
Dorsoduro 701
I-30123 Venezia
Opening hours
Daily 10 am - 6 pm
Closed Tuesdays and December 25
General information
tel: +39.041.2405.411
fax: +39.041.520.6885
e-mail: info@guggenheim-venice.it
Visitor services
tel: +39.041.2405.440/419
fax: +39.041.520.9083
e-mail: visitorinfo@guggenheim-venice.it
Photography
Photography is permitted without flash. You may not use tripods or monopods.
Animals
Animals of all sizes are not allowed in the galleries and in the gardens.
For information and assistance please contact "Sporting Dog Club".
Call Tel. +39 347 6242550 (Marie) or +39 347 4161321 (Roberto)
or write to sportingdoginvenice@gmail.com
Venice Art for All
The Peggy Guggenheim Collection joins the Venice Art for All project and becomes accessible to all, including people with limited mobility.
Palazzo Venier dei Leoni was probably begun in the 1750s by architect Lorenzo Boschetti, whose only other known building in Venice is the church of San Barnaba.
It is an unfinished palace. A model exists in the Museo Correr, Venice (1). Its magnificent classical façade would have matched that of Palazzo Corner, opposite, with the triple arch of the ground floor (which is the explanation of the ivy-covered pillars visible today) extended through both the piani nobili above. We do not know precisely why this Venier palace was left unfinished. Money may have run out, or some say that the powerful Corner family living opposite blocked the completion of a building that would have been grander than their own. Another explanation may rest with the unhappy fate of the next door Gothic palace which was demolished in the early 19th century: structural damage to this was blamed in part on the deep foundations of Palazzo Venier dei Leoni.
Nor is it known how the palace came to be associated with "leoni," lions. Although it is said that a lion was once kept in the garden, the name is more likely to have arisen from the yawning lion's heads of Istrian stone which decorate the façade at water level (2). The Venier family, who claimed descent from the gens Aurelia of ancient Rome (the Emperor Valerian and Gallienus were from this family), were among the oldest Venetian noble families. Over the centuries they provided eighteen Procurators of St Markâs and three Doges. Antonio Venier (Doge, 1382-1400) had such a strong sense of justice that he allowed his own son to languish and die in prison for his crimes. Francesco Venier (Doge, 1553-56) was the subject of a superb portrait by Titian (Madrid, Fundaciòn Thyssen-Bornemisza). Sebastiano Venier was a commander of the Venetian fleet at the Battle of Lepanto (1571) and later became Doge (1577-78). A lively strutting statue of him, by Antonio dal Zotto (1907), can be seen today in the church of Ss. Giovanni e Paolo, Venice.
From 1910 to c. 1924 the house was owned by the flamboyant Marchesa Luisa Casati, hostess to the Ballets Russes, and the subject of numerous portraits by artists as various as Boldini, Troubetzkoy, Man Ray and Augustus John. In 1949, Peggy Guggenheim purchased Palazzo Venier from the heirs of Viscountes Castlerosse and made it her home for the following thirty years. Early in 1951, Peggy Guggenheim opened her home and collection to the public and continued to do so every year until her death in 1979. (3) (4)
In 1980, the Peggy Guggenheim Collection opened for the first time under the management of the Solomon R. Guggenheim Foundation, to which Peggy Guggenheim had given her palazzo and collection during her lifetime.
Palazzo Venier dei Leoni's long low façade, made of Istrian stone and set off against the trees in the garden behind that soften its lines, forms a welcome "caesura" in the stately march of Grand Canal palaces from the Accademia to the Salute.
[Permanent collection]
The core mission of the museum is to present the personal collection of Peggy Guggenheim. The collection holds major works of Cubism, Futurism, Metaphysical painting, European abstraction, avant-garde sculpture, Surrealism, and American Abstract Expressionism, by some of the greatest artists of the 20th century. These include Picasso (The Poet, On the Beach), Braque (The Clarinet), Duchamp (Sad Young Man on a Train), Léger, Brancusi (Maiastra, Bird in Space), Severini (Sea=Dancer), Picabia (Very Rare Picture on Earth), de Chirico (The Red Tower, The Nostalgia of the Poet), Mondrian (Composition No. 1 with Grey and Red 1938 / Composition with Red 1939), Kandinsky (Landscape with Red Spots, No. 2, White Cross), Miró (Seated Woman II), Giacometti Woman with Her Throat Cut, Woman Walking), Klee (Magic Garden), Ernst (The Kiss, Attirement of the Bride), Magritte (Empire of Light), DalÃ- (Birth of Liquid Desires), Pollock (The Moon Woman, Alchemy), Gorky (Untitled), Calder (Arc of Petals) and Marini (Angel of the City).
The museum also exhibits works of art given to the Solomon R. Guggenheim Foundation for its Venetian museum since Peggy Guggenheim's death, as well as long-term loans from private collections.
Hannelore B. and Rudolph B. Schulhof Collection
In October 2012 eighty works of Italian, European and American art of the decades after 1945 were added to the collections of the Solomon R. Guggenheim Foundation in Venice. They were the bequest of Hannelore B. Schulhof, who collected the works with her late husband Rudolph B. Schulhof. They include paintings by Burri, Dubuffet, Fontana, Hofmann, Kelly, Kiefer, Noland, Rothko, and Twombly, as well as sculptures by Calder, Caro, Holzer, Judd and Hepworth. The Hannelore B. and Rudolph B. Schulhof Garden exhibits works from this collection.
Gianni Mattioli Collection
The museum exhibits twenty six masterpieces on long-term loan from the renowned Gianni Mattioli Collection, including famous images of Italian Futurism, such as Materia and Dynamism of a Cyclist by Boccioni, Interventionist Demonstration by Carrà , The Solidity of Fog by Russolo, works by Balla, Severini (Blue Dancer), Sironi, Soffici, Rosai, Depero. The collection includes important early paintings by Morandi and a rare portrait by Modigliani.
Patsy R. and Raymond D. Nasher Sculpture Garden
The Patsy R. and Raymond D. Nasher Sculpture Garden and other outdoor spaces at the Peggy Guggenheim Collection presents works from the permanent collections (by Arp, Duchamp-Villon, Ernst, Flanagan, Giacometti, Gilardi, Goldsworthy, Holzer, Marini, Minguzzi, Mirko, Merz, Moore, Ono, Paladino, Richier, Takis), as well as sculptures on temporary loan from foundations and private collections (by Calder, König , Marini, Nannucci, Smith).
Isaac Grünewald was a Swedish-Jewish expressionist painter born in Stockholm. He was the leading and central name in the first generation of Swedish modernists from 1910 up until his death in 1946, in other words during almost his entire career spanning four decades. He was a highly productive painter as well as a writer and public speaker. Having studied at an influential Swedish art school for three years, at age 19 Grünewald travelled to Paris where he soon began studies at Henri Matisse's academy. In 1909 he gained recognition in his homeland when he exhibited his work with a group of Scandinavian artists known as The Young Ones.
He met his future wife Sigrid Hjertén in 1909 and encouraged her to study painting with him in Paris. Having married in 1911, Grünewald and Hjertén from 1912 on regularly exhibited together at home and abroad. Art historians nowadays often cite them as being responsible for introducing modernism to Sweden. At a time in history when anti-Semitism was both widespread and politically correct and women artists were frowned upon, their works were often the subject of ridicule in the press. In fact, recent research has shown that Grünewald who became the center of public controversy numerous times was the number one target of anti-Semitism in the Swedish press between 1910 and 1926. Despite or because of his role as the leading and most controversial pioneer in Swedish modernism in his days, in Swedish journalism and literature, he is still sometimes being portrayed as, in effect, the embodiment of a classic Jewish caricature, with insinuations of his not having earned his success fairly; being an insignificant Matisse imitator as an artist but a genius as a businessman.
In the 1920s, Grünewald began reaping major commercial successes. He created stage designs for the Royal Swedish Opera and other theaters. In 1925-26, he decorated the walls and ceiling in the minor hall (since renamed Grünewald Hall) at the Stockholm Concert Hall, site of the Nobel Prize ceremony, and in 1928 the walls of the Matchstick Palace. Grünewald was a professor at the Royal Swedish Academy of Fine Arts between 1932 and 1942 and in 1941 he opened his own art school. During the Second World War Grünewald worked at the renowned Rörstrand porcelain factory. His wife suffered from lifelong mental health problems that resulted in her being hospitalized for extended periods in the 1930s. Grünewald divorced Hjertén, who was then hospitalized permanently, in 1937 and remarried. In 1946 he and his second wife Märta Grundell were killed in an airplane crash. Grünewald was the father of three sons born in 1910, 1911 and 1940.
The author of numerous essays on art, during his influential 1918 exhibit at Stockholm's Liljevalchs Konsthall Isaac Grünewald published his manifesto The New Renaissance. According to the Swedish copyright organization BUS, Grünewald is still the single artist whose sales bring the highest yearly income to Swedish art dealers among the modernists. At Stockholm auctionist Bukowski's spring auction in 2009, one of Grünewald's lesser known paintings was sold for 2,65 million crowns - about 340 000 US dollars.
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
"The purposes (and therefore, means) of nature and arts are essentially, organically and according to the laws of the Universe are various - and equally great... and equally strong"—Wassily Kandinsky
We’re thrilled to curate some of the most famous works by Wassily Kandinsky (1866-1944). Known as one of the first pioneers of modern abstract art, this Russian artist employed geometry, abstract colors, and abstract forms in his artworks. He believed that art can be used to express the “inner life” of an artist. Kandinsky’s style evolved over the years from fluid and organic to geometric and pictographic. In 1911, he founded the influential Munich group Der Blaue Reiter (“The Blue Rider”; 1911–14). Later, in 1921, he started to teach at Bauhaus, the historic art school that brought together influential contemporary artists including Joseph Albers, Lazlo Maholy-Nagy, Paul Klee, and Piet Mondrian. Although deceased, both Kandinsky and the Bauhaus movement are still influencing today’s art and design world. We have digitally enhanced these paintings, and they are free to use and download under the CC0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1303524/abstract-artworks-wassily-kandinsky-i-digitally-enhanced-cc0-paintings
from the permanent display of the Batliner Collection at Albertina, Vienna
for educational purpose only
please do not use without permission
Oil on canvas; 180 x 162 cm.
Zeng Fanzhi ( 曾梵志) (born 1964, Wuhan, China) is an artist based in Beijing.There are few Chinese painters whose careers boast the breadth and complexity as that of Zeng Fanzhi. From the earliest stages of his career, Zeng Fanzhi's paintings have been marked by their emotional directness, the artist's intuitive psychological sense, and his carefully calibrated expressionistic technique. Moving to the more cosmopolitan Beijing in the early 1990s, Zeng's art displayed an immediate shift, responding to his immersion in a more superficial environment, his seminal Mask series displaying the tensions between the artist's dominant existential concerns and an ironic treatment of the pomposity and posturing inherent to his new contemporary urban life. Throughout, Zeng's expressionistic techniques run counter to such techniques' conventional usage. That is, Zeng's representation of raw, exposed flesh or awkwardly over-sized hands is not an attempt at pure emotional expression, but instead play against the superficially composed appearances of his subjects, an ironic treatment of emotional performance as a metaphor for a lost self, of stunted self-realization.
He grew up during the Chinese Cultural Revolution, and he went to the Hubei Academy of Fine Arts.[1] There, he was largely influenced by Expressionism. Currently, Zeng is one of, if not the most popular artist of his era,[1] in addition to being one of Asia's most financially successful artists.[2] In May, 2008, he set a world auction record when one of his contemporary Chinese art pieces “Mask Series 1996 No. 6” was sold for $9.6 million in Hong Kong.[1] Zeng has lived and worked in Beijing since 1993, and has been exhibited all over the globe in venues such as the Shanghai Art Museum, National Art Museum, Kunst Museum Bonn, Kunstmuseum Bern, Santa Monica Art Centre, and Art Centre.[1]
1/28/09 There is no real explanation for the title, I felt a strong nautical feel from this and thought Sea Horse captured the painting's essence. je
Land of Sunshine -Oil on canvas 100cmx80cm
#newart #artist #oils #canvas #artforsale #artcurator #londonart #callforentries #artistoninstagram #oiloncanvas #abstract #abstractpaintings #abstractexpressionism
#contemporaryart #art #artwork #callforart #artshow #artgallery #contemporaryart, #contemporaryartist
Jan Matulka was a Czech-American modern artist originally from Bohemia. Matulka's style would range from Abstract expressionism to landscapes, sometimes in the same day. In 1907 Jan, his parents, and his five younger sisters moved to The Bronx. In 1908 he began studying at the National Academy of Design in New York City. Upon graduation in 1917 Matulka met Ludmila "Lída" Jiroušková who became his wife. Lída worked for the New York Public Library as the head of the Czechoslovak literature section and helped connect her husband to the larger cultural community. Between 1917 and 1918 Matulka traveled around the United States and the Caribbean as the first recipient of the Joseph Pulitzer National Traveling Scholarship.
The next few years Jan and Lida traveled to Czechoslovakia to visit the old family farm, as well as Germany and France. Matulka found inspiration in the scenery of Tŭri Pôle village, a place that fueled many more paintings over the years. Jan established a studio in Paris and would over-winter. In Paris he was acquaintances with Gertrude Stein, André Lhote, Jean Lurçat, Josef Šíma, Václav Vytlačil, and Albert Gleizes. In the 1920s Matulka maintained both his studios, frequently traveling to and fro from Paris to New York City. Around the middle of the decade Matulka began painting stark and jazzy cityscapes. This by no means meant he limited himself to that style, as he was also painting landscapes in Cape Ann, as well as abstract pieces. In 1927, Matulka began an association with the Frank K. M. Rehn Gallery. The clientele of the gallery wanted more conservative and representational works so Matulka complied because he needed the income. Again, this did not prevent him from painting in other styles for other outlets. In 1928 he began drawing from the model when he started meeting with the Society of Independent Artists, while contributing illustrations to the socialist Dělník Kalendar.
With help from Max Weber and Václav Vytlačil, Matulka landed a teaching job at the Art Students League of New York, his first salaried position. Being the only modernist faculty member, his classes were quite popular. His students included Dorothy Dehner, Francis Criss, Burgoyne Diller, I. Rice Pereira, and David Smith. Matulka was pushed out of his position at the Art Students League by conservative factions in 1931. Matulka continued teaching one-on-one classes for a time after that. Personal and global financial woes soon prevented Matulka from traveling annually to Paris. In 1928 he sublet his studio there to jazz painter Stuart Davis. Later Josef Šíma sublet it, taking it over completely in 1934. Šíma stored all Matulka's paintings and other works left in the studio, eventually transporting them to his own house in Fontainebleau, where unfortunately they did not survive World War II. From 1934 until 1935 Matulka became one of the few abstract painters to join the Public Works of Art Project, giving him a taste for murals and public art. Immediately afterward he joined the Federal Art Project and also worked on the Williamsburg Houses.
In 1936 Matulka helped found the American Abstract Artists, but refused to join the group. His emotional state continued to decline, even more so when his sister Barbara killed herself on July 5. By the time his association with the Federal Art Project ended in 1939 he had become even more socially and emotionally isolated. He continued painting more and more experimental works. Over the next few decades Matulka received much acclaim from his exhibitions, but remains relatively withdrawn from society. As age caught up with him, he suffered from many health issues, including deafness. Matulka died June 25, 1972 in New York City.
Alfred Sisley (1938-1899), La barque pendant l'inondation, Pont-Marly (1876), oil on canvas, 51 x 61 cm, Musée d'Orsay
Boat in the Flood at Pont-Marly
"Strip" -- An artwork by David Paul Mesler. Pianist, Vocalist, Composer, Songwriter. Seattle, Washington USA. 2013.
SITES: www.davidpaulmesler.com, www.ihearamericasing.com
ALBUMS: www.cdbaby.com/artist/davidpaulmesler
ARTWORKS: www.flickr.com/photos/davidpaulmesler
VIDEOS: www.youtube.com/doublepianomaniac
FOR GOD'S GLORY.
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”