View allAll Photos Tagged expressionism
Io so che tu puoi guarirla, stregone, è per questo che ho rubato questa macchina nera come un corvo e guido sotto il temporale, dentro al canyon dei dormitori, mentre la pioggia mescola sul mio parabrezza lampi di bufera, rosso di fanali, giallo di supermarket, blu di ambulanze, verde marziano, è per questo che piango, bestemmio, e grido che non voglio perderla.
[Stefano Benni - Orfeo Mescalero]
(Questa è la seconda prova di incisione su adigraf. Come da consiglio sottostante ho aumentato la quantità di inchiostro)
Eterna riconoscenza a Came, la mia spacciatrice di inchiostro! uht.deviantart.com/
In November, I had the privilege to see Mural by Jackson Pollock in the Sioux City Art Center. If it’s ever near you, go see it in person!
16x20
Scratchboard
Expressionism is a way of portraying your ideas by distorting reality. In my piece I distorted a human face. The parts of the face are hidden in a "mask" of objects.
All Out for Sport - 1949
Anna Mary Robertson (Grandma) Moses (American, 1860 - 1961)
"All Out for Sport," painted in 1949, is typical of Moses' flat, colorful style. Despite using few colors, details, and little to no shading, she captures the movement and the mood of the people and the landscape. Her simple style lends itself to this kind of iconic winter scene; the flat broad brushstrokes are perfectly suited to depict the gray sky, and the rolling snowdrifts.
"GRANDMA MOSES LIVES! That could be the title of the exhibition built around her at the New Britain Museum of American Art. Grandma Moses is America's coziest painter, a representative of a more sedate time in our history, so a little manufactured excitement is in order.
The exhibition's real title is ''Memory Is a Painter: The Art of Grandma Moses.'' It is a traveling show circulated by the Bennington Museum in Vermont, and most of the 20 paintings in it come from there. Bennington is just across the state line from Hoosick Falls and Eagle Bridge, N.Y., communities in which Anna Mary Robertson Moses (1860-1961) spent almost all of her long life.
As is the case with many exhibitions these days, the art itself is only one facet of the show. The center of the gallery is taken up by other diversions including a ''working quilt.'' What is referred to as a corps of quilters is busy during museum hours answering questions while working on an outsized fabric version of one of the busy paintings, ''All Out for Sport'' (1949) in New Britain's collection. This project seems appropriate, for Grandma Moses' style is often compared with patchwork, for the way she boldly unites disparate elements in a composition.
Another added attraction is the kitchen table with its peeling linoleum top that served as her studio. On it are dried-out tubes of paint and brushes, and the jar lids that served as her palette. The artist only used pure colors, but also on the table is a large jar filled with silver glitter, traces of which can be seen in her winter scenes.
Several red and white checkered signposts, a motif taken from a checkered house that figures in two paintings, labeled ''Grandma Says,'' dot the exhibition space. They offer gleanings from her 1952 autobiography, ''Grandma Moses: My Life's History.'' She describes old fashioned activities like sugaring and candle making, and reflects on her arthritis and old age.
But a viewer can get even closer to Grandma Moses with the video presentation, a television interview she had with Edward R. Murrow in December 1955 on the program ''See It Live!'' She shows herself to have a little of Andy Warhol in her (Warhol would come on the scene only a decade later) when she reassures Mr. Murrow that ''anyone can paint.'' It is amusing to watch him take her at her word, trying to draw a tree branch while balancing a paintbrush and a cigarette in the same hand.
She also reveals her savvy in a 1947 conversation with a friend who recalled her saying that she would have to live at least six more years to outlive the contract with her dealer, Otto Kallir of the St. Etienne Gallery in New York. Her complaint was succinct: ''He got too much money.'' But at the same time she understood and appreciated that Mr. Kallir made her career.
Also in the show are spinoffs made from her art, including fabrics and dinnerware. These extras make Grandma Moses a more palpable figure than the naive artist of legend. Today the public is used to the phenomenon of the idiosyncratic Outsider artist, not exactly a folk artist, who is aware of the marketplace.
The earliest examples of her work are yarn paintings from the 1930's. A major theme is shepherds, which is consistent with her medium, yarn made from wool. Another yarn painting is the fanciful ''Cairo,'' a rare musing on an exotic place.
The figures in her early paintings can be large and often clumsy. In the later work, the many figures are subordinate to the general sense of multifarious activity, so maladroitness isn't even an issue, and it can even be a charm, such as a horse that resembles a hyena. But in ''Spirit of the Cider Barrel'' (1945) the large figures make up something on the order of an enchanting myth. The female figure is like a goddess of plenty providing the nectar for the men to sip.
Grandma Moses hit her classic stride in the 1950's with the paintings that celebrate the seasons. It is an immense pleasure to be immersed in white, in the winter scenes for which she is best known, and then, in an adjacent painting, be plunged into the insistent green of summer. Transition seasons also get their due.
Wall text reminds viewers that a venerable tradition lies behind her art, 15th- and 16th-century Flemish and Dutch landscape painting as practiced by Pieter Brueghel or the Limbourg Brothers. Like them, Grandma Moses rejected linear perspective and used other devices to flatten out a scene enabling her to present a panorama in a restricted space. Her focus on commonplace activity is something also shared with the earlier painters.
Her last painting, ''School,'' made in July 1961, is a sweet reminiscence of her girlhood. The figures are once again large, but here they exist in an atmosphere that approaches Impressionism. A viewer is sent off by a portrait of Grandma Moses by Dean Fausett, painted on her 100th birthday. She looks very much in the pink, and as it is presented in this show, so does her legend."
www.nytimes.com/1998/07/26/nyregion/art-the-varied-tradti...
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"Acknowledged as the first museum in the world dedicated solely to collecting American art, the NBMAA is renowned for its preeminent collection spanning three centuries of American history. The award-winning Chase Family Building, which opened in 2006 to critical and public acclaim, features 15 spacious galleries which showcase the permanent collection and upwards of 25 special exhibitions a year featuring American masters, emerging artists and private collections. Education and community outreach programs for all ages include docent-led school and adult tours, teacher services, studio classes and vacation programs, Art Happy Hour gallery talks, lectures, symposia, concerts, film, monthly First Friday jazz evenings, quarterly Museum After Dark parties for young professionals, and the annual Juneteenth celebration. Enjoy Café on the Park for a light lunch prepared by “Best Caterer in Connecticut” Jordan Caterers. Visit the Museum Shop for unique gifts. Drop by the “ArtLab” learning gallery with your little ones. Gems not to be missed include Thomas Hart Benton’s murals “The Arts of Life in America,” “The Cycle of Terror and Tragedy, September 11, 2001” by Graydon Parrish,” and Dale Chihuly’s “Blue and Beyond Blue” spectacular chandelier. Called “a destination for art lovers everywhere,” “first-class,” “a full-size, transparent temple of art, mixing New York ambience with Yankee ingenuity and all-American beauty,” the NBMAA is not to be missed."
www.tripadvisor.com/Attraction_Review-g33847-d106105-Revi...
www.nbmaa.org/permanent-collection
The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.
Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.
Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).
Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.
Multiple exposure taken with a Lomo LC-W camera. The LC-W (wide) has a 17mm lens, and can take half frame, square or full frame images depending on which of three film plane masks is installed. It is also possible to take overlapping photos by using the half-frame wind-on, while leaving the full frame mask in place. This results in "blenders" where adjacent frames blend into each other.
The film is Agfa Vista ISO200 from Poundland, processed in the Tetenal C41 kit.
Mixed media on card stock paper - 8.5" x 11" - 21.6cm x 28cm
© 2012 Nezorf Peek