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Graphite and gouache on paper; 77 x 57 cm.
Pablo Palazuelo was a Spanish painter and sculptor.
Pablo Palazuelo was born in Madrid in 1916. In 1933 he studied architecture at the School of Arts and Crafts at Oxford University. Upon returning to Madrid in 1939, he began to devote all of his time to painting. During these early years, reflecting the influence of Picasso and Cézanne, his figurative art became progressively more abstract, simplified and transformed.
Palazuelo was attracted to, and later influenced by, the work of Paul Klee, which he saw for the first time in 1947. It was in this year that Palazuelo's first abstract art appeared. The following year he was awarded a grant by the French Institute in Madrid to pursue his art in Paris. In the same year, 1948, he was selected to exhibit at the Salon de Mai, which led to an invitation to join the prestigious Galérie Maeght (currently Galérie Lelong), an association of nearly fifty years that continues to this day. Palazuelo went on to receive the coveted Kandinsky Prize in 1952.
His attention became focused on the nature of "form" itself rather than on what it represented. In 1953 his investigation into form led to his discovery: Trans-geometría-the rhythms of nature translated into plastic art. This new way of seeing was initially expressed in his Solitudes series shown in his first solo exhibition in 1955.
"Ascendente no. 2", his first sculpture, appeared in 1954. However, it was not until 1962 that his exploration of the qualities of space through his metal sculpture began in earnest, and his two-dimensional drawings became transformed into their three-dimensional counterparts. Conflict between large, flat, colorful forms characterized the series entitled Onda, Onfalo and Tierra, exhibited in 1963, and indicated a significant change in the direction of his art. In 1969 Pablo Palazuelo returned to Spain, where he continued to probe the mysteries of form through his paintings, sculptures, writings and research. He began to work in a 14th-century castle in Monroy, near Cáceres in 1974. During this time he captured the phenomenon of transformation, from its origin to its cyclic end, in his Monroy series.
The surprising appearance of "signs" in his El número y las aguas series in 1978 marked another level of his inquiry into "the moment of formation." Palazuelo's Yanta paintings, exhibited in 1985, represented diagrams of two-dimensional force and structures of three-dimensional force, which constituted figures of conception. Constantly changing lineal rhythms characterized his Nigredo, Anamne and Sinesis series, which were exhibited at the Galería Soledad Lorenzo in Madrid in 1991.
Since 1955 Palazuelo has shared his relentless journey of formal discovery in twenty-three solo exhibitions, as well as in numerous group exhibitions in France, Spain and throughout Europe. Palazuelo continued the realization of the endless potentialities of form through his Sydus series.
In order to appreciate fully the unique nature of Pablo Palazuelo's art, one must trace his ongoing investigation of "form."
Lottitle: Ejler Bille: Composition, 1954. Signed and dated on the reverse. Oil on canvas. 69 x 62 cm.
Est. Price: 350000 DKK / 47000 €
Real. Price: - / -
Description
Composition, 1954. Signed and dated on the reverse.Oil on canvas. 69 x 62 cm.
Auction
Auction 805 - Modern art and design
Date & Time: 10/26/09 - 10/29/09, 1:00 PM
House & Location: Bruun Rasmussen, Bredgade, Copenhagen
Ejler Bille was a Danish artist. Born in Odder, Denmark, he studied at the Kunsthåndværkerskolen in Copenhagen, with Bizzie Høyer 1930-1932 and the Royal Danish Academy of Art, 1933. In 1934 he joined Linien, Corner in 1940 and CoBrA in 1949. He had concentrated on small sculptures, but moved into painting after joining CoBrA. In 1969 he was Guest Professor at the Royal Danish Academy of Art.
Bille made his début as a sculptor at the Kunstnernes Efterårsundstilling (Artists’ Autumn Exhibition) in Copenhagen in 1931. He became interested in abstract art very early in his career; in 1933, with the artist Vilhelm Bjerke-Petersen, he was one of the first artists in Denmark to exhibit abstract sculptures and paintings. In 1934 Bille was a founder-member with Richard Mortensen and Bjerke-Petersen of the artists’ group Linien (The Line), whose journal of the same name he also co-edited. During Bille’s many trips abroad in the 1930s he was particularly stimulated by the work of Alberto Giacometti, Hans Arp and Max Ernst. His originality was nevertheless clearly apparent in the early sculptures, which often used animals as subjects, for example Marten (1931) and Walking Form (1933–6; both Copenhagen, Stat. Mus. Kst).
Robert Delaunay was a French painter who first introduced vibrant color into Cubism and thereby originated the trend in Cubist painting known as Orphism. He was one of the earliest completely nonrepresentational painters, and his work affected the development of abstract art based on the compositional tensions created by juxtaposed planes of color.
Delaunay was at first a theatre designer and painted only part-time. But he soon came under the influence of the Neo-Impressionists’ use of colour. By 1910 he had made his own contribution to Cubism in two series of paintings, cathedrals and the “Eiffel Tower,” which combined fragmented Cubist form with dynamic movement and vibrant colour. This new and individual use of pictorial rhythms and colour harmonies had an immediate appeal to the senses and, combined with poetic subject matter, distinguished him from the more orthodox Cubist painters. His Orphic style, adopted also by his wife, the painter Sonia Terk Delaunay (1885–1979), had an immediate influence on the work of Der Blaue Reiter (The Blue Rider), a Munich-based group of Expressionist painters.
Two years later he found his way toward completely nonobjective painting when he made his “Colour Disks” and “Windows” series of paintings. Together with his wife, Delaunay worked on large and impressive abstract mural decorations for the Paris Exposition of 1937. Delaunay continued to paint works that restated his Orphic theories.
Tempera on cardboard; 37.1 x 29.2 cm.
Brazilian painter and performance artist. In 1954 he began studies with Ivan Serpa at the Museu de Arte Moderna in Rio de Janeiro. He immediately devoted himself to a geometric vocabulary and joined the new Frente group (1954–6) and later the Neo-Concrete movement (1959–61). From 1964 to 1969 he made environmental, participatory events—among them Parangolé (1964), Tropicália (1967) and Apocalipopótesis (1968)—either in art centres or in the street. He was one of the leading exhibitors in the exhibition Nova objetividade brasileira (Rio de Janeiro, 1967), which reactivated the country’s avant-garde. In 1969 he exhibited an installation at the Whitechapel Art Gallery, London, and the following year his work was included in the show Information (New York, MOMA). A Guggenheim Fellowship took him in 1970 to New York, where he lived until 1978. During that period he prepared various multi-media projects in the form of texts, performances, films and environmental events. The 25 successive years of his Metaschemes, Bilaterals, Spatial Reliefs, Nucleii, Penetrables, Meteors, Parangolés, installations, sensory and conceptual projects from 1954 onwards showed a clear transition from modern to post-modern and represent his most finished achievements. Working with oppositions such as balance/effusion, contemplation/celebration and visual art/body art, he retained a radical stance. In 1981 in Rio de Janeiro his family created the H. O. Project, intended to care for, preserve, analyse and disseminate the work that he left.
Roberto Pontual
From Grove Art Online
© 2009 Oxford University Press
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Pastel on paper; 19 x 24 cm.
Arcangelo Ianelli (São Paulo, 1922 - idem 2009). Painter, sculptor, illustrator and initially self-taught draughtsman. In 1940, he studied perspective at the Associação Paulista de Belas Artes [São Paulo Association of Fine Arts], and in 1942, received guidance in painting from Colette Pujol. Two years later, he attended the studio of Waldemar da Costa, with Lothar Charoux, Hermelindo Fiaminghi and Maria Leontina. During the 1950s, was a member of the Grupo Guanabara [Group Guanabara], with Manabu Mabe, Yoshiya Takaoka, Jorge Mori, Tomoo Handa, Tikashi Fukushima and Wega Nery, among others. From the 1940s onwards, produced everyday scenes, urban landscapes and seascapes which revealed a major formal synthesis and a chromatic range in subdued tones. During the 1960s, he returned to informal abstraction, producing canvases with a density of material and dark colours. By the end of the 1960s, his work had become both linear and pictorial, with a notable use of graphisms. From 1970 onwards he has returned to geometric abstraction, most notably using rectangles and squares, presented as superimposed and interpenetrating planes. He has also worked as a sculptor since the mid-1970s, when he began to execute works in marble and wood, in which he returned to constant questions in his painting. In 2002, he celebrated his 80th birthday with a retrospective at the Pinacoteca do Estado de São Paulo - Pesp [State Art Gallery of São Paulo].
Oil on canvas; 70 x 70 cm.
Wlad Safronow
1965,13. Mai was born in Kharkov / Ukraine
1984 -1990 Academy of Art and Design, Kharkov
1990 - 1994 Lecturer, Painting and Graphic Faculty, Kharkov
Expert, Nella Gallery, Kharkov
Leader of art Group „ART-BAT“
since 1995 Atelier in Augsburg / Germany,
Dozent/ Lecturer in Augsburg ART Z,
Kunstwerkstatt ART Z, Augsburg,
University and Künstlergilde, Ulm,
VHS Ehingen und Blaubeuren.
Member of Artist´s Union of Germany
Oil; 65 x 50 cm.
Ismael Gonzålez de la Serna was born in 1898 in Granada, Spain. He began painting and drawing when he was nine years old. While in school, he became friends with Federico Garcia Lorca, later to become a famous poet. Indeed, it was de la serna who in 1918 illustrated Garcia Lorca's first book, Impresiones y Paisajes.
De la Serna pursued his studies at the Academy of Fine Arts in Granada, where he learned the traditional rules of composition, form, and color. A turning point came in his life in 1917, when he viewed an exhibition of French Impressionists in Madrid. By his own testimony, thereafter he was determined to be a “free” painter, devoted to new forms.
In 1915, at age seventeen, he exhibited for the first time in Granada. A few years later, upon his second exhibition, the art critic Manuel Robles wrote: “There is no doubt that de la Serna knows color and his spirit penetrates the essence and line of his work.” Nonetheless, Robles hoped that de la Serna would abandon the spirit of Modernism.”
The Spanish artistic community, unlike that in neighboring France, was resistant to the innovations of Post-impressionism. Granada in particular imposed intolerable limits on such an “extraordinary soul” as de la Serna's, as it was described by Lorca.
De la Serna, impassioned in his pursuit of his vocation and life's work, and yearning for a stimulating cultural environment, moved to Paris in 1921, where his compatriot, Picasso, had been an international figure in the cubist movement for more than a decade. He was introduced to Picasso by the writer, critic, and art collector known as Tériade. According to Tériade, Picasso, upon seeing de la Serna's work, exclaimed: “At last, a true painter! As grand as Juan Gris!”
The year 1927 was one of remarkable success for de la Serna. Tériade devoted an article on him in issues of the art review, Cahiers d'Art, which simultaneously covered the works of luminaries such as Renoir and Picasso. Tériade wrote that de la Serna was the painter “we had all been waiting for.” That is, his poetic sensibility lent in certain unity to his work and deftly combined a vigor of expression with a delicacy of form.
Paul Guillaume then organized an exhibition of fifty of de la Serna's works to wide acclaim. An individual exhibition at the Gallery Flechtheim in Berlin was equally successful, all of the works found buyers. The gallery even signed de la Serna to a contract, which remained in effect until 1933, when Hitler's rise to power forced its revocation.
The Nazi rise to power definitely had unfortunate consequences. It is thought that those works of de la Serna's still residing in Germany, including many of his most vulnerable paintings, were destroyed by the Nazi regime.
Luckily, de la Serna had been warmly received throughout Europe. In 1928, he signed contracts to exhibit his works at the Galerie Zak in Paris and at the Galerie Le Centaure in Brussels. Christian Zervos wrote enthusiastically in Cahiers d'Art that de la Serna's incredible skill at drawing allowed him to make abstractions of reality.
While a number of his works certainly echo the influence of Picasso and Braque, such influence was mirrored within a Cubism of his own making. In the instinctive equilibrium of his work, the blend of exuberance and sober expression, the use of color, and the strength of the lines, de la Serna reminded Zervos of Zurburan, El Greco, and Cézanne.
Indeed, to Zervos, Cubism brought out either a deep expressiveness due to the distortion of the central object or figure represented, or resulted in an abstract painting composed of forms independent of the exterior reality. In any case, representation of both possibilities was typical of de la Serna's work. The artist easily balanced and reconciled the extremes of both representation and abstraction. Although a traditional Cubist subject, Nature Mort de la Guitare is a strong example of de la Serna's Cubist technique of the late 1920's.
In 1930, the Galerie Zak devoted an entire exhibition to de la Serna;s works. The National Gallery of Berlin,and the museum of Mannheim both acquired paintings of his. In 1932, he returned triumphantly to Spain, where he toured with successful exhibitions throughout his homeland. In 1936, he took part in an exhibition at the Musée du Jeu de Paume in Paris. During this time, he rarely participated in public showings of his work. After the Second World War, he released works he had painted secretly which honored the Resistance and decried the atrocities of war.
De la Serna continued to work throughout the 1940's and 1950's. His style evolved into pure combinations of color and form. His paintings continued to be shown in France, Germany, Spain, and Mexico. In 1963, he was invited to participate in an exhibition of French paintings at the Tate Gallery in London and in an exhibition at the Hammer Gallery in New York.
In 1974, the Musée d'Art Moderne de la Ville de Paris organized a retrospective of nearly one hundred of de la Serna's paintings from throughout his career. The retrospective tracked the artist's diversity of subjects and the technical scope of his talent. De la Serna died in Paris in 1968. His personal contributions to the language of art endure.
Untitled Composition #34
by Bryce Hudson
Acrylic on canvas with carton, paper and wood
30 ” x 40″ x 2.5″
Signed and dated on Verso
2013
More, always, at www.brycehudson.com
pattern and window / паттерн и окно
collaboration work Art Abstractov - tet91
116km, Samara, Russia / 2016
Acrylic on canvas; 98.5 x 94.5 cm.
She studied in London at Goldsmiths College (1949–52) and the Royal College of Art (1952–5). From 1958 to 1959 she worked in an advertising agency while painting in a pointillist technique. She was encouraged in this by her teacher, the painter Maurice de Sausmarez (d 1970), who directed her to study the art of Seurat. Her interest lay in the energy and color vibrations radiated by objects, seen in Pink Landscape (1960) which depicts the violent color vibrations given off by an Italian landscape in intense heat. She later conveyed a similar effect of heat on landscape, from shale on a French mountain, in Static 3 (1966) composed of 625 tiny ovals. . She won a first prize at the Venice Biennale in 1968. Other notable works include “Drift No. 2” (1966) and “Nineteen Greys” (1968).
buttertwang presents: Frequência Modulada
GRÁFICA ÓPTICA
mosaïque disque géométrique optique
estación: ESPACIO saudade pelo futuro incarnata muse lives life alive in illicit harmony experience love organic architecture whole new way of looking and seeing immersed in light painting now with no filter only 100% real organic naturally occurring analog physical geometric mathematical motion blur un poco loco algoRhythmic ambient guru perfection liquid flow god's dj jet set design graffiti urb scribble urban bright chaos fractal iteration mad busy hectic highway freeway traffic strobing neon signs contemporary abstract expressionism vs. the representational and objective expression and communication of movement and light exploration by means of the rich language of film movies and music thru the fluent use of the vocabulary of moire patterns bokeh and high speed blurry light trails kinetic street art of photography long exposure multiple time distortion compression shooting dtla while driving fast smooth inspired by film noir Ridley Scott Blade Runner, Roman Coppola movie CQ, Ghost in the Shell, etc…
modern, abstraction, sublime, minimal, subliminal, disque, optique, moiré, orb, sun, star, planet, ambient, atmosphere, atmospheric, sci-fi, movie, cinematic, style, video, azulejos, mosaïque, mosaico, mosaic, retro, futuristic, poster
ortho projection mapping 3D dream subtle ambiance ying yang sun face mythological archetype symbolism que hubo cubos totally immersive cubic room cubism cubismo logo spin wax blacklight horizontal universal symbol exploding atomic FUEGO sunstar crown mandaLA wireFrame red rad radio flying out golden radial nuclear sepia vector in all directions at once ninja star ojos de brujo infographiste cyber goth rave punk rock ilusión óptica para vuestro placer retinal
Animated Blend Cymatics
Resonance Made Visible
Hard-as-Math Psichromatic Hipgnosis
#adobeillustrator #designer #abstract #algorithmic #vector #graphics #future #art #visual #artist #eye #minimalist #psychrometric #hipgnosis #opart #logo #packaging #record #cover #graphic #graphicdesign #lines #golden #light #reflection #symmetry #god #círculo #geometría #starwars
Olga Vladimirovna Rozanova was a Russian avant-garde artist in the styles of Suprematist, Neo-Primitivist, and Cubo-Futurist. She was born in Melenki, a small town near Vladimir. In 1904 she attended art studios of K. Bolshakov and Konstantin Yuon in Moscow. The same time she studied at the Stroganov School of Applied Art.
In 1911 she became one of the most active members of the Soyuz Molodyozhi (Union of the Youth). In 1912 Rozanova started a friendship with the Futurist poets Velimir Khlebnikov and Aleksei Kruchenykh, her future husband.
In 1916 she married Kruchenykh and joined the group of Russian avant-garde artists Supremus that was led by Kazimir Malevich. By this time her paintings, developed from the influences of Cubism and Italian Futurism, and took an entirely original departure into pure abstraction in which the composition is organised by the visual weight and relationship of colour.
In the same year Rozanova together with other suprematist artists (Kazimir Malevich, Aleksandra Ekster, Nina Genke, Liubov Popova, Ksenia Boguslavskaya, Nadezhda Udaltsova, Ivan Kliun, Ivan Puni and others) worked at the Verbovka Village Folk Centre.
In 1917-1918 she created a series of non-objective paintings which she called tsv'etopis'. Her Non-objective composition, 1918 also known as Green stripe anticipates the flat picture plane and poetic nuancing of colour of some Abstract Expressionists.
She died of diphtheria in 1918.
Oil on canvas; 73.2 x 91.8 cm.
Nasce a Parma il 1896. Nel 1925 si trasferisce a Milano, dove tiene una serie di personali nel 1931, 1933, 1935 e 1939 alla Galleria del Milione.
Nel 1948 dà vita al gruppo MAC con Monnet, Dorfles e Munari.
A Milano, espone alla Libreria Salto nel 1949 e alla Galleria Bergamini nel 1951 e 1952.
Da un suo bozzetto viene realizzato, nel 1951, un mosaico per la Casa a Undici piani del Gruppo INA, sito nel QT8 di Milano. Nel 1952 la XXIV Biennale di Venezia riserva al parmense una sala personale, con opere dal 1930 al 1952.
GOOGLE "TRANSLATION":
Born in Parma in 1896. In 1925 he moved to Milan, where he held a series of solo in 1931, 1933, 1935 and 1939 at the Gallery of the Million.
In 1948 he founded the group MAC Monnet, Dorfles and Munari.
In Milan, he exhibited at the Library in 1949 and jump to the Galleria Bergamini in 1951 and 1952.
From his sketch was produced in 1951, a mosaic for the eleven-storey house of the INA Group, located in Milan QT8. In 1952, the XXIV Biennale di Venezia Parma subject to a personal room, with works from 1930 to 1952.
buttertwang presents: Frequência Modulada
GRÁFICA ÓPTICA
mosaïque disque géométrique optique
estación: ESPACIO saudade pelo futuro incarnata muse lives life alive in illicit harmony experience love organic architecture whole new way of looking and seeing immersed in light painting now with no filter only 100% real organic naturally occurring analog physical geometric mathematical motion blur un poco loco algoRhythmic ambient guru perfection liquid flow god's dj jet set design graffiti urb scribble urban bright chaos fractal iteration mad busy hectic highway freeway traffic strobing neon signs contemporary abstract expressionism vs. the representational and objective expression and communication of movement and light exploration by means of the rich language of film movies and music thru the fluent use of the vocabulary of moire patterns bokeh and high speed blurry light trails kinetic street art of photography long exposure multiple time distortion compression shooting dtla while driving fast smooth inspired by film noir Ridley Scott Blade Runner, Roman Coppola movie CQ, Ghost in the Shell, etc…
modern, abstraction, sublime, minimal, subliminal, disque, optique, moiré, orb, sun, star, planet, ambient, atmosphere, atmospheric, sci-fi, movie, cinematic, style, video, azulejos, mosaïque, mosaico, mosaic, retro, futuristic, poster
ortho projection mapping 3D dream subtle ambiance ying yang sun face mythological archetype symbolism que hubo cubos totally immersive cubic room cubism cubismo logo spin wax blacklight horizontal universal symbol exploding atomic FUEGO sunstar crown mandaLA wireFrame red rad radio flying out golden radial nuclear sepia vector in all directions at once ninja star ojos de brujo infographiste cyber goth rave punk rock ilusión óptica para vuestro placer retinal
Animated Blend Cymatics
Resonance Made Visible
Hard-as-Math Psichromatic Hipgnosis
#adobeillustrator #designer #abstract #algorithmic #vector #graphics #future #art #visual #artist #eye #minimalist #psychrometric #hipgnosis #opart #logo #packaging #record #cover #graphic #graphicdesign #lines #golden #light #reflection #symmetry #god #círculo #geometría #starwars
17 x 28 inches
Fluid acrylics on canvas
You can see more of my paintings at my blog, Exploring Geometric Abstraction.
Oil on canvas; 97 x 146 cm.
Emilio Pettoruti was an Argentine painter, who caused a scandal with his avant-garde cubist exhibition in 1924 in Buenos Aires. At the beginning of the twentieth century, Buenos Aires was a city full of artistic development. Pettoruti's career was thriving during the 1920s when "Argentina witnessed a decade of dynamic artistic activity; it was an era of euphoria, a time when the definition of modernity was developed." While Pettoruti was influenced by cubism, futurism, constructivism, and abstraction, he did not claim to paint in any of those styles in particular. Exhibiting all over Europe and Argentina, Emilio Pettoruti is remembered as one of the most influential artists in Argentina in the 20th century for his unique style and vision.
Collaboration with: Anton Eager - M Hunt - Art Abstractov - Tachez
A series of works "Deformations"
street-art gallery "Бэкграунд"
Art Loft, Samara, Russia / 2017
Esphyr Slobodkina was born in Siberia in 1908. In the wake of the Russian Revolution, her family fled to Vladivostok before settling in Harbin, Manchuria. In 1928 Slobodkina immigrated to New York City. She enrolled in the National Academy of Design the following year primarily to meet the requirements of her student visa. It was through a fellow student at the Academy that Slobodkina met her future husband Ilya Bolotowsky, the student's brother. A progressive thinker who had yet to experiment with abstraction in his own painting, Bolotowsky introduced Slobodkina to modern theories of art, particularly in relation to form, color and composition. Associations with Balcomb and Gertrude Greene, Byron Browne and Giorgio Cavallon further exposed Slobodkina to the ideas of these pioneer abstract artists and sparked a personal interest in the movement.
An invitation to the Yaddo artist colony brought Slobodkina and Bolotowsky to Saratoga Springs, New York in the early 1930s. It was during this visit that Slobodkina began tentative experimentation with abstraction, leading to her first Cubist-inspired work in 1934. Around this time Slobodkina's family moved to New York City, which temporarily sidelined her artistic progression as she was under great financial pressure to help support them. Alongside her mother, Slobodkina opened a dress shop, where she both designed and made the clothing. She also worked at a number of textile design firms throughout these years.
In 1935 Slobodkina separated from Ilya Bolotowsky and joined the Works Progress Administration. She also became very active in the Artists' Union, designing posters for them in paper collage. It was through the collage medium that she was able to develop her abstract style. By 1936 she had fully embraced abstraction as a means of artistic expression and her paintings reflected her interest in collage with their flat, layered forms and carefully constructed arrangements. In the mid-1930s Slobodkina created several Surrealist-inspired sculptures made of wood, wire, and found objects, in addition to her paintings. In 1937 she became a founding member of the American Abstract Artists and went on to be the group's president in later years.
Upon meeting Margaret Wise Brown, the children's books author, in 1937, Slobodkina was inspired to try her hand at book illustration. She provided the illustrations for Brown's The Little Fireman before writing and illustrating her own books, most notably Caps for Sale, published in 1938. In the early 1940s Slobodkina found a patron in A. E. Gallatin who purchased two of her works for his Museum of Living Art. Slobodkina was asked to participate in the important exhibition Eight by Eight: Abstract Painting Since 1940 at the Philadelphia Museum of Art in 1945 which also featured Charles Green Shaw, George L.K. Morris, A.E. Gallatin, Suzy Frelinghuysen, Ilya Bolotowsky, Alice Trumbull Mason, and Ad Reinhardt. She was a regular exhibitor in the Whitney Museum of American Art's annuals through the 1950s. In 1957 Slobodkina was invited back to Yaddo and in 1958 she took her first of two trips to the MacDowell Colony in New Hampshire. Slobodkina's successes as an artist continued until her death in 2002.
Acrylic on canvas; Diameter: 55 1/4 in.
Alexander Liberman was born in 1912 in Kiev Russia. His father was in the timber business and his mother was involved in the Russian theater. In 1921 the Libermans left the Soviet Union, and Alexander studied first in London and then in Paris. He took courses in philosophy and mathematics at the Sorbonne and architecture at Ecole des Beaux-Arts. In the 1930s Liberman designed stage sets, worked briefly with a landscape architect. and worked on the staff of "Vu," the first magazine illustrated with photographs. Consequently, he became friends with Cartier Bresson, Brassai and Kertesz. Liberman began his publishing career as an assistant in the art department, moved on to become art director, then managing director. He even used a nom de plume to write their film reviews. In 1936 Liberman left the magazine and devoted himself to painting, writing and filmmaking.
In 1940 the Liberman family escaped to the unoccupied zone in France, then to Spain, and eventually to New York in 1941. A friend helped him gain employment at VOGUE magazine and twenty years later, in 1962, he was appointed Editorial Director of all Conde Nast Publications, a position he held until he retired in 1994. During his long tenure at VOGUE, Liberman commissioned artists such as: Cornell, Dali, Chagall, Duchamp, Braque, Rauschenberg, Johns to work on projects for the magazine. He was the only publisher granted the rights to reproduce images of Matisse's chapel in Vence, France. He also had Jackson Pollock's paintings used as a backdrop for a fashion shoot by Cecil Beaton, as there was no other way to get Pollock's work reproduced in the magazine. Liberman's "day job" offered him a highly unusual position in the art world.
By the mid-1950s, Liberman was exhibiting his own paintings and photographs in galleries and museums around New York. In 1959 Liberman learned to weld steel and he quickly began making sculpture on a scale that required industrial machinery. By 1963 he had hired an assistant to do all of the grinding and labor required to make large sculpture. He embraced the industrial scale of America that had so impressed him on his arrival to here in 1941.
One of his first public commissions was from the architect Philip Johnson for a pavilion at the 1963 World's Fair. Other important commissions quickly followed, and over the next decade he purchased additional equipment and hired additional personnel to meet the increasing demand for and scale of his sculpture. In this sense his "day job" was supporting his passion for making large public sculpture.
Alexander Liberman died in November, 1999 at the age of 87. His sculpture and painting are included in the collections of some of the world's most prestigious museums, such as the Metropolitan Museum in New York, the Museum of Modern Art, the Corcoran, Hirshhorn Museum & Sculpture Garden, the Solomon R. Guggenheim Museum, the Tate Gallery in London, and the Los Angeles County Museum of Art. In addition, Storm King Art Center, the most important contemporary sculpture park in America, has three monumental Liberman sculptures in it's collection. His public sculpture can be seen in over 40 cities around the world, including three that are located in Los Angeles.
Tempera and collage on paper; 48.5 x 45 cm.
Bruno Munari was an Italian artist and designer, who contributed fundamentals to many fields of visual arts (painting, sculpture, film, industrial design, graphics) and non visual arts (literature, poetry) with his research on games, infancy and creativity.
Bruno Munari was born in Milan but spent his childhood and teenage years in Badia Polesine. In 1925 he returned to Milan where he started to work with his uncle who was an engineer. In 1927, he started to follow Marinetti and the Futurist movement, displaying his work in many exhibitions. Three years later he associated with Riccardo Castagnedi (Ricas), with whom he worked as a graphic designer until 1938. During a trip to Paris, in 1933, he met Louis Aragon and André Breton. From 1939 to 1945 he worked as a press graphic designer for the Mondadori editor, and as art director of Tempo Magazine. At the same time he began designing books for children, originally created for his son Alberto.
In 1948, Munari, Gillo Dorfles, Gianni Monnet and Atanasio Soldati, founded Movimento Arte Concreta (MAC), the Italian movement for concrete art.
buttertwang presents: Frequência Modulada
GRÁFICA ÓPTICA
mosaïque disque géométrique optique
estación: ESPACIO saudade pelo futuro incarnata muse lives life alive in illicit harmony experience love organic architecture whole new way of looking and seeing immersed in light painting now with no filter only 100% real organic naturally occurring analog physical geometric mathematical motion blur un poco loco algoRhythmic ambient guru perfection liquid flow god's dj jet set design graffiti urb scribble urban bright chaos fractal iteration mad busy hectic highway freeway traffic strobing neon signs contemporary abstract expressionism vs. the representational and objective expression and communication of movement and light exploration by means of the rich language of film movies and music thru the fluent use of the vocabulary of moire patterns bokeh and high speed blurry light trails kinetic street art of photography long exposure multiple time distortion compression shooting dtla while driving fast smooth inspired by film noir Ridley Scott Blade Runner, Roman Coppola movie CQ, Ghost in the Shell, etc…
modern, abstraction, sublime, minimal, subliminal, disque, optique, moiré, orb, sun, star, planet, ambient, atmosphere, atmospheric, sci-fi, movie, cinematic, style, video, azulejos, mosaïque, mosaico, mosaic, retro, futuristic, poster
ortho projection mapping 3D dream subtle ambiance ying yang sun face mythological archetype symbolism que hubo cubos totally immersive cubic room cubism cubismo logo spin wax blacklight horizontal universal symbol exploding atomic FUEGO sunstar crown mandaLA wireFrame red rad radio flying out golden radial nuclear sepia vector in all directions at once ninja star ojos de brujo infographiste cyber goth rave punk rock ilusión óptica para vuestro placer retinal
Animated Blend Cymatics
Resonance Made Visible
Hard-as-Math Psichromatic Hipgnosis
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Fall 2012 - Geometric Abstract Art in Paintings and Prints and Contemporary Photographic Prints by Contemporary Artist Bryce Hudson.
As always, everything can be seen at www.brycehudson.com
Watercolor and ink on paper on black paper-faced board; 33 x 30.7 cm.
Russian painter, designer and illustrator. He was directed to enter the piano factory operated by his Finnish father, and besides learning the piano he took a commercial diploma in 1897. After becoming severely ill at the age of 22, he rethought his career and entered the Moscow School of Painting, Sculpture and Architecture. Introduced to the modern movement through the collections of Sergey Shchukin and Ivan Morosov, he joined the ranks of the Moscow avant-garde and by 1906 was close to the circle associated with the magazine Zolotoye runo. He also met Alexander Archipenko, exhibiting with him in the company of David Burlyuk, Vladimir Burlyuk, Mikhail Larionov and Natal’ya Goncharova. With Hélène Moniuschko, whom he subsequently married, he travelled to Western Europe, visiting Paris in July 1908. The following August the couple settled in Paris, where Survage worked as a piano tuner and briefly attended the short-lived school run by Henri Matisse. He exhibited with the Jack of Diamonds group in Moscow in late 1910, but he first showed his work in France (at the urging of Archipenko) only in the Salon d’Automne of 1911.
From 1912 Survage produced abstract compositions entitled Coloured Rhythm (e.g. ink wash drawing, 1913; Paris, Pompidou), which he planned to animate by means of film, using colour and spatial movement to evoke sensation as an analogy to music. He conceived of these abstract images as flowing together to form ‘symphonies in colour’, but he exhibited some of them separately at the Salon d’Automne in 1913 and at the Salon des Indépendants in 1914. Articles on these works were published by Guillaume Apollinaire (Paris-J., 15 July 1914) and by Survage himself (Soirées Paris, 26–7, July–Aug 1914, pp. 426–9), and in June 1914 he applied for a patent to the Gaumont film company. Had he been able to raise the funds, he would have preceded Viking Eggeling and Hans Richter who worked on one of the first abstract films in 1920.
Unable to pursue his cinematic interests during World War I, Survage turned to an intuitive Cubism influenced by concepts drawn from films. Living near Nice, during the next eight years he produced highly structured pictures linked by the repetition of a small group of symbolic elements viewed at different distances—man, leaf, house, sea, flower, window(s), curtain, bird, shadow—as if they were protagonists in a series of mobile images, for example Villefranche-sur-Mer (1915) and portrait of the Baroness d’Oettingen (1917; both Paris, Pompidou). The 32 pictures exhibited by him in 1917 at the Galerie Bougard, Paris, were signed Survage at the urging of Apollinaire, who wrote the preface in the form of ideograms. In 1919 he helped revive the Section d’or (ii), serving as its secretary. By 1922, when Survage was given his first show at Léonce Rosenberg’s Galerie de l’Effort Moderne in Paris, he had begun to move away from Cubism in favour of a form of Neo-classicism, as in Bathers (1928; see Warnod, p. 76); in this he was perhaps influenced by commissions for Serge Diaghilev’s Ballets Russes, beginning with sets and costumes for Igor Stravinsky’s opera buffa, Mavra, at the Paris Opéra, in 1922. Although principally a painter, he continued to produce stage designs (e.g. for Tristan Tzara’s Le Coeur à gaz, 1923), designs for textiles (e.g. for Chanel, 1933) and tapestries (for Gobelins, 1957), illustrated books and two murals for the Palais des Chemins de Fer at the Exposition Internationale des Arts et Techniques dans la Vie Moderne (Paris, 1937; see Warnod, p. 90). His paintings of the early 1930s reflected the influence of Surrealism in their biological imagery, as in Adam and Eve (1934; see 1968 exh. cat., p. 29). In the later 1930s, when he was in contact with André Masson, he became involved with symbolic and mystical themes (e.g. Fall of Icarus, 1939; see Warnod, p. 97). The cursive line that had previously dominated his compositions came under the control once more of strict geometrical structures, which became more pronounced after World War II, facilitating the conception of large decorative panels. After World War II he also experimented with casein. In 1963 he was inducted into the Légion d’honneur.
Daniel Robbins
From Grove Art Online
© 2009 Oxford University Press
« Analogikonumerikoglyphe » de l’analogique au digital , du numérique à l astroglyphe Astroglyphe bleu à Château Thierry photo par Alex Perret
©16HWM-NICOBARO
Kazimir Malevich was born near Kiev in the Russian Empire. His parents were ethnic Poles. It remains a mystery of 20th century art, how, while leading a comfortable career, during which he just followed all the latest trends in art, in 1915 Malevich suddenly came up with the idea of Suprematism. The fact that Malevich throughout all his life was signing and re-signing his works using earlier dates makes this u-turn in his artistic career even more ambiguous.
In 1915 he published his manifesto From Cubism to Suprematism. In 1915-1916 he worked with other Suprematist artists in a peasant/artisan co-operative in Skoptsi and Verbovka village. In 1916-1917 he participated in exhibitions of the Jack of Diamonds group in Moscow together with Nathan Altman, David Burliuk and A. Ekster. Famous examples of his Suprematist works include Black Square (1915) and White on White (1918).
Oil on paper; 21 x 31.5 cm.
Italian painter and writer. He was born into a family of artists and artisans and began his training at the Scuola Libera di Pittura in Rome and later in the workshop of the Italian painter and restorer Giovanni Capranesi (1852-1921). During this period he also cultivated his personal interests, studying above all the work of Correggio, Giotto, Piero della Francesca and Cezanne. These influences are apparent in early works such as Self-portrait with Hat (1914; Verona, Pal. Forti). In 1915 he showed his work at the third exhibition of the Rome Secession. His first important success, after several years of financial difficulty, came in 1924 when he exhibited The Tram (1923; Rome, G.N.A. Mod.), a masterpiece of this first Roman period, at the Venice Biennale. He participated in La prima mostra del novecento italiano at the Palazzo della Permanente in Milan in 1926, also contributing to the second exhibition there in 1929. In 1927 he moved to Venice to take up a teaching post at the Accademia di Belle Arti.
Licini's abstract work is singularly distinct from other Italians of his time. His abstract painting and poetry are both powerfully lyrical. His work was freed from the cage of the geometric rationalism through color, imagination and an indication of a coming climate of the Expressionism. In this way his work can be said to parallel that of Paul Klee.
The 1940s marked his abandonment of dogma as his art morphed into a sui generis surreal fantasy, marked by Northern influences (his wife was Swedish) and post-symbolist poetry that foreshadowed work of extraordinary intensity in the 1950s that manifested his total immersion in a dream world.
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Acrylic and graphite on paper mounted on paperboard sheet; 58.8 x 43.5 cm.
Gyorgy Kepes, Hungarian-born American painter, designer, photographer, teacher, and writer who had considerable influence on many areas of design.
Shortly after his graduation in 1928 from the Royal Academy of Fine Art in Budapest, Kepes experimented with photograms, photographic prints made by placing objects on sensitized paper and exposing the paper to light. Later, he made prints he called “photo-drawings,” in which he applied paint to a glass plate that he then used as though it were a negative.
From 1930 to 1936 Kepes worked in Berlin and London, designing for motion pictures, stage productions, and commercial exhibitions. In 1937 he went to the United States to head the light and colour department of the New Bauhaus (later the Institute of Design) in Chicago. He moved to the Massachusetts Institute of Technology (MIT) in Cambridge in 1946, where he taught visual design until 1974. In 1967 Kepes founded the Center for Advanced Visual Studies at MIT, a community that would unite the work of artists and designers with that of architects, engineers, city planners, and scientists; he served as director until 1972. His writings include Language of Vision (1944) and The New Landscape in Art and Science (1956).
Oil on canvas; 80 x 100 cm.
Arcangelo Ianelli (São Paulo, 1922 - idem 2009). Painter, sculptor, illustrator and initially self-taught draughtsman. In 1940, he studied perspective at the Associação Paulista de Belas Artes [São Paulo Association of Fine Arts], and in 1942, received guidance in painting from Colette Pujol. Two years later, he attended the studio of Waldemar da Costa, with Lothar Charoux, Hermelindo Fiaminghi and Maria Leontina. During the 1950s, was a member of the Grupo Guanabara [Group Guanabara], with Manabu Mabe, Yoshiya Takaoka, Jorge Mori, Tomoo Handa, Tikashi Fukushima and Wega Nery, among others. From the 1940s onwards, produced everyday scenes, urban landscapes and seascapes which revealed a major formal synthesis and a chromatic range in subdued tones. During the 1960s, he returned to informal abstraction, producing canvases with a density of material and dark colours. By the end of the 1960s, his work had become both linear and pictorial, with a notable use of graphisms. From 1970 onwards he has returned to geometric abstraction, most notably using rectangles and squares, presented as superimposed and interpenetrating planes. He has also worked as a sculptor since the mid-1970s, when he began to execute works in marble and wood, in which he returned to constant questions in his painting. In 2002, he celebrated his 80th birthday with a retrospective at the Pinacoteca do Estado de São Paulo - Pesp [State Art Gallery of São Paulo].
Oil on canvas; 210 x 134.5 cm.
Emilio Pettoruti was an Argentine painter, who caused a scandal with his avant-garde cubist exhibition in 1924 in Buenos Aires. At the beginning of the twentieth century, Buenos Aires was a city full of artistic development. Pettoruti's career was thriving during the 1920s when "Argentina witnessed a decade of dynamic artistic activity; it was an era of euphoria, a time when the definition of modernity was developed." While Pettoruti was influenced by cubism, futurism, constructivism, and abstraction, he did not claim to paint in any of those styles in particular. Exhibiting all over Europe and Argentina, Emilio Pettoruti is remembered as one of the most influential artists in Argentina in the 20th century for his unique style and vision.
Oil on masonite; 89 x 116 cm.
Nasce a Parma il 1896. Nel 1925 si trasferisce a Milano, dove tiene una serie di personali nel 1931, 1933, 1935 e 1939 alla Galleria del Milione.
Nel 1948 dà vita al gruppo MAC con Monnet, Dorfles e Munari.
A Milano, espone alla Libreria Salto nel 1949 e alla Galleria Bergamini nel 1951 e 1952.
Da un suo bozzetto viene realizzato, nel 1951, un mosaico per la Casa a Undici piani del Gruppo INA, sito nel QT8 di Milano. Nel 1952 la XXIV Biennale di Venezia riserva al parmense una sala personale, con opere dal 1930 al 1952.
GOOGLE "TRANSLATION":
Born in Parma in 1896. In 1925 he moved to Milan, where he held a series of solo in 1931, 1933, 1935 and 1939 at the Gallery of the Million.
In 1948 he founded the group MAC Monnet, Dorfles and Munari.
In Milan, he exhibited at the Library in 1949 and jump to the Galleria Bergamini in 1951 and 1952.
From his sketch was produced in 1951, a mosaic for the eleven-storey house of the INA Group, located in Milan QT8. In 1952, the XXIV Biennale di Venezia Parma subject to a personal room, with works from 1930 to 1952.