Mudia a New Perspective on Art
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Omc Special Offer Modified
The OMC Gallery - NEW website - Special offers for a limited time only Pierre Alechinsky (1927 Belgium) One of the founders of the CoBrA group, whose dedication to primitive form and often violent strokes of color paralleled the American abstract expressionist movement. The group was formed as a reaction to the formal, refined art popular in other European cities immediately after World War II. The artist's style, anguished during the CoBrA period, softened perceptibly as acceptance for his art grew, but it remains strongly expressionistic. He is particularly adept at achieving subtleties and intensities of color in the lithographic process. The recipient of the Andrew Mellon Prize in 1977, Alechinsky is represented in the collections of sixty-five of the world's leading museums, incl. Fine Arts Museums of San Francisco and the Museo Reina Sofía in Madrid. He has also been honored with a permanent room in the Louisiana Museumin Denmark. The winner of the first Andrew W. Mellon Prize for Painting (1977) and the French Grand Prix National for painting in 1984, Alechinsky has been recognized in recent years as one of the most significant living artists. (The art market has also noticed his stature: one of his paintings sold at auction several years ago for over $2,000,000.) Alechinsky was just barely out of his teens when he burst onto the art scene as one of the original members of the COBRA group, and over the years he has emerged as one of the most imaginative and witty artists of our times. Alechinsky fans are everywhere. -
Networking Surrealism in the USA. Agents, Artists and the Market
151 Toward a New “Human Consciousness”: The Exhibition “Adventures in Surrealist Painting During the Last Four Years” at the New School for Social Research in New York, March 1941 Caterina Caputo On January 6, 1941, the New School for Social Research Bulletin announced a series of forthcoming surrealist exhibitions and lectures (fig. 68): “Surrealist Painting: An Adventure into Human Consciousness; 4 sessions, alternate Wednesdays. Far more than other modern artists, the Surrea- lists have adventured in tapping the unconscious psychic world. The aim of these lectures is to follow their work as a psychological baro- meter registering the desire and impulses of the community. In a series of exhibitions contemporaneous with the lectures, recently imported original paintings are shown and discussed with a view to discovering underlying ideas and impulses. Drawings on the blackboard are also used, and covered slides of work unavailable for exhibition.”1 From January 22 to March 19, on the third floor of the New School for Social Research at 66 West Twelfth Street in New York City, six exhibitions were held presenting a total of thirty-six surrealist paintings, most of which had been recently brought over from Europe by the British surrealist painter Gordon Onslow Ford,2 who accompanied the shows with four lectures.3 The surrealist events, arranged by surrealists themselves with the help of the New School for Social Research, had 1 New School for Social Research Bulletin, no. 6 (1941), unpaginated. 2 For additional biographical details related to Gordon Onslow Ford, see Harvey L. Jones, ed., Gordon Onslow Ford: Retrospective Exhibition, exh. -
HUMAN ANIMALS the ART of COBRA COBRA CONTEMPORARY LEGACY
HUMAN ANIMALS THe ART OF COBRA COBRA CONTEMPORARY LEGACY September 15-November 20, 2016 University Museum of Contemporary Art The Cobra Belgium, included twice as many works as the first and displayed a more mature and sophisticated side of Cobra. The show included Movement several well-known artists like Alberto Giacometti, Joan Miró and Wifredo Lam, and thus demonstrated Cobra’s acceptance into the wider artistic community. Despite this, the show’s unfavorable reviews and the onset of tuberculosis in Jorn and Dotremont forced the group Cobra was formed in Paris in 1948 as an international avant-garde to split up and cease to exist as a coherent, international network. movement that united artists and poets of three cities —Copenhagen, Brussels, and Amsterdam—by Christian Dotremont (Belgian, 1922– In the 1950s, artists all around Europe searched for ways to confront 1979), Joseph Noiret (Belgian, 1927–2012), Asger Jorn (Danish, 1914– the traumatic history and legacy of the Second World War. Artists 1973), Karel Appel (Dutch, 1921–2006), Constant (Dutch, 1920–2005), focused internationally on new forms of expressive abstraction in and Corneille (Dutch, 1922–2010). The Cobra artists were inspired paint as well as other materials. Interest was revived in movements by the idea of the “human animal,” a playful or perhaps satirical like German Expressionism, formerly considered “degenerate” under representation of people’s animalistic instincts and desires, while Fascism. Historical Expressionism and Surrealism were the major evoking the symbolic relationship between humans, animals, and the inspirations for Cobra. Abstract Expressionism in the United States natural environment. The group chose the snake as a totem because was a parallel contemporary movement, but Cobra artists differed of the animal’s universal presence as a mythic and religious symbol. -
De Chirico in the René Gaffé Collection& the Role of E.L.T Mesens
The archival materials cited in this essay are courtesy of The Getty Research Institute, Los Angeles 43 De Chirico in the René Gaffé Collection & the Role of E.L.T Mesens (Brussels – London) Victoria Noel-Johnson In 1946, René Gaffé (Brussels, 1887-1968) – the Belgian journal- ist, author, collector and bibliophile - wrote a short monograph dedicated to Giorgio de Chirico entitled Giorgio de Chirico. Le voy- ant (Éditions La Boétie, Brussels, fig. 1).1 Published in Gaffé’s na- tive city, the book contains an extensive yet overlooked essay about de Chirico’s early Metaphysical work, as well as a total of 24 black and white reproductions of important paintings executed in the 1910s and 1920s. As an important connoisseur and collector of de Chirico’s œuvre, together with work by Belgian Surrealists such as René Magritte and Paul Delvaux, this article will principally focus on Gaffé’s keen interest in de Chirico, which, in turn, helped disseminate knowledge about his painting within Belgium during fig. 1 R. Gaffé, Giorgio de Chirico. Le 2 the early twentieth century. As his impressive art collection was Voyant, Éditions La Boétie, Brussels, 1946 built and then partly sold off with the intervention of Eduoard Léon Théodore Mesens (Brussels, 1903-1971), a Belgian gallerist and editor who championed Surrealism in Belgium and later in the UK (mainly initiated by the 1937 sale of a substantial part of Gaffé’s collection to the British collector Roland Penrose), this paper will also examine Mesens’ involvement in the acquisition and sale of Gaffé’s de Chiricos.3 1 This article is the expanded and revised version of the article Le voyant: analyse des liens entre René Gaffé et Giorgio de Chirico, in Giorgio de Chirico. -
Karel Appel Art As Celebration!
Karel Appel Art as Celebration! 24 February – 20 August 2017 Press preview: 23 February 2017 11 am – 2 pm The Owlman no. 1, 1960, acrylic on olive tree trunk Opening: 23 February 6 – 9 pm Musée d'Art Moderne de la Ville de Paris Photo: Karel Appel Foundation © Karel Appel Foundation/ADAGP, Paris 2017 Taking as its starting point a remarkable group of twenty-one paintings Museum Director and sculptures donated by the Karel Appel Foundation in Amsterdam, Fabrice Hergott the Musée d’Art moderne de la Ville de Paris is presenting an exhibition covering the artist's entire career, from the CoBrA years to his death in Exhibition curator 2006. Choghakate Kazarian Visitor information The cosmopolitan Dutch artist Karel Appel is known as one of the founding Musée d’Art moderne de la Ville de members of the CoBrA group, created in Paris in 1948 and self-dissolved in Paris 1951. With members including Asger Jorn and Pierre Alechinsky, CoBrA set 11 Avenue du Président Wilson out to eclipse such contemporary academic forms as abstract art, which they 75116 Paris Tel. 01 53 67 40 00 saw as too rigid and rational. They proposed instead a spontaneous, www.mam.paris.fr experimental art that included various practices inspired by Primitivism. They were especially drawn to children's drawings and the art of the mentally Open Tuesday – Sunday disturbed, and held fast to the international aspirations characteristic of the 10 am – 6 pm Late closing: Thursday 10 pm avant-garde. Catalogue published by Paris Contemporary with Jean Dubuffet's Art Brut et Compagnie, also founded in Musées 39,90 € 1948, CoBrA was part of the same counter-culture, rejecting established values, calling for a fresh start freed of convention, and espousing the Admission Full rate: 10 € spontaneity of naive art. -
The Influence of Chinese Calligraphy on Western Informel Painting Was Published in German in 1985
Marguerite Müller-Yao 姚 慧 The Influence of Dr.Marguerite Hui Müller-Yao 2000 Chinese Calligraphy From 1964 – 2014 a Chinese artist was resident in Germany: Dr. Marguerite Hui Müller-Yao. She learned in China traditional Chinese arts - calligraphy, ink painting, poetry – before studying Western modern art in Germany. The subject of her artistic and scientific work was an attempt of a synthesis on between the old traditions of China and the ways and forms of thought and design of modern Western culture. In her artistic work she searched on one hand to develop the traditional ink Western Informel painting and calligraphy through modern Western expression, on the other Marguerite Müller-Yao hand to deepen the formal language of modern painting, graphics and object art by referring back to the ideas of Chinese calligraphic tradition and Painting the principles of Chinese ink painting. In her academic work she was dedicated to the investigation of the relations between the Western Informel Painting and Chinese Calligraphy. This 中國書法藝術對西洋繪畫的影響 work, which deals with the influence of the art of Chinese Calligraphy on the Western Informel painting is an attempt to contribute a little to the understanding of some of the essential aspects of two cultures and their relations: the Western European-American on one hand and the East-Asian, particularly the Chinese, on the other hand. The subject of this work concerns an aspect of intercultural relations between the East and the West, especially the artistic relations between Eastern Asia and Europe/America in Düsseldorf 2015 a certain direction, from the East to the West. -
Christie's the Art of the Surreal 27 February 2018
PRESS RELEASE | LONDON FOR IMMEDIATE RELEASE | 1 3 FEBRUARY 2017 CHRISTIE’S THE ART OF THE SURREAL 27 FEBRUARY 2018 RENÉ MAGRITTE, MAX ERNST AND PAUL DELVAUX PRESENTED ALONGSIDE WORKS FROM THE COLLECTIONS OF: ANTONI TÀPIES, THE EYE OF THE ARCHITECT, ABSTRACTION BEYOND BORDERS AND THE TRITON COLLECTION FOUNDATION Left: René Magritte, Le groupe silencieux, oil on canvas, 1926, estimate: £6,500,000-9,500,000 Middle: Max Ernst, Les invités du dimanche, oil on canvas, 1924, estimate: £2,000,000-3,000,000 Right: Joan Miró, Painting, oil on canvas, 1925 and 1964, estimate: £2,000,000-3,000,000 London – The Art of the Surreal sale will follow the Impressionist & Modern Art Evening Sale on 27 February 2018, both of which launch ‘20th Century at Christie’s’, a series of sales that take place in London from 20 February to 7 March 2018. This year’s seventeenth edition of our annual Art of the Surreal auction is a broad overview of Surrealism, its antecedents and later developments, with 34 lots by 15 artists. A major focal point is the four international collections, Abstraction Beyond Borders, The Eye of the Architect, the collection of Antoni Tàpies and the Triton Collection Foundation, with highlights including a metaphysical work by Giorgio de Chirico, a transparence by Francis Picabia, four early paintings by Joan Miró and surreal works by Pablo Picasso and Paul Klee. The works from the sale will be exhibited in London from 20 to 27 February 2018. Olivier Camu, Deputy Chairman, Impressionist and Modern Art, Christie’s: “The seventeenth edition of our annual themed sale The Art of the Surreal will include a core of four private, international collections providing surreal masterpieces not seen at auction before, by artists such as de Chirico, Magritte, Miró and Picasso. -
DELVAUX Paul
The Trinity College Dublin Art Collections Artist: Paul Delvaux Title: Chrysio Medium: limited edition poster b. 1897, Antheit d. 1994, Veurne Born in Antheit in 1897, Paul Delvaux was one of the major exponents of Surrealism in Belgium. He began his training in 1920 at the Académie des Beaux-Arts in Brussels, initially as an architect, but he soon changed to decorative painting. His earliest works were strongly influenced by the Flemish Expressionism of painters such as Constant Permeke and Gustav De Smet. In the mid-1930s, however, he turned decisively to Surrealism, not as an orthodox member of the movement but to a large extent under the influence of Giorgio De Chirico’s Pittura Metafisica, or metaphysical art. Delvaux’s dream-like vision eschewed the shocking and disconcerting juxtapositions sought by other Surrealists. He chose familiar scenes that he activated with figures placed in odd or unexpected situations. The hallucinatory quality of the imagery was emphasized by precise draughtsmanship and recognizable, everyday colouring. Preferring nocturnal scenes because of their mysteriousness and their associations with childhood fears, Delvaux’s works often feature nude or semi-nude females. These figures are usually presented as placid and almost innocent nudes totally lacking in sensuality. As impassive and static as sculptural monuments, such figures are of an almost unvarying type: blonde, with large dark eyes, rather heavy breasts and black pubic hair. Delvaux’s work is striking in its unity; apart from in the very early works before he had found his way, he was one of those rare artists who found his style almost at the outset and remained faithful to it throughout his career. -
Talented Art 1-4 - Ms
Talented Art 1-4 - Ms. Jensen - Grace King High School Assignment #1 - Surreal Circumstances | Size: 8x10 | Media: Any | Sketch & Final READ: SURREALISM Source: https://www.metmuseum.org/toah/hd/surr/hd_surr.htm Surrealism originated in the late 1910s and early ’20s as a literary movement that experimented with a new mode of expression called automatic writing, or automatism, which sought to release the unbridled imagination of the subconscious. Officially consecrated in Paris in 1924 with the publication of the Manifesto of Surrealism by the poet and critic André Breton (1896–1966), Surrealism became an international intellectual and political movement. Breton, a trained psychiatrist, along with French poets Louis Aragon (1897–1982), Paul Éluard (1895–1952), and Philippe Soupault (1897–1990), were influenced by the psychological theories and dream studies of Sigmund Freud (1856–1939) and the political ideas of Karl Marx (1818–1883). Using Freudian methods of free association, their poetry and prose drew upon the private world of the mind, traditionally restricted by reason and societal limitations, to produce surprising, unexpected imagery. The cerebral and irrational tenets of Surrealism find their ancestry in the clever and whimsical disregard for tradition fostered by Dadaism a decade earlier. Surrealist poets were at first reluctant to align themselves with visual artists because they believed that the laborious processes of painting, drawing, and sculpting were at odds with the spontaneity of uninhibited -
A Surrealist Collector's Journey from Mexico to Europe | a Private Sale
A Surrealist Collector’s Journey from Mexico to Europe | A Private Sale A Surrealist Collector’s Journey from Mexico to Europe | A Private Sale Most great Surrealist collections begin with traditional European classics, works made in Europe during the 1930s and early 1940s, by artists such as Rene Magritte or Max Ernst. Few collectors start with the Surrealists “in exile,” those artists like Wolfgang Paalen and Leonora Carrington who emigrated to Mexico City from Europe during World War II. But this is exactly where this collector began. While accompanying Wendi Norris on trips to Mexico City in the early 2000s, the collector met Leonora Carrington, visited the largest collection of Paalen’s work, and spent time with Remedios Varo’s widow amidst the late artist’s great retrospective at the Museo de Arte Moderno. It was through these very experiences that the collector found inspiration to dedicate nearly two decades to amassing a masterful modern collection, of which part is on offer today. From the Surrealists in exile, he traced the art historical thread to works created by their artist peers immediately prior to the start of the war and their imminent dispersion throughout the world - biomorphic atmospheres of Yves Tanguy, a talisman of political revolt by André Masson, a skeletal portrait by Paul Delvaux. Gallery Wendi Norris is proud to privately sell these works as the owner transitions to a new phase in life. The art has been lovingly cared for and exhibited in the collector’s home in Northern California and generously lent to seminal museum exhibitions worldwide. -
Turn of the Century'
TURN O F TH E C E N T U R Y Loten met een '*' zijn afgebeeld. 1. Datum van de veiling De openbare verkoping van de hierna geïnventariseerde goederen en kunstvoorwerpen zal plaatshebben op woensdag 12 december om 14u in het Veilinghuis Bernaerts, Verlatstraat 16-22 te 2000 Antwerpen 2. Data van bezichtiging De liefhebbers kunnen de goederen en kunstvoorwerpen bezichtigen Verlatstraat 16-22 te 2000 Antwerpen op donderdag 6 december vrijdag 7 december zaterdag 8 december en zondag 9 december van 10 tot 18u 3. Data van afhaling Onmiddellijk na de veiling of op donderdag 13 december van 9 tot 12u op vrijdag 14 december van 9 tot 12u en van 13u30 tot 17u en ten laatste op zaterdag 15 december van 10 tot 12u 4. Kosten 23 % 28 % via WebCast (registratie tot ten laatste dinsdag 11 december 2018, 18u) 30 % via Silent Sale & After Sale €2/ lot administratieve kost 5. Telefonische biedingen Geen telefonische biedingen onder € 500 Veilinghuis Bernaerts/ Bernaerts Auctioneers Verlatstraat 18 2000 Antwerpen/ Antwerp T +32 (0)3 248 19 21 F +32 (0)3 248 15 93 www.bernaerts.be info bernaerts.be Biedingen/ Biddings F +32 (0)3 248 15 93 Geen telefonische biedingen onder € 500 No telephone biddings when estimation less than € 500 Live Webcast Registratie tot dinsdag 11 december, 18u Identification till Tuesday 11 December, 6 PM Silent Sale Lotnummers vanaf 5001 Enkel online, te bezichtigen tijdens de kantooruren Vrijdag 30 november t.e.m. maandag 17 december 12u www.bernaerts.be > veilingen > enkel online ABK 111-2656241-87 IBAN BE67 1112 6562 4187 BIC ABERBE -
A Child's Play
Klee and Cobra – a child’s play The exhibition Klee and Cobra – a child’s play was conceptualized by Zentrum Paul Klee, Bern in cooperation with LOUISIANA Museum of Modern Art, Humblebaek and Cobra Museum of Modern Art, Amstelveen. The exhibition Klee and Cobra – a child’s play is focused on the topic of the discovery of children’s creativity for artistic expression in the work of Paul Klee and the Cobra artists. The show will also highlight the importance of Paul Klee’s work and artistic thinking for Cobra in the 1940ies. The Exhibition will comprise approximately 120 works by Paul Klee and 100 works by Cobra artists as well as a great quantity of documents. The discovery of children’s potential for artistic expression provided an important impulse to the early 20th-century avant-garde, and to this day has remained a source of inspiration to artists. Both Kandinsky and Klee gained important artistic impulses from the debate, and from exploring their own childhood drawings. Almost forty years later – under different historic circumstances – immersing themselves into the imagery of children inspired the Cobra group of artists to venture into new artistic and political territory. “Ur-beginnings“ of art “In every children’s drawing without exception the object’s inner sound reveals itself,“ Kandinsky wrote in his 1912 essay, “On the Question of Form“. In that same year Paul Klee called for a return to the “ur-beginnings of art one is more likely to find in a museum of enthnography or in the nursery at home. (…) The more helpless these children, the more instructive their art.“ Thirty-six years later, Constant’s Cobra manifesto for the journal Reflex followed seamlessly on: “The child knows no other law than that of his awareness of being alive, and only wants to express that feeling.“ The exhibition Klee and Cobra – a child’s play presents the return of artists to their childhood “ur-beginnings“ as an elemental visual experience; it also places the relevance of this act in terms of art and cultural history in the historical and political context of the time.