Homage to Roberto Matta

Total Page:16

File Type:pdf, Size:1020Kb

Homage to Roberto Matta FIAC PARIS | BOOTH C29 | GRAND PALAIS | OCTOBER 17–20, 2019 At this year’s FIAC, in honor of the late Germana Matta, we will mount an Homage to Roberto Matta Paris was one of the principal residencies of Matta. The exhibition will therefore include parts of the archives and sketchbooks from Matta’s Parisian home. The core of the presentation consists of three highly important large scale works, executed between 1947 and 1958. It will be complemented by midsize works on canvas and paper as well as sculptures. Matta’s influence can be felt both in today’s Contemporary Art as well as in the Tech-World; his impact on fellow New York artists in the 1940’s was summarized by nobody other than Marcel Duchamp: “Still a young man, Matta is the most profound painter of his generation” MARCEL DUCHAMP, 1944 While the legendary MoMA curator and Picasso Scholar William Rubin had this to say about Matta: “Matta became the only painter after Duchamp to explore wholly new possibilities in illusionistic space” WILLIAM RUBIN, 1985 For more information on our FIAC exhibition and Matta please contact Mathias Rastorfer: [email protected] Additional works to be shown are by Yves Klein, Wifredo Lam, Fernand Léger, Joan Miró, Pablo Picasso, Antonio Saura ABOUT GALERIE GMURZYNSKA Founded in Cologne in 1965, Galerie Gmurzynska has been a leading international art gallery specializing in masterpieces of both classic modern and post-war art for more than 50 years. Galerie Gmurzynska is also the prime gallery worldwide for artists of the Russian avant-garde and early 20th century abstraction. The gallery’s program is centered on presenting exhibitions of the work of historically important 20th and 21st Century artists accompanied by scholarly catalogues. For more information on the gallery and its artists and activities please visit www.gmurzynska.com.
Recommended publications
  • Gordon Onslow Ford Voyager and Visionary
    Gordon Onslow Ford Voyager and Visionary 11 February – 13 May 2012 The Mint Museum 1 COVER Gordon Onslow Ford, Le Vallee, Switzerland, circa 1938 Photograph by Elisabeth Onslow Ford, courtesy of Lucid Art Foundation FIGURE 1 Sketch for Escape, October 1939 gouache on paper Photograph courtesy of Lucid Art Foundation Gordon Onslow Ford: Voyager and Visionary As a young midshipman in the British Royal Navy, Gordon Onslow Ford (1912-2003) welcomed standing the night watch on deck, where he was charged with determining the ship’s location by using a sextant to take readings from the stars. Although he left the navy, the experience of those nights at sea may well have been the starting point for the voyages he was to make in his painting over a lifetime, at first into a fabricated symbolic realm, and even- tually into the expanding spaces he created on his canvases. The trajectory of Gordon Onslow Ford’s voyages began at his birth- place in Wendover, England and led to the Royal Naval College at Dartmouth and to three years at sea as a junior officer in the Mediterranean and Atlantic fleets of the British Navy. He resigned from the navy in order to study art in Paris, where he became the youngest member of the pre-war Surrealist group. At the start of World War II, he returned to England for active duty. While in London awaiting a naval assignment, he organized a Surrealist exhibition and oversaw the publication of Surrealist poetry and artworks that had been produced the previous summer in France (fig.
    [Show full text]
  • Drawing Surrealism Didactics 10.22.12.Pdf
    ^ Drawing Surrealism Didactics Drawing Surrealism is the first-ever large-scale exhibition to explore the significance of drawing and works on paper to surrealist innovation. Although launched initially as a literary movement with the publication of André Breton’s Manifesto of Surrealism in 1924, surrealism quickly became a cultural phenomenon in which the visual arts were central to envisioning the world of dreams and the unconscious. Automatic drawings, exquisite corpses, frottage, decalcomania, and collage are just a few of the drawing-based processes invented or reinvented by surrealists as means to tap into the subconscious realm. With surrealism, drawing, long recognized as the medium of exploration and innovation for its use in studies and preparatory sketches, was set free from its associations with other media (painting notably) and valued for its intrinsic qualities of immediacy and spontaneity. This exhibition reveals how drawing, often considered a minor medium, became a predominant mode of expression and innovation that has had long-standing repercussions in the history of art. The inclusion of drawing-based projects by contemporary artists Alexandra Grant, Mark Licari, and Stas Orlovski, conceived specifically for Drawing Surrealism , aspires to elucidate the diverse and enduring vestiges of surrealist drawing. Drawing Surrealism is also the first exhibition to examine the impact of surrealist drawing on a global scale . In addition to works from well-known surrealist artists based in France (André Masson, Max Ernst, Joan Miró, Salvador Dalí, among them), drawings by lesser-known artists from Western Europe, as well as from countries in Eastern Europe and the Americas, Great Britain, and Japan, are included.
    [Show full text]
  • Works on Paper & Editions 11.03.2020
    WORKS ON PAPER & EDITIONS 11.03.2020 Loten met '*' zijn afgebeeld. Afmetingen: in mm, excl. kader. Schattingen niet vermeld indien lager dan € 100. 1. Datum van de veiling De openbare verkoping van de hierna geïnventariseerde goederen en kunstvoorwerpen zal plaatshebben op woensdag 11 maart om 10u en 14u in het Veilinghuis Bernaerts, Verlatstraat 18 te 2000 Antwerpen 2. Data van bezichtiging De liefhebbers kunnen de goederen en kunstvoorwerpen bezichtigen Verlatstraat 18 te 2000 Antwerpen op donderdag 5 maart vrijdag 6 maart zaterdag 7 maart en zondag 8 maart van 10 tot 18u Opgelet! Door een concert op zondagochtend 8 maart zal zaal Platform (1e verd.) niet toegankelijk zijn van 10-12u. 3. Data van afhaling Onmiddellijk na de veiling of op donderdag 12 maart van 9 tot 12u en van 13u30 tot 17u op vrijdag 13 maart van 9 tot 12u en van 13u30 tot 17u en ten laatste op zaterdag 14 maart van 10 tot 12u via Verlatstraat 18 4. Kosten 23 % 28 % via WebCast (registratie tot ten laatste dinsdag 10 maart, 18u) 30 % via 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 [email protected] Biedingen/ Biddings F +32 (0)3 248 15 93 Geen telefonische biedingen onder € 500 No telephone biddings when estimation is less than € 500 Live Webcast Registratie tot dinsdag 10 maart, 18u Identification till Tuesday 10 March, 6 pm Through Invaluable or Auction Mobility
    [Show full text]
  • Salvador Dalí. Óscar Domínguez Surrealism and Revolution
    Salvador Dalí. Óscar Domínguez Surrealism and Revolution The publication in 1929 of the Second Manifesto of Surrealism marked a new stage in surrealism, character- ised by a move closer to revolutionary ideologies aimed at transforming not just art but society and its whole moral doctrine. Fundamental to this new stage was the innovative drive of two Spanish artists: Salvador Dalí and Óscar Domínguez. The founding of the journal Le Surréalisme au service de la révolution Dalí attempted to translate the mind’s dreamlike processes into in 1930 offers an exemplary account of the ideological premise that painting, exhibited in Freud’s The Interpretation of Dreams. Aside the surrealist movement had achieved. The year before, the second from his admiration for Freud, Dalí’s encounter with Jacques surrealist manifesto proposed its “threefold revolution in solidarity”: Lacan in 1932, shortly after the artist published his thesis on that is, an artistic and literary transformation, a moral transformation paranoia, would greatly influence his work. Soon after, Dalí would and a societal transformation. In this manner, the connections some develop his “Paranoiac-Critical Method,” which entailed an en- artists had to the Communist Party and its influence on the surrealist tire revolution for the movement. This method, which drew from movement were made explicit. surrealist techniques, distinguished itself from the others in two In its second stage, the movement needed to reinvent itself, and two main aspects: by introducing the active condition and realism figures like Salvador Dalí (1904-1989) and Óscar Domínguez (1906- to the movement. On the one hand, Dalí’s method rejected the 1957) could foster this necessary change.
    [Show full text]
  • Two Complementary Exhibitions, One Surreal Experience Get Ready to Have Your Conceptions of Reality Shattered
    CSFINEARTSCENTER.ORG Contact: Amanda Weston, Media Relations and Outreach Manager 719‐477‐4316; [email protected] FOR IMMEDIATE RELEASE Two Complementary Exhibitions, One Surreal Experience Get Ready to Have Your Conceptions of Reality Shattered COLORADO SPRINGS (Oct 26, 2015) — The Colorado Springs Fine Arts Center (FAC) proudly presents an exhibition highlighting three extraordinary paintings by celebrated artist René Magritte, accompanied by Surrealist works of his contemporaries. Your experience will begin with a companion exhibition of works by four regional artists who have been influenced by their 20th century Surrealist predecessors. Springs Surreal, on view from Oct 24 through Feb 7, will feature works by local and regional artists Kay Williams Johnson, Lorelei Beckstrom, Chris Sedgwick and Aaron Graves. And Collections Surréaliste, on view from Nov 7 through Jan 3, will feature three paintings by René Magritte (on loan from private collections) and works on paper by other well‐known European artists Joan Miró, Salvador Dalí, Kay Sage, Herbert Bayer, and Roberto Matta. Surrealism developed in the years between World Wars I and II. The movement took form through painting, sculpture, photography, film, and literature, and emphasized the irrational, the fantastic, and the accidental. The first Surrealist manifesto was published in 1924, and contained this definition written by painter Andre Breton: “Surrealism, pure psychic automatism by which it is intended to express, either verbally or in writing, the true function of thought. Thought dictated in the absence of all control exerted by reason, and outside all aesthetic or moral preoccupations. He continued to articulate the movement in 1930, writing, “There is a certain point for the mind from which life and death, the real and the imaginary, the past and the future, the communicable and the incommunicable, the high and the low, cease being perceived as contradictions.” There were two Surrealist schools of thought.
    [Show full text]
  • Download an Informational Brochure (PDF)
    Diego Rivera (Mexico, 1886 – 1957). Diego Rivera (Mexico, 1886 –1957). History of Cuernavaca and Morelos History of Cuernavaca and Morelos Fresco Cycle. Fresco Cycle. (detail) Sugar Plantation, Tealtenango, (detail) Emiliano Zapata, 1930-31. Morelos, 1930-31. Lithographic Reproduction. Lithographic Reproduction. 10” x 8.” c.1940s. 10” x 8.” c.1940s. Roberto Fabelo (Cuba, b. 1950). Twelve Crazy Portraits. Diego Rivera is one of the most famous Latin American artists in Hard ground etching, 2/50. 10.5” x 7.5.” 2007. Irma Palacios (Mexico, b. 1943). Incense Shades. history. Rivera, José Clemente Orozco, and David Alfaro Siqueiros Etching and Aquatint, 17/100. 16” x 12.” 1995. An influential Cuban artist, Roberto Fabelo’s imagery are the three great artists of the Mexican Muralist Movement that uses humans and animals to comment on the human began in the early 1920s. In 1930-31, Rivera worked on the murals Palacios is influenced by Abstract Expressionism as condition in imaginative and fantastic settings. Elements in the Palace of Cortez, Cuernavaca , Mexico which depicted the organic forms and textures evolve on her canvases. of Expressionism and Surrealism are employed in his political and agrarian history of Cuernavaca and Morelos. Her work is classified as Lyrical Abstraction as she work while relying on fundamental drawing techniques focuses on the forms, textures, and geological realities as a foundation to question the division between fantasy of nature. and reality. Frida Kahlo and Diego Rivera with Monkey. Black & White Photograph. 8” x 10.” c. 1940s. Roberto Matta (Chile, 1911 – 2002). L’Eau et Mana. Color Lithograph, 144/200.
    [Show full text]
  • André Breton Was an Original Member of the Dada Group Who Went on to Start and Lead the Surrealist Movement in 1924
    QUICK VIEW: Synopsis André Breton was an original member of the Dada group who went on to start and lead the Surrealist movement in 1924. In New York, Breton and his colleagues curated Surrealist exhibitions that introduced ideas of automatism and intuitive art making to the first Abstract Expressionists. He worked in various creative media, focusing on collage and printmaking as well as authoring several books. Breton innovated ways in which text and image could be united through chance association to create new, poetic word-image combinations. His ideas about accessing the unconscious and using symbols for self- expression served as a fundamental conceptual building block for New York artists in the 1940s. Key Ideas • Breton was a major member of the Dada group and the founder of Surrealism. He was dedicated to avant-garde art-making and was known for his ability to unite disparate artists through printed matter and curatorial pursuits. • Breton drafted the Surrealist Manifesto in 1924, declaring Surrealism as "pure psychic automatism," deeply affecting the methodology and origins of Abstract Expressionism. • One of Breton's fundamental beliefs was in art as an anti-war protest, which he postulated during the First World War. This notion re-gained potency during and after World War II, when the early Abstract Expressionist artists were creating works to demonstrate their outrage at the atrocities happening in Europe. DETAILED VIEW: Childhood © The Art Story Foundation – All rights Reserved For more movements, artists and ideas on Modern Art visit www.TheArtStory.org André Breton was born in a small village, although his family relocated to a Parisian suburb soon after.
    [Show full text]
  • Dada and Surrealist Journals in the Mary Reynolds Collection
    Documents of Dada and Surrealism: Dada and Surrealist Journals in the Mary Reynolds Collection... Page 1 of 26 Documents of Dada and Surrealism: Dada and Surrealist Journals in the Mary Reynolds Collection IRENE E. HOFMANN Ryerson and Burnham Libraries, The Art Institute of Chicago Dada 6 (Bulletin The Mary Reynolds Collection, which entered The Art Institute of Dada), Chicago in 1951, contains, in addition to a rich array of books, art, and ed. Tristan Tzara ESSAYS (Paris, February her own extraordinary bindings, a remarkable group of periodicals and 1920), cover. journals. As a member of so many of the artistic and literary circles View Works of Art Book Bindings by publishing periodicals, Reynolds was in a position to receive many Mary Reynolds journals during her life in Paris. The collection in the Art Institute Finding Aid/ includes over four hundred issues, with many complete runs of journals Search Collection represented. From architectural journals to radical literary reviews, this Related Websites selection of periodicals constitutes a revealing document of European Art Institute of artistic and literary life in the years spanning the two world wars. Chicago Home In the early part of the twentieth century, literary and artistic reviews were the primary means by which the creative community exchanged ideas and remained in communication. The journal was a vehicle for promoting emerging styles, establishing new theories, and creating a context for understanding new visual forms. These reviews played a pivotal role in forming the spirit and identity of movements such as Dada and Surrealism and served to spread their messages throughout Europe and the United States.
    [Show full text]
  • Drawing Surrealism CHECKLIST
    ^ Drawing Surrealism CHECKLIST EILEEN AGAR Argentina, 1899–1991, active England Ladybird , 1936 Photograph with gouache and ink 3 3 29 /8 x 19 /8 in. (74.3 x 49.1 cm) Andrew and Julia Murray, Norfolk, U.K. Philemon and Baucis , 1939 Collage and frottage 1 1 20 /2 x 15 /4 in. (52.1 x 38.7 cm) The Mayor Gallery, London AI MITSU Japan, 1907–1946 Work , 1941 Sumi ink 3 1 10 /8 x 7 /8 in. (26.4 x 18 cm) The National Museum of Modern Art, Tokyo GUILLAUME APOLLINAIRE Italy, 1880–1918, active France La Mandoline œillet et le bambou (Mandolin Carnation and Bamboo), c. 1915–17 Ink and collage on 3 pieces of paper 7 1 10 /8 x 8 /8 in. (27.5 x 20.9 cm) Musée national d’art moderne, Centre Georges Pompidou, Paris, Purchase 1985 JEAN (BORN HANS) ARP Germany, 1886–1966, active France and Switzerland Untitled , c. 1918 Collage and mixed media 1 5 8 /4 x 11 /8 in. (21 x 29.5 cm) Mark Kelman, New York Untitled , 1930–33 Collage 1 5 6 /8 x 4 /8 in. (15.6 x 11.8 cm) Private collection Untitled , 1940 Collage and gouache 1 1 7 /4 x 9 /2 in. (18.4 x 24.1 cm) Private collection JOHN BANTING England, 1902–1972 Album of 12 Blueprints , 1931–32 Cyanotype 1 3 3 Varying in size from 7 3/4x 6 /4 in. (23.5 x 15.9 cm.) to 12 /4 x 10 /4 in. (32.4 x 27.3 cm) Private collection GEORGES BATAILLE France, 1897–1962 Untitled Drawings for Soleil Vitré , c.
    [Show full text]
  • Boriss Lurje Un NO!Art Boris Lurie and NO!Art Boriss Lurje
    Boriss Lurje un NO!art Boris Lurie and NO!art Boriss Lurje. Manai Šeinai Gitl/ manai Valentīnai. 1981. Papīrs, gleznojums, kolāža, 99x75 cm Boris Lurie. To my Sheina Gitl/ My Valentine. 1981. Paint, paper collage, tape on paper Boriss Lurje un NO!art Boris Lurie and NO!art Mākslas muzejs RīgAS BIRža Art Museum RIGA BOURSE 2019. gada 11. janvāris – 2019. gada 10. marts January 11, 2019 – March 10, 2019 Izstādes kuratore/ Curator of the exhibition: Ivonna Veiherte Projekta vadītāja/ Project manager: Vita Birzaka Izstādes dizains/ Design of the exhibition: Anna Heinrihsone Izstādes projekta sadarbības partneris/ Collaboration partner for the exhibition Boris Lurie Art Foundation, New York, USA: Gertrude Stein, President Anthony Williams, Chairman of the Board Chris Shultz, Collections Manager Jessica Wallen, Project Manager Rafael Vostell, Advisor Uz vāka: Boriss Lurje. Bez nosaukuma (Uzsmidzinātais NĒ). 1963. Masonīts, izsmidzināmā krāsa, 56x52 cm On the cover: Boris Lurie. Untitled (NO Sprayed). 1963. Spray paint on masonite © Boris Lurie Art Foundation Izstāde “Boriss Lurje un NO!art” turpina vienu no Mākslas muzejam RĪGAS BIRža tik svarīgajiem virzieniem – iepazīstināt skatītājus ar 20. gadsimta māks- las vēsturi, šajā gadījumā – ar tik spilgtu un neparastu kontrkultūras parādību kā NO!art kustība. Sociāli un politiski aktīvie sava ceļa gājēji, kā Boriss Lurje (Boris Lurie), Sems Gudmens (Sam Goodman), Stenlijs Fišers (Stanley Fisher), Ņujorkas kultūras dzīvē tiek atpazīti kā nepiekāpīgie opozicionāri, kuriem NO!art gars un 1960. gadu sākuma izstādes ir kļuvušas par impulsiem radošiem mek- lējumiem mūža garumā. Raksturojot šos māksliniekus un komentējot Borisa Lurje darbu izstādi savā galerijā, Ģertrūde Staina savulaik rakstījusi:” NĒ mākslā ir NĒ konformismam un materiālismam.
    [Show full text]
  • The Cavern of Antimatter: Giuseppe "Pinot" Gallizio and the Technological Imaginary of the Early Situationist International
    The Cavern of Antimatter: Giuseppe "Pinot" Gallizio and the Technological Imaginary of the Early Situationist International The MIT Faculty has made this article openly available. Please share how this access benefits you. Your story matters. Citation Nicola Pezolet, "The Cavern of Antimatter: Giuseppe "Pinot" Gallizio and the Technological Imaginary of the Early Situationist International," Grey Room, Winter 2010, No. 38, Pages 62-89. (doi:10.1162/grey.2010.1.38.62) © 2010 by Grey Room, Inc. and the Massachusetts Institute of Technology As Published http://dx.doi.org/10.1162/grey.2010.1.38.62 Publisher MIT Press Journals Version Final published version Citable link http://hdl.handle.net/1721.1/55965 Terms of Use Article is made available in accordance with the publisher's policy and may be subject to US copyright law. Please refer to the publisher's site for terms of use. Pinot Gallizio, Asger Jorn, Piero Simondo, and friends working outside the Alba Experimental Laboratory, 1956. Courtesy of the Gallizio Archive, Turin. 62 The Cavern of Antimatter: Giuseppe “Pinot” Gallizio and the Technological Imaginary of the Early Situationist International NICOLA PEZOLET Perhaps the machine is the only instrUment qUalified to create that is inflationary and indUstrial and therefore based on the anti-patent; the new indUstrial cUltUre will only be “Made by the People,” or it will not be. —GiUseppe “Pinot” Gallizio, 1959 DUring its formative years (1957–1960), the SitUationist International (SI) charted a paradoxical relationship between an enthUsiasm
    [Show full text]
  • 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.
    [Show full text]