Art D'après-Guerre & Contemporain
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VINCENT VAN GOGH Y EL CINE Moisés BAZÁN DE HUERTA Desde
NORBA-ARTE XVII (1997) / 233-259 VINCENT VAN GOGH Y EL CINE Moisés BAZÁN DE HUERTA Desde su nacimiento, la relación del cine con las artes plásticas se ha manifes- tado en los más variados aspectos. De la influencia pictórica en el cromatismo y la configuración espacial del plano (encuadre, composición, perspectiva, profundierad), al diverso tratamiento del tiempo y los mecanismos narrativos en ambos campos; además de las bŭsquedas experimentales de las vanguardias y sus interferencias, el documental sobre arte como género, o la tradición artística como apoyo para la re- creación histórica o religiosa. También la propia pintura ha sido tratada temática- mente o como punto de partida para la reflexión sobre el proceso creativo Pero en el amplio abanico de posibilidades de esta relación, las biografías ci- nematográficas sobre artistas han sido uno de los exponentes más fructíferos, has- ta el punto de constituir casi un género propio. Dejando aparte m ŭsicos, cantantes, literatos, actores, y cifiéndonos al campo de las artes plásticas, la nómina de bio- grafiados resulta considerable: Andrei Rublev, Leonardo, Miguel Ángel, El Greco, Caravaggio, Rembrandt, Velázquez, Utamaro, Fragonard, Goya, Gericault, Toulouse- Lautrec, Gauguin, Camille Claudel, Rodin, Gaudí, Pirosmani, Munch, -Carrington, Modigliani, Gaudier-Brzeska, Picasso, Dali, Goitia, Diego Rivera, Frida Kahlo, Jean Michel Basquiat, Andy Warhol o Francis Bacon, entre otros, han sido objeto de re- creaciones fílmicas, aunque bastante desiguales en su calidad y planteamiento. En esta relación, como vemos, predominan las trayectorias geniales, azarosas, apasionadas y con frecuencia trágicas, es decir, las susceptibles de un desarrollo dra- mático que capte la atención y el interés del p ŭblico. -
André Derain Stoppenbach & Delestre
ANDR É DERAIN ANDRÉ DERAIN STOPPENBACH & DELESTRE 17 Ryder Street St James’s London SW1Y 6PY www.artfrancais.com t. 020 7930 9304 email. [email protected] ANDRÉ DERAIN 1880 – 1954 FROM FAUVISM TO CLASSICISM January 24 – February 21, 2020 WHEN THE FAUVES... SOME MEMORIES BY ANDRÉ DERAIN At the end of July 1895, carrying a drawing prize and the first prize for natural science, I left Chaptal College with no regrets, leaving behind the reputation of a bad student, lazy and disorderly. Having been a brilliant pupil of the Fathers of the Holy Cross, I had never got used to lay education. The teachers, the caretakers, the students all left me with memories which remained more bitter than the worst moments of my military service. The son of Villiers de l’Isle-Adam was in my class. His mother, a very modest and retiring lady in black, waited for him at the end of the day. I had another friend in that sinister place, Linaret. We were the favourites of M. Milhaud, the drawing master, who considered each of us as good as the other. We used to mark our classmates’s drawings and stayed behind a few minutes in the drawing class to put away the casts and the easels. This brought us together in a stronger friendship than students normally enjoy at that sort of school. I left Chaptal and went into an establishment which, by hasty and rarely effective methods, prepared students for the great technical colleges. It was an odd class there, a lot of colonials and architects. -
Albert Marquet and the Fauve Movement, 1898-1908
Digitized by the Internet Archive in 2010 with funding from Lyrasis IVIembers and Sloan Foundation http://www.archive.org/details/albertmarquetfauOOjudd ALBERT MARQUET AND THE FAirVE MOVEMENT 1898 -1908 by Norrls Judd A thesis submitted to the Faculty of the Department of Art History in partial fulfillment of the requirements for Senior Honors in Art History. ^5ay 1, 1976 /JP 1^1 Iff TABLE OF CONTENTS Page Introduction ...............< 1 I The Fauve Movement Definition of Fauvism, • 3 The Origins of the Fauve Movement 5 The Leaders of the Fauve Group 11 1905: The Crucial Year, Salon Exhibitions and Critical Reactions 26 Fauve Paintings of 1905 34 Critical Reaction to Fauvism.. 41 Denouement 45 II Albert Marquet Bordeaux: Origins 49 Paris: 1890 - 1898 50 Years of Activity with the Fauve Group: 1899-1908 Marquet and Matisse, 1898 - 1905 54 Marquet and Dufy, 1906. 78 Marquet, 1907-1908 83 Marquet: 1903-1910 87 III Summary 89 IV Footnotes 93 V Appendix Marquet Speaks on His Art 116 List of Reproductions 117 Photocopies of Selected Reproductions i 123 VI Bibl iography 142 Note: An asterisk will appear by a plate reference if the reproduction also appears in photocopy in the appendix. il ALBERT MARQUET AND THE FAUVE MOVEMENT 1898 - 1908 INTRODUCTION In 1905, when a group of violently coloured paintings was displayed at the Salon d'Automne, there were varying reactions from the critics. Some were outraged, others merely amused. At that time only a few of the critics were aware of the importance of the event. Even fewer critics realized that the special characteristics of these paintings would have a decisive influence on the future development of Gortain futur e twentieth century art. -
Taller Libre De Arte · 1948 - 1952 Los Orígenes De Lo Contemporáneo
Taller Libre de Arte · 1948 - 1952 Los orígenes de lo contemporáneo portada final.indd 1 Untitled-2 1 12/10/1212/11/12 4:26 1:09 PM PM Untitled-2 2 12/11/12 1:09 PM Taller Libre de Arte · 1948 - 1952 Los orígenes de lo contemporáneo Exposición 13 de diciembre de 2012 al 3 de marzo de 2013 Lugar Odalys Galería de Arte (Sala 2) Odalys Galería de Arte C. C. Concresa, nivel PB. , local 115 Urb. Prados del Este, Caracas 1080, Venezuela Tefs: (+ 58-212) 9795942 (+ 58-212) 9761773 Fax: (+ 58-212) 2 9761773 E-mail: [email protected] E-mail: [email protected] www.odalys.com Tripa taller libre final.indd 1 12/10/12 5:46 PM Tripa taller libre final.indd 2 12/10/12 5:46 PM El Taller Libre · 60 aniversario La saga del Taller Libre de Arte, aquel irrepetible capítulo que alguna vez llamé y continúo repitiéndolo, el Período Flamígero del Taller Libre, cubrió apenas los cuatro años que median entre el viernes 9 de julio de 1948, fecha de su apertura en el 4° piso del edificio Miranda en la esquina de Mercaderes y el 14 de agosto de 1952 cuando, reunidos en el primer piso del edi- ficio Cipreses, frente a la fachada sur del Teatro Nacional, última escala del Taller luego de su breve tránsito por el edificio El Pájaro entre las esquinas de El Pájaro y Curamichate, asistimos a la inauguración de la gran Exposición de las Nuevas Generaciones de Pintores Venezolanos, coordinada como una suerte de rendición de cuentas, por los viejos pintores José Fernández Díaz (FEZ) y Rafael Rivero Oramas, los mismos tenaces e incansables activistas de la cultura que desde 1948, nos acompañaron como otros de los jóvenes de la parvada. -
Cata Logo Vigas Miami Web Layout 1
constructivista VIGAS París 1953-1957 constructivista París 1953-1957 VIGAS constructivista BÉLGICA RODRÍGUEZ Since he started out as an artist, Oswaldo Vigas has thought about abstractions, rather than images as such. These abstractions do not seek aesthetic justifications beyond themselves. Rather, they are self-contained artistic expressions that dia- logue with artistic and historical concepts in tune with explicitly aesthetic concerns which —when considered from the formalist critical approach that is so condem- ned today— situate his work as a unique expressive, representative and organic form of visual writing. In this sense, Vigas’ work cannot be reduced to a simple schema of abstraction. It is much more complex than that, since it has developed in line with multiple factors: instinctive perception, knowledge of the rules of pain- ting, and in response to the context the artist’s practice exists within. The decade of the fifties signaled a change in the life and work of this prolific Venezuelan artist. In 1952 he travelled to Paris, excited by the three prizes he had been awarded in the Salón Oficial Anual de Arte and by the success of his first retrospective show at the Museo de Bellas Artes de Caracas, the most important in Venezuela, which covered ten years of what would become a suc- cessful career as an artist. In Paris, a mecca for international artists at the start of the twentieth century, Vigas encountered a dynamic, active and cosmopolitan scene bubbling over with experimentation and the quest to develop new ap- proaches to art. There, Vigas discovered Picasso, his Cubism and many other trends, and created a new framework for his work by adapting abstract and Constructivist trends that he would channel into figurative and abstract works for which his signature style still provided an identifiable substratum. -
CATÁLOGO OSWALDO VIGAS 2006X.Cdr
" CRIATURAS DEL ASOMBRO " “I”,CRIATURA MÍTICA 100/80 cm., Óleo sobre lienzo, 2006. OSWALDO VIGAS en Galeria Medicci " CRIATURAS DEL ASOMBRO " X“ OSWALDO VIGAS en Galería Medicci En el marco de la celebración de nuestro décimo aniversario, hemos querido festejarlo con una presentación realmente de gala. Algo más que una exposición individual, un acontecimiento, un evento que perdure en la memoria del público. Y qué mejor para ello que una exposición del Maestro Oswaldo Vigas. Es nuestra ofrenda a ese gran público que nos ha acompañado en esta primera década. Arribamos a nuestro décimo aniversario. Parece que fuera ayer pero al mismo tiempo son largos años de arduo trabajo. Desde esos días iniciales, han sido muchos los artistas expuestos, la promoción de nuevos talentos, las exposiciones en el exterior, triunfos y desilusiones que van cubriendo el largo camino de estos primeros diez años. Nos presenta Oswaldo Vigas su más reciente creación. Colores fulgurantes, nuevos ambientes de donde emergen criaturas que llenan la escena. Que transportan al veedor a una nueva dimensión llena de fascinación y asombro. Son sus nuevas criaturas. Una exhibición que permanecerá en la reminiscencia de todos nosotros. Con fascinación y encanto, con asombro, por eso son las “Criaturas delAsombro”. Escriben en este catálogo Eduardo Planchart Licea quien nos demuestra su amplio conocimiento sobre la obra de Vigas y José Pulido, quien con ese especial sabor nos relata su amena entrevista con Oswaldo y Janine Vigas. La fotografía es de Renato Donzelli. Para Galería Medicci es motivo de gran satisfacción celebrar este aniversario con esta muestra individual del Maestro Oswaldo Vigas. -
VIGAS INFORMALISTA París 1959-1964 INFORMALISTA | 3
VIGAS INFORMALISTA París 1959-1964 INFORMALISTA | 3 In his house in Caracas, Oswaldo Vigas remained creative until his very last days. VIGAS INFORMALISTA Paris 1959-1964 This exhibition is his first individual show since he passed away, at the age of 90, on April 22, 2014. We may also call it his “first show”—not to suggest MAREK BARTELIK some kind of a causal break linked to this irreversible loss, but rather to stress his uninterrupted presence as a remarkable artist.1 One might argue, in fact, that for an individual as deeply committed to his practice and pro- cess as Vigas was during his life, each of his consecutive shows will remain a first one, for each represents the essence of his existence, which for the artist is making art. His drive to make art recalled that of great painters, such as Henri Matisse, who at an old age, continued to work even when confined to his bed, insisting: “Space has the boundaries of my imagina- tion.”2 And, like the French master, Vigas had an imagination that was un- questionably boundless. This exhibition is the second show at the Ascaso Gallery has devoted to a specific and distinct moment in his artistic career, this time to the years bet- ween 1959 and 1964, a period during which Vigas’s work achieved a new level of expressiveness, abstraction, and heterogeneity.3 Vigas’s paintings from that period reveal his interest in abstract expressionism and lyrical abs- traction, while remaining distinct from the works he created before and after. The period under investigation was marked by two important trips, which were, in fact, two returns: in late 1958, the artist came back to Paris after a prolonged stay in Venezuela; in mid-1964, he traveled back to his native country, where he resided for the rest of his life. -
Osw Aldo Vigas
OSWALDO VIGAS GEOMETRÍA LÍRICA By: DENNYS MATOS I There is probably no other artist within the panorama of Latin American “OSWALDO VIGAS abstraction of the second half of the 20th century who has so systemati- AND THE GEOMETRY cally and deliberately been driven to changes in his poetic visuality. Oswaldo Vigas’s compulsion for experimentation has led him, in a OF SENSITIVITy” scant twenty years from 1953 to 1973, to produce works of a great aesthetic variety in very diverse variants of abstraction. All these vari- ants have been presented in recent monographic exhibitions that each conform to a certain current of abstraction. Three of these exhibitions have been shown at Acaso gallery in Miami: in 2012, Vigas Construc- tivista/Constructionist Vigas (Paris 1953-1957); in 2013, Vigas Infor- malista/Informalist Vigas (Paris 1959-1964); and the current exhibition in 2016, Oswaldo Vigas. Geometry lírica/Lyric geometry. The works included in Oswaldo Vigas. Geometría lírica were created between 1970 and 1973, after his constructionist and informalist pe- riods. During this time, the artist established not only his artistic pres- ence but also his role as an intellectual. In this decade, his perceptions regarding the development of Latin American art, culture and society grew in visibility and influence. These words speak of his intention: “The America where we live is populated with dark signs and warn- ings. Signs of the earth, magic, and exorcisms are profound elements that reveal our condition. At the same time that they reveal ourselves, these symbols place us in and commit us to a world of unsettling volatili- ty.” (1) The works in this exhibition are full of these signs and signals. -
Oswaldo Vigas Antológica 1943-2013
OSWALDO VIGAS antológica 1943 • 2013 anthological 1943 • 2013 MUSEU DE ARTE CONTEMPORÂNEA da Universidade de São Paulo Reencontro e revisita Hugo Segawa Diretor MAC USP • 2014-2015 Oswaldo Vigas, aos 27 anos, era um promissor artista vene zuelano que compareceu com três pinturas na delegação de seu país que participou da II Bienal de Artes Plásticas de São Paulo. Foi a edição do evento consagrada para as comemorações do 4º Centenário da Cidade de São Paulo, entre os meses de dezembro de 1953 e janeiro de 1954, com a inauguração do Pavilhão das Nações e do Parque Ibirapuera, projetados por Oscar Niemeyer e equipe. O delegado da Venezuela para a II Bienal, Juan Röhl, o saudava no catálogo como “dotado de uma bela intuição sensível nas suas composições, mostra-nos a riqueza sensual de sua paleta”. O início da década de 1950 foi virtuoso para o reconhecimento desse jovem artista, então premiado em várias mostras em seu país, e já no rumo para sua estadia de doze anos em Paris. Vigas ainda Hierática participaria da IlI Bienal de São Paulo IV, 1971 em 1955 com duas pinturas, assinalando Óleo sobre tela/ Oil on canvas possivelmente a última aparição do 180 x 150 cm artista no Brasil. A retrospectiva Oswaldo Vigas Antológica chamou de Comunhão das Artes. Nesse 1943-2013 poderia ser interpretada saudável desencontro de definições, como o reencontro de Vigas com Portinari, Di Cavalcanti, Clóvis Graciano, São Paulo. Em um espaço não muito Lívio Abramo, Alfredo Ceschiatti, Athos distante daquele em que a primeira vez Bulcão, entre outros, se alinham com expôs em 1953 – hoje conhecido como Diego Rivera, Mateo Manaure, David Pavilhão Armando de Salles Oliveira –, Alfaro Siqueros, Oswaldo Guayasamín, José Clemente Orozco, Wifredo Lam, na instituição que acolheu o acervo das Miguel Alandia Pantoja, José Chávez primeiras bienais de São Paulo, o Museu Morado e Oswaldo Vigas, no rito de uma de Arte Contemporânea da Universidade “aventura plástica latino-americana”, de São Paulo – abrigado no edifício que parafraseando Damián Bayón. -
Reacción Y Polémica En El Arte Venezolano
PÁG 1 INTRODUCCIÓN "Reacción y polémica en el arte venezolano" presenta una selección de obras relacionadas con las discusiones públicas que éstas despertaron en sus diferentes momentos históricos. Este enfoque permite apreciar las piezas en su dimensión estética y dentro del amplio contexto de manifestaciones culturales, referidas a los cambios del gusto y del pensamiento. En cierta forma, los actores —artistas, críticos y público general— toman la palabra para describir cómo fue el proceso de asimilación de las tendencias plásticas modernas y contemporáneas. La exposición se articula en torno a dos formas que asume la crítica. La polémica, entendida como "una discusión real entre dos maneras de concebir una verdad, pero donde cada uno tenga en cuenta las opiniones del adversario para refutarlas frente al público"1. Para su identificación hay que recurrir a documentos públicos en los que exista una opinión que refleje posturas ideológicas o teóricas, y en los que se produzca un diálogo o consideración de argumentos contrarios. La reacción, por su parte, implica un cuestionamiento, pero se distingue de la polémica en que no llega a cristalizar en un debate razonado, las críticas no tienen respuesta y no se establece un diálogo entre las partes. Una amplia investigación de carácter documental permite agrupar las reacciones y polémicas en cinco ámbitos temáticos: "Antecedentes. Siglo XIX", "Bolívar: ícono y paisaje", "Modernidad" (subdividida en tres partes: la modernidad, la polémica secular y Marta Traba y el cinetismo), "Transgresiones" y "Epílogo". A estos ámbitos se suma un espacio para los testimonios en video de perso- nalidades del medio artístico que han reflexionado sobre el tema. -
Henri Goetz Biography
ARTIST BROCHURE Decorate Your Life™ ArtRev.com Henri Goetz Henri Bernard Goetz (September 29, 1909 August 12, 1989) was a French American Surrealist painter and engraver. He is known for his artwork, as well as for inventing the carborundum printmaking process. His work is represented in more than 100 galleries worldwide. Goetz was born in New York in 1909. His father ran an electrical plant. He later described his mother as a "quasi-academic" because of the two large parenting books she owned. He began drawing because the books told that a child needs a certain number of hours outside in a day, and as such he was not allowed to come home before six. On one rainy day, he made use of his time by drawing. However, he was frustrated with his clumsy drawing, and tore it up. He later asked his mother to beat him for his failure as an artist. In September 1935, Goetz met Christine Boumeester at the Académie de la Grande Chaumière. Christine was a very shy Dutch painter from Java, Indonesia. Goetz invited her to visit his studio, and she moved in with him several days later. They were married when Christine's parents visited them in Paris. He credited Christine with much of his early development from realism to his more modern surrealist painting style. Around this time he met Hans Hartung, who introduced him to his circle of friends. Through this, he met Fernand Léger and Wassily Kandinsky. As World War II began, both Goetz and his wife worked with the French Resistance. -
Latin American Art Preview York New
LATIN AMERICAN ART PREVIEW NEW YORK NEW NEW YORK | JUNE 2020 LATIN AMERICAN ART PREVIEW ART AMERICAN LATIN JUNE 2020 N110368L JUNE 2020 LATIN AMERICAN ART PREVIEW INCLUDING THE VANGUARD SPIRIT: MODERN AND SURREALIST MASTERWORKS FROM AN IMPORTANT ESTATE AUCTIONS IN NEW YORK JUNE 2020 N10369 IMPRESSIONIST & MODERNART DAY SALE JUNE 29 AT 10 AM & 2 PM N10368 IMPRESSIONIST & MODERNART EVENING SALE JUNE 29 AT 7:30 PM N10371 CONTEMPORARY ART DAY AUCTION JUNE 30 AT 10 AM TO VIEW PROPERTY FROM THIS SALE Please contact Sotheby’s to make an appointment. For condition reports and additional images, please visit Sothebys.com or contact the department administrator. 1334 York Avenue New York, NY 10021 +1 212 606 7000 sothebys.com FOLLOW US @SOTHEBYS #SOTHEBYSLATIN Front cover Wifredo Lam, Omi Obini, $8,000,000-$12,000,000 Back cover Remedios Varo, Armonía, $2,000,000-$3,000,000 This page Mario Carreño, Cortadores de caña, $1,500,000-$2,000,000 SPECIALISTS ENQUIRIES NEW YORK SALE NUMBER Anna Di Stasi N10368 Vice President, Director N10369 Latin American Art N10371 +1 212 894 1187 [email protected] BIDS DEPARTMENT Andrea Zorrilla +1 212 606 7414 Vice President, Specialist fax +1 212 606 7016 Latin American Art [email protected] +1 212 606 7513 [email protected] Bidders are encouraged to submit bids Emily Nice online on Sothebys.com or through Associate Specialist the Sotheby’s App. Please contact the Latin American Art Bids Department to request telephone +1 212 606 7513 bidding arrangements. [email protected] Julian