Agustín Cárdenas

Agustín Cárdenas Alfonso (April 10, 1927, Matanzas, Cuba – February 9, 2001, Havana, Cuba) was a Cuban sculptor who was active in the Surrealist movement in Paris. His sculpture was influenced by Brâncuși, Henry Moore, and Jean Arp. Poet
«Cárdenas was born in Matanzas, Cuba in 1927 and studied at the Academia de Bellas Artes de San Alejandro in Havana from 1943 to 1949. His first individual show was held at the Palacio de Bellas Artes in Havana in 1955, and that same year he traveled to Paris on a scholarship. His wood and stone sculptures are biomorphic and expertly realized, provocative both intellectually and sensually. The affinity that the surrealists felt for his work led to his first Paris exhibition at the Galerie L'Etoile Scellle in 1956. Since then, Cárdenas has been exhibited widely in Europe, the Americas, and Asia. At the 1961 Biennale de Paris he was awarded the prize in sculpture. Among his many individual shows have been FIAC, Paris (1980,1984), Museo de Bellas Artes, Caracas (1982), and International Gallery, Chicago (1990). His works appear in many museums and private collections, including Fond National d'Art Contemporain, Montreal, Museum of Modern Art, Tel Aviv, Hakone Museum, Japan, Museo de Bellas Artes, Caracas, and Musee d'Art Moderne de la ville de Paris.

 

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Donald Lester Reitz - Ceramic art

Donald Lester Reitz (November 7, 1929 – March 19, 2014) was an American ceramic artist, recognized for inspiring a reemergence of salt glaze pottery in United States. He was a teacher of ceramic art at the University of Wisconsin–Madison from 1962 until 1988. During this period, he adapted the pottery firing technique developed in the Middle Ages, which involved pouring salt into the pottery kiln during the firing stage. The method was taught in European ceramic art schools, but largely unknown in United States studio pottery.In 1982, Reitz was in a serious car accident involving a truck and was hospitalized for several months. While recovering from his injury, he began to create a series of ceramic pieces that came to be known by a collective name, Sara Period. In 2007, Reitz suffered a heart attack and would undergo close to a dozen surgeries, including a valve replacement. He continued producing works with the help of studio assistants.Reitz died on March 19, 2014, at the age of 84 of heart failure and was eulogized by The New York Times and the American Craft Council. His works are featured in several museums including the Smithsonian Institution, American Museum of Ceramic Art, and Museum of Fine Arts, Boston.
Later in the 1980s and 90s, he became involved with wood firing ceramics as a collaboration with several artists, traveling to many ceramics studios to utilize different kilns for their varied effects. In 1988, he retired from the University of Wisconsin, but continued to work at his private studio in Clarkdale, Arizona.

 

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Gelsen Gas — Nude Art

Angel Sanchez Gas (1933-2015) was popularly known as Gelsen Gas, an alliterative pseudonym. He was a multifaceted and interdisciplinary artist, theater director, film director, film producer, actor, painter, poet, sculptor and inventor, based in Mexico City, Mexico. His career and style are highly diversified and hard to classify.He is most commonly known for his paintings and geometrically constructed artworks. Among his most famous works are the film 'Anticlimax' (1969) featuring Alejandro Jodorowsky, his painting 'Homenaje a Magritte' (1969), an homage to the Belgian surrealist artist René François Ghislain Magritte and his self-portrait 'Autogelsen' (1971).Gas was born in Mexico City, Mexico. His parents were Ángel Sánchez Bellido and Leonor Gas Murillo.The painting Homenaje a Magritte and a collection of Gelsen Gas sculptures are part of a permanent collection of the Museo de Arte Moderno (the Museum of Modern Art) in Mexico City which also includes the work of the artists Frida Kahlo, Olga Costa, Diego Rivera and David Alfaro Siqueiros.
He also wrote and directed the film Anticlimax (1969) which was the sole movie made in his career but became a cult classic in the 1970s. The film was produced in black-and-white, 80 min. (no subtitles; minimal dialogue).Anticlimax was shown at the Guggenheim Museum's First Comprehensive Survey of Experimental Filmmaking in Mexico in 1999

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Nancy Graves

Nancy Graves (December 23, 1939 – October 21, 1995) was an American sculptor, painter, printmaker, and sometime-filmmaker known for her focus on natural phenomena like camels or maps of the moon. Her works are included in many public collections, including those of the National Gallery of Art (Washington, D.C.), the Brooklyn Museum of Art, the Smithsonian American Art Museum, the National Gallery of Australia (Canberra), Walker Art Center (Minneapolis),and the Museum of Fine Arts (St. Petersburg).When Graves was just 29, she was given a solo exhibition at the Whitney Museum of American Art. At the time she was the youngest artist, and fifth woman to achieve this honor.A prolific artist who worked in painting, sculpture, printmaking and film, Graves first made her presence felt on the New York art scene in the late 1960s and 70's, with life-size sculptures of camels that seemed as accurate as a natural history display. Like-minded artists included Eva Hesse, Close, Bruce Nauman, Keith Sonnier, and Serra, to whom Graves was married from 1965 to 1970.Her work has strong ties to the Alexander Calder's stabiles and to the sculptures of David Smith, with their welded parts and found objects; she collected works by both artists.Her most famous sculpture, Camels, was first displayed in the Whitney Museum of American Art.

 

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Alexandre Istrati - Lyrical abstraction

Alexandre Istrati (1915 in Dorohoi, Romania – 1991 in Paris, France) was a Franco-Romanian painter. He won numerous prizes, including 1953 the Prix Kandinsky.
He married fellow Romanian abstract expressionist painter, Natalia Dumitresco.
«Istrati was an internationally acclaimed exponent of the Abstraction Lyrique movement which was the European equivalent to Abstract Expressionism in America, and included Soulages, Schneider, Germain and Lanskoy amongst others. This magnificent example painted at the height of the movement wonderfully demonstrates his powerful style of sensuously nurtured surfaces and supremacy of colour. This was the apogee of the Modernist era which advocated a purely self-referential autonomy of art and in this work we experience the raw physicality of the paint so dramatically that we no longer read the painting as a two dimensional representation, but as a vibrant and highly energised sculptural object.
Having attended the Academy of Art in Bucharest Istrati arrived in Paris in 1947, where he and his wife, the painter Natalia Dumitresco, were befriended by their compatriot Constantin Brancusi who gave them a studio next to his and helped introduce them to the thriving Paris art scene. Istrati’s uncompromising avant-garde spirit soon became renowned and when he exhibited his first abstract paintings at the Salon des Superindépendants  in 1948 the critics applauded his radical new style. The following year in 1949 he held his first one-man show at Galerie Breteau which was so successful the leading art dealers Collete Allendy and Dénise René both invited Istrati to exhibit at their eponymous galleries. In the circle of these highly influential gallerists Istrati found himself at the forefront of the post-war avant-garde along with artists such as Soulages, Deyrolle, Magnelli and Poliakoff with whom he became particularly close. In 1953 he was awarded the prestigious Prix Kandinsky and was appointed to the committee of the Salon d’Octobre and in the next few years he would also serve on the committees of the Salon Comparaison and the groundbreaking Salon des Réaltités Nouvelles.»

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Guo Pei Spring 2018 Couture Collection

«Guo Pei swings between reality and fantasy as easily as one walks through a door. This season, she was firmly in wonderland and turned her set at the Cirque d’Hiver into a gateway toward Elysium, a paradise found. In the middle, the tangled roots of a tree served as an organic chandelier, the work of French papier maché artist Charles Macaire.Out came an oblong dress woven in bamboo harvested from the forests of Huangshan mountain ranges in China, beset with golden flowers; 22 more dresses followed, all inspired by flora and richly embellished. Few take florals to quite the lengths that Guo does. She has been considering life as a quasi-mystical force and shaped her work of the season accordingly, letting handcraft take its most exuberant course.Each look pushed the envelope on a technique that the Chinese couturier harnesses when her real-life clients come calling: appliqués, beading, pleating, fringing. Perching on transparent chopines, models resembled flowers in a violently bountiful garden. One purple pleated number looked like a blowsy peony, while another came heavy with pearly drops. Elsewhere, blooms simply climbed up a tabard.For the finale, an immaculate gown with trailing crystals glided across the slick surface of the circular runway. A djembé performer came out as the models took their place around the circular platform. Feathers fell from the rafters. The clapping was as loud as for any performance.At a time where commercial realities abound even in couture, Guo Pei approaches creation is an end unto itself. Who cares if her designs look like they belong in the costume department of an opera house?»
(By Lily Templeton on January 25, 2018 )

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Hidetoshi Nagasawa - sculptures

Hidetoshi Nagasawa (30 October 1940 – 24 March 2018) was a Japanese sculptor and architect, who lived and worked in Italy from 1967 until his death in 2018
«Strongly evocative as well as being of highly symbolic and lyrical value, the works of Hidetoshi Nagasawa (Tonei, 1940) are always intensely permeated with Far Eastern philosophy, thereby leading to research that syncretically combines the spiritual heritage of the East and of the West, filtered through crossreferences and ideas stemming from an experiential and human dimension that he has never disregarded. The artist and his family moved from Manchuria to Japan, and already in the 1950s he became familiar with the various trends in avant-garde art through his contact with the Gutaj group as well as by regularly visiting the independent exhibitions organized by the magazine “Yamiuri.”
Nagasawa arrived in Italy in 1967 and was quickly immersed in a climate of intense artistic fervor, in which he came to know artists such Enrico Castellani, Luciano Fabro, Mario Nigro, Antonio Trotta, Gaetano Ongaro. His training as an architect and a designer, combined with his skills as a sculptor, led to the artist’s extensive and visionary spacialism, which was constantly referring back to the heart of a poetics that consisted of balances and counterpoints, of voids and fulls, of shadows that fade into the direction of a concise, essential, condensed sign that allows for a glimpse of the inner nature of objects. The journey as concrete experience and tòpos of Nagasawa’s exploration takes on the value of a relevant passage of symbolic crossing, the transcending of sign-related and cultural borders, the acknowledgment of what is new through a reading of the known.
The artist’s choice of themes associated with a variety of materials such as wood, iron, wax, paper, bamboo makes tangible the sense of a research that is in constant tension between the visible and the invisible, inclined toward a creative idea which moves from its manual nature to a sensory and eidetic horizon via a pathway strewn with material and immaterial “places,” which Nagasawa puts together in the form of habitats, rooms, doors, walls, gardens, fences, boats, screens.
In 1991 Nagasawa showed at Framart Studio in Naples: on view were hitherto unseen works in marble, iron, wood, bronze and silver, including the work in the collection called In medio virtus: this consists of two marble statues made in 1975 by the Pietrasanta sculptor Gugliemo Antognazzi. As they face each other on two plinths covered with white sheets, they mimic antique marble statues, relating the concept of a space-time that is both mental and physical, as if suspended between them.»

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Milena Olesinska - Portrait of a woman

Oil painting on canvas 70cm x 50cm

 
www.iobrazy.com.pl

 


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Expressionist Paintings - Robert Beauchamp

Robert Beauchamp (1923 – March 1995) was an American figurative painter and arts educator. Beauchamp's paintings and drawings are known for depicting dramatic creatures and figures with expressionistic colors. His work was described in the New York Times as being «both frightening and amusing,».He was a Guggenheim Fellow and a student of Hans Hofmann.Beauchamp described his drawings as painterly, seeking the spontaneity in an image. He would develop a drawing then a painting, and vice versa. His heavily impastoed paintings, often described as sculptures themselves, came from the pouring of paint from a can, with little planning and constant evolution in the medium upon the canvas. He preferred little planning to his creations, believing that an artists work would become stale and repetitive with constant planning.He also created large scale works, at times 70 inches long. Beauchamp had little intention of ever selling his large works, preferring to create them due to the slow and intense experience he received from the process. The large drawings he created on the floor, and the smaller works were created on a table. Paintings were created on either the floor or wall and he described his painting process as «splattering», «pushing the paint around,» and sponging.Animals often appear in his paintings, despite a dislike for domestic animals outside of his artistic creations. He called the characters in his paintings as Beauchamps. Some Beauchamps hold meaning, with Beauchamp rarely sharing the meaning behind the symbols and characters. He made up the creatures himself, seeking to emphasize the character of each

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Hélio Oiticica - Brazilian visual artist

«Hélio Oiticica (1937–1980) was one of the most innovative Brazilian artists of the twentieth century and is now recognised as a highly significant figure in the development of contemporary art. Oiticica produced an outstanding body of work, which had its origins in the legacy of European Modernism as it developed in Brazil in the 1950s. But his unique and radical investigations led Oiticica to develop his artistic production in ever more inventive directions.
Through his work he was to challenge the traditional boundaries of art, and its relationship with life, and to undermine the separation of the art-object from the viewer, whom he turned into an active participant. Among Oiticica’s most original achievements was his inventive and uncompromising use of colour.
This exhibition explores the dimension of colour as a vital focus of his work, from his early career onwards. It includes several related series of works which unfold in sequence, showing the conceptual and technical processes that led to the artist’s liberation of colour from the twodimensional realm of painting out into space, to be walked around and through, looked into, manipulated, inhabited and experienced. Oiticica emerged as an artist during a period of optimism in Brazil, before the utopian dream of a modern society was thwarted by the oppressive military regime in the 1960s. In the cultural sphere this period saw many new developments: the instigation of progressive architectural projects by Lúcio Costa, Oscar Niemeyer and others; important innovations in the worlds of avant-garde film, music, poetry, theatre and choreography; the establishment of the international Sao Paulo Biennale; and the founding of museums of modern art in both Rio de Janeiro and Sao Paulo....»

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Paintings For Order


Dear friends. I am professional artist with many years of experience. I would like to offer you unique opportunity of having a painting, made according to your individual wishes. Oils, watercolours, graphics, portraits or decorative motives, small or large- your involvement in creating of art will make your interiors very special. To ensure highest standard and unique nature of my art  I use only traditional techniques and methods..Milena Olesinska

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