1.
Art history
–
Art history is the study of objects of art in their historical development and stylistic contexts, i. e. genre, design, format, and style. This includes the arts of painting, sculpture, and architecture as well as the minor arts of ceramics, furniture. As a term, art history encompasses several methods of studying the arts, in common usage referring to works of art. One branch of this area of study is aesthetics, which includes investigating the enigma of the sublime, technically, art history is not these things, because the art historian uses historical method to answer the questions, How did the artist come to create the work. Who were his or her teachers, who were his or her disciples. What historical forces shaped the artists oeuvre, and How did he or she and the creation, in turn, affect the course of artistic, political, and social events. It is, however, questionable whether many questions of this kind can be answered satisfactorily without also considering basic questions about the nature of art, unfortunately the current disciplinary gap between art history and the philosophy of art often hinders this inquiry. Art history is not only a biographical endeavor, Art historians often root their studies in the scrutiny of individual objects. They thus attempt to answer in historically specific ways, questions such as, what meaning did this object convey. Did the artist meet their goals well, the historical backbone of the discipline is a celebratory chronology of beautiful creations commissioned by public or religious bodies or wealthy individuals in western Europe. Such a canon remains prominent, as indicated by the selection of objects present in art history textbooks, nonetheless, since the 20th century there has been an effort to re-define the discipline to be more inclusive of non-Western art, art made by women, and vernacular creativity. Art history as we know it in the 21st century began in the 19th century but has precedents that date to the ancient world, advances in photographic reproduction and printing techniques after World War II increased the ability of reproductions of artworks. Such technologies have helped to advance the discipline in profound ways, the study of visual art thus described, can be a practice that involves understanding context, form, and social significance. Art historians employ a number of methods in their research into the ontology, Art historians often examine work in the context of its time. In short, this approach examines the work of art in the context of the world within which it was created, Art historians also often examine work through an analysis of form, that is, the creators use of line, shape, color, texture, and composition. This approach examines how the artist uses a picture plane or the three dimensions of sculptural or architectural space to create his or her art. The way these individual elements are employed results in representational or non-representational art, is the artist imitating an object or image found in nature. The closer the art hews to perfect imitation, the more the art is realistic, is the artist not imitating, but instead relying on symbolism, or in an important way striving to capture natures essence, rather than copy it directly
Art history
–
Venus de Milo on display at the
Louvre.
Art history
–
History of art
Art history
–
Giorgio Vasari,
Self-portrait c.1567
Art history
–
Anton von Maron, Portrait of
Johann Joachim Winckelmann, 1768
2.
Expressionism
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Expressionism was a modernist movement, initially in poetry and painting, originating in Germany at the beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective, Expressionist artists sought to express the meaning of emotional experience rather than physical reality. Expressionism was developed as an avant-garde style before the First World War and it remained popular during the Weimar Republic, particularly in Berlin. The style extended to a range of the arts, including expressionist architecture, painting, literature, theatre, dance, film. The term is sometimes suggestive of angst, in a general sense, painters such as Matthias Grünewald and El Greco are sometimes termed expressionist, though in practice the term is applied mainly to 20th-century works. The Expressionist emphasis on individual perspective has been characterized as a reaction to positivism, though an alternate view is that the term was coined by the Czech art historian Antonin Matějček in 1910, as the opposite of impressionism, An Expressionist wishes, above all, to express himself. Immediate perception and builds on more complex psychic structures, in 1905, a group of four German artists, led by Ernst Ludwig Kirchner, formed Die Brücke in the city of Dresden. This was arguably the founding organization for the German Expressionist movement, a few years later, in 1911, a like-minded group of young artists formed Der Blaue Reiter in Munich. The name came from Wassily Kandinskys Der Blaue Reiter painting of 1903, among their members were Kandinsky, Franz Marc, Paul Klee, and Auguste Macke. However, the term Expressionism did not firmly establish itself until 1913, though mainly a German artistic movement initially and most predominant in painting, poetry and the theatre between 1910–30, most precursors of the movement were not German. Expressionism is notoriously difficult to define, in part because it overlapped with other major isms of the modernist period, with Futurism, Vorticism, Cubism, Surrealism, more explicitly, that the expressionists rejected the ideology of realism. The term refers to a style in which the artist seeks to depict not objective reality but rather the subjective emotions. It is arguable that all artists are expressive but there are examples of art production in Europe from the 15th century onward which emphasize extreme emotion. Expressionism has been likened to Baroque by critics such as art historian Michel Ragon, according to Alberto Arbasino, a difference between the two is that Expressionism doesnt shun the violently unpleasant effect, while Baroque does. Expressionism throws some terrific fuck yous, Baroque doesnt, brazil, Anita Malfatti, Cândido Portinari, Di Cavalcanti, Iberê Camargo and Lasar Segall. Estonia, Konrad Mägi, Eduard Wiiralt Finland, Tyko Sallinen, Alvar Cawén, Juho Mäkelä, there were a number of groups of expressionist painters, including Der Blaue Reiter and Die Brücke. Der Blaue Reiter was based in Munich and Die Brücke was based originally in Dresden, Die Brücke was active for a longer period than Der Blaue Reiter, which was only together for a year. The Expressionists had many influences, among them Edvard Munch, Vincent van Gogh and they were also aware of the work being done by the Fauves in Paris, who influenced Expressionisms tendency toward arbitrary colours and jarring compositions
Expressionism
–
The Scream by
Edvard Munch (1893), which inspired 20th-century Expressionists
Expressionism
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Portrait of Eduard Kosmack by
Egon Schiele
Expressionism
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"View of Toledo" by
El Greco, 1595/1610 has been indicated to have a particularly striking resemblance to 20th-century expressionism. Historically however it is an example of
Mannerism. [
citation needed]
Expressionism
–
Wassily Kandinsky, On White II, 1923
3.
Les Fauves
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While Fauvism as a style began around 1900 and continued beyond 1910, the movement as such lasted only a few years, 1904–1908, and had three exhibitions. The leaders of the movement were Henri Matisse and André Derain, the paintings of the Fauves were characterized by seemingly wild brush work and strident colors, while their subject matter had a high degree of simplification and abstraction. Fauvism can be classified as a development of Van Goghs Post-Impressionism fused with the pointillism of Seurat and other Neo-Impressionist painters. Other key influences were Paul Cézanne and Paul Gauguin, whose employment of areas of saturated color—notably in paintings from Tahiti—strongly influenced Derains work at Collioure in 1905, in 1888 Gauguin had said to Paul Sérusier, How do you see these trees. So, put in yellow, this shadow, rather blue, paint it with pure ultramarine, Fauvism can also be seen as a mode of Expressionism. Moreaus broad-mindedness, originality and affirmation of the potency of pure color was inspirational for his students. Matisse said of him, He did not set us on the right roads and this source of empathy was taken away with Moreaus death in 1898, but the artists discovered other catalysts for their development. In 1896, Matisse, then an art student, visited the artist John Peter Russell on the island of Belle Île off the coast of Brittany. The next year he returned as Russells student and abandoned his earth-colored palette for bright Impressionist colors, later stating, Russell was my teacher, Russell had been a close friend of Vincent van Gogh and gave Matisse a Van Gogh drawing. In parallel with the discovery of contemporary avant-garde art came an appreciation of pre-Renaissance French art. Another aesthetic influence was African sculpture, of which Vlaminck, Derain, many of the Fauve characteristics first cohered in Matisses painting, Luxe, Calme et Volupté, which he painted in the summer of 1904, whilst in Saint-Tropez with Paul Signac and Henri-Edmond Cross. The artists shared their first exhibition at the 1905 Salon dAutomne, Henri Rousseau was not a Fauve, but his large jungle scene The Hungry Lion Throws Itself on the Antelope was exhibited near Matisses work and may have had an influence on the pejorative used. Vauxcelles comment was printed on 17 October 1905 in Gil Blas, a daily newspaper, the pictures gained considerable condemnation—A pot of paint has been flung in the face of the public, wrote the critic Camille Mauclair —but also some favorable attention. Matisses Neo-Impressionist landscape, Luxe, Calme et Volupté, had already exhibited at the Salon des Indépendants in the spring of 1905. Art history History of painting Neo-Fauvism Visual arts Western painting Gerdts, the Color of Modernism, The American Fauves. Spivey, Virginia, Fauvism, Smarthistory at Khan Academy Whitfield, Fauve Painting from the Permanent Collection at the National Gallery of Art Fauvism, The Wild Beasts of Early Twentieth Century Art Rewald, Sabine. New York, The Metropolitan Museum of Art Gelett Burgess, The Wild Men of Paris, Matisse, Picasso and Les Fauves,1910
Les Fauves
–
Henri Matisse, Portrait of Madame Matisse (The
Green Stripe), 1906,
Statens Museum for Kunst,
Copenhagen, Denmark
Les Fauves
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Press clipping, Les Fauves: Exhibition at the
Salon d'Automne, in L'Illustration, 4 November 1905
Les Fauves
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Henri Matisse.
Woman with a Hat, 1905.
San Francisco Museum of Modern Art.
Les Fauves
–
Henri Matisse,
Luxe, Calme et Volupté, 1904, oil on canvas, 98 x 118.5 cm,
Musée d'Orsay, Paris, France
4.
Der Blaue Reiter
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Der Blaue Reiter was a group of artists united in rejection of the Neue Künstlervereinigung München in Munich, Germany. They considered that the principles of the Neue Künstlervereinigung München, a group Kandinsky had founded in 1909, had become too strict, Der Blaue Reiter was an art movement lasting from 1911 to 1914, fundamental to Expressionism, along with Die Brücke which was founded in 1905. Der Blaue Reiter lacked an artistic manifesto, but it was centered on Kandinsky, Kandinsky wrote 20 years later that the name is derived from Marcs enthusiasm for horses and Kandinskys love of riders, combined with a shared love of the colour blue. For Kandinsky, blue is the colour of spirituality, the darker the blue, within the group, artistic approaches and aims varied from artist to artist, however, the artists shared a common desire to express spiritual truths through their art. They believed in the promotion of art, the connection between visual art and music, the spiritual and symbolic associations of colour, and a spontaneous. Members were interested in European medieval art and primitivism, as well as the contemporary, as a result of their encounters with cubist, fauvist and Rayonist ideas, they moved towards abstraction. Der Blaue Reiter organized exhibitions in 1911 and 1912 that toured Germany and they also published an almanac featuring contemporary, primitive and folk art, along with childrens paintings. In 1913 they exhibited in the first German Herbstsalon, the group was disrupted by the outbreak of the First World War in 1914. Franz Marc and August Macke were killed in combat, Wassily Kandinsky, Marianne von Werefkin and Alexej von Jawlensky were forced to move back to Russia because of their Russian citizenship. There were also differences in opinion within the group, as a result, Der Blaue Reiter was short-lived, lasting for only three years from 1911 to 1914. Supported by their dealer Galka Scheyer, Kandinsky, Feininger, Klee, together they exhibited and lectured together in the United States from 1924 on. An extensive collection of paintings by Der Blaue Reiter is exhibited in the Städtische Galerie in the Lenbachhaus in Munich. Conceived in June 1911, Der Blaue Reiter Almanach was published in early 1912, by Piper, Munich, in an edition of 1100 copies, on 11 May, Franz Marc received a first print. The volume was edited by Kandinsky and Marc, its costs were underwritten by the industrialist and art collector Bernhard Koehler and it contained reproductions of more than 140 artworks, and 14 major articles. A second volume was planned, but the start of World War I prevented it, instead, a second edition of the original was printed in 1914, again by Piper. The art reproduced in the Almanac marked a turn away from a Eurocentric. The five works by Van Gogh, Cézanne, and Gauguin were outnumbered by seven from Henri Rousseau and thirteen from child artists. From January 1912 through July 1914, the exhibition toured Europe with venues in Cologne, Berlin, Bremen, Hagen, Frankfurt, Hamburg, Budapest, Oslo, Helsinki, Trondheim and Göteborg
Der Blaue Reiter
–
Wassily Kandinsky, cover of Der Blaue Reiter almanac, c.1912
Der Blaue Reiter
–
Franz Marc, Blue Horse I, 1911
Der Blaue Reiter
–
Wassily Kandinsky, Der Blaue Reiter, 1903
Der Blaue Reiter
–
100th anniversary postage stamp, Germany (2012)
5.
James Ensor
–
James Sidney Edouard, Baron Ensor was a Belgian painter and printmaker, an important influence on expressionism and surrealism who lived in Ostend for almost his entire life. He was associated with the artistic group Les XX, Ensors father, James Frederic Ensor, born in Brussels of English parents, was a cultivated man who studied engineering in England and Germany. Ensors mother, Maria Catherina Haegheman, was Belgian, Ensor himself lacked interest in academic study and left school at the age of fifteen to begin his artistic training with two local painters. From 1877 to 1880, he attended the Académie Royale des Beaux-Arts in Brussels, Ensor first exhibited his work in 1881. From 1880 until 1917, he had his studio in the attic of his parents house and his travels were very few, three brief trips to France and two to the Netherlands in the 1880s, and a four-day trip to London in 1892. In 1895 his painting The Lamp Boy was acquired by the Royal Museums of Fine Arts of Belgium in Brussels, against the advice of friends, he remained in Ostend during World War II despite the risk of bombardment. In his old age he was a figure among Belgians. He died there after an illness, on 19 November 1949. While Ensors early works, such as Russian Music and The Drunkards, depict scenes in a somber style, his palette subsequently brightened. Such paintings as The Scandalized Masks and Skeletons Fighting over a Hanged Man feature figures in grotesque masks inspired by the ones sold in his mothers gift shop for Ostends annual Carnival. Subjects such as carnivals, masks, puppetry, skeletons, Ensor dressed skeletons up in his studio and arranged them in colorful, enigmatic tableaux on the canvas, and used masks as a theatrical aspect in his still lifes. Attracted by masks plastic forms, bright colors, and potential for psychological impact, the four years between 1888 and 1892 mark a turning point in Ensors work. Ensor turned to themes, often the torments of Christ. Ensor interpreted religious themes as a personal disgust for the inhumanity of the world, in 1888 alone, he produced forty-five etchings as well as his most ambitious painting, the immense Christs Entry Into Brussels in 1889. Also known as Entry of Christ into Brussels, it is considered a forerunner of twentieth-century Expressionism, in this composition, which elaborates a theme treated by Ensor in his drawing Les Aureoles du Christ of 1885, a vast carnival mob in grotesque masks advances toward the viewer. Identifiable within the crowd are Belgian politicians, historical figures, nearly lost amid the teeming throng is Christ on his donkey, although Ensor was an atheist, he identified with Christ as a victim of mockery. The piece, which measures 99½ by 169½ inches, was rejected by Les XX and was not publicly displayed until 1929, after its controversial export in the 1960s, the painting is now at the J. Paul Getty Museum in Los Angeles. As Ensor achieved belated recognition in the years of the 19th century, his style softened
James Ensor
–
Portrait of James Ensor by
Henry De Groux, 1907
James Ensor
–
The Rower, 1883, oil on canvas, 79 x 99 cm, Koninklijk Museum voor Schone Kunsten, Antwerp
James Ensor
–
Ensor in front of "Entry of Christ into Brussels" in his house in Ostend, 1940's, photo by
Albert Lilar
James Ensor
–
Death mask of James Ensor
6.
Edvard Munch
–
One of his best known works is The Scream of 1893. Edvard Munch was born in a farmhouse in the village of Ådalsbruk in Løten, United Kingdoms of Sweden and Norway, to Laura Catherine Bjølstad and Christian Munch, Christian was a doctor and medical officer who married Laura, a woman half his age, in 1861. Edvard had a sister, Johanne Sophie, and three younger siblings, Peter Andreas, Laura Catherine, and Inger Marie. Both Sophie and Edvard appear to have inherited their artistic talent from their mother, Edvard Munch was related to painter Jacob Munch and historian Peter Andreas Munch. The family moved to Christiania in 1864 when Christian Munch was appointed medical officer at Akershus Fortress, Edvards mother died of tuberculosis in 1868, as did Munchs favorite sister Johanne Sophie in 1877. After their mothers death, the Munch siblings were raised by their father, often ill for much of the winters and kept out of school, Edvard would draw to keep himself occupied. He was tutored by his mates and his aunt. Christian Munch also instructed his son in history and literature, and entertained the children with vivid ghost-stories, as Edvard remembered it, Christians positive behavior toward his children was overshadowed by his morbid pietism. Munch wrote, My father was temperamentally nervous and obsessively religious—to the point of psychoneurosis, from him I inherited the seeds of madness. The angels of fear, sorrow, and death stood by my side since the day I was born, Christian reprimanded his children by telling them that their mother was looking down from heaven and grieving over their misbehavior. The oppressive religious milieu, plus Edvards poor health and the vivid ghost stories, helped inspire his macabre visions and nightmares, one of Munchs younger sisters, Laura, was diagnosed with mental illness at an early age. Of the five siblings, only Andreas married, but he died a few months after the wedding, Munch would later write, I inherited two of mankinds most frightful enemies—the heritage of consumption and insanity. Christian Munchs military pay was low, and his attempts to develop a private side practice failed, keeping his family in genteel. They moved frequently from one flat to another. Munchs early drawings and watercolors depicted these interiors, and the objects, such as medicine bottles and drawing implements. By his teens, art dominated Munchs interests, at thirteen, Munch had his first exposure to other artists at the newly formed Art Association, where he admired the work of the Norwegian landscape school. He returned to copy the paintings, and soon he began to paint in oils, in 1879, Munch enrolled in a technical college to study engineering, where he excelled in physics, chemistry and math. He learned scaled and perspective drawing, but frequent illnesses interrupted his studies, the following year, much to his fathers disappointment, Munch left the college determined to become a painter
Edvard Munch
–
A photograph of Munch.
Edvard Munch
–
The Scream (1893)
Edvard Munch
–
Self Portrait with Skeleton Arm, 1895
Edvard Munch
–
Edvard Munch 1902
7.
Vincent van Gogh
–
Vincent Willem van Gogh was a Dutch Post-Impressionist painter who is among the most famous and influential figures in the history of Western art. In just over a decade he created about 2,100 artworks, including around 860 oil paintings and his suicide at 37 followed years of mental illness and poverty. Born into a family, Van Gogh drew as a child and was serious, quiet. As a young man he worked as an art dealer, often travelling and he turned to religion, and spent time as a Protestant missionary in southern Belgium. He drifted in ill health and solitude before taking up painting in 1881 and his younger brother Theo supported him financially, and the two kept up a long correspondence by letter. His early works, mostly still lifes and depictions of peasant labourers, in 1886 he moved to Paris, where he met members of the avant-garde, including Émile Bernard and Paul Gauguin, who were reacting against the Impressionist sensibility. As his work developed he created a new approach to still lifes and his paintings grew brighter in colour as he developed a style that became fully realised during his stay in Arles in the south of France in 1888. During this period he broadened his subject matter to include trees, cypresses, wheat fields. Van Gogh suffered from episodes and delusions and though he worried about his mental stability, he often neglected his physical health, did not eat properly. His friendship with Gauguin ended after a confrontation with a razor and he spent time in psychiatric hospitals, including a period at Saint-Rémy. After he discharged himself and moved to the Auberge Ravoux in Auvers-sur-Oise near Paris and his depression continued and on 27 July 1890, Van Gogh shot himself in the chest with a revolver. He died from his injuries two days later, Van Gogh was unsuccessful during his lifetime, and was considered a madman and a failure. He became famous after his suicide, and exists in the imagination as the quintessential misunderstood genius. His reputation began to grow in the early 20th century as elements of his style came to be incorporated by the Fauves. The most comprehensive source on Van Gogh is the correspondence between him and his younger brother, Theo. Their lifelong friendship, and most of what is known of Vincents thoughts, Theo van Gogh was an art dealer and provided his brother with financial and emotional support, and access to influential people on the contemporary art scene. Theo kept all of Vincents letters to him, Vincent kept few of the letters he received, after both had died, Theos widow Johanna arranged for the publication of some of their letters. A few appeared in 1906 and 1913, the majority were published in 1914, Vincents letters are eloquent and expressive and have been described as having a diary-like intimacy, and read in parts like autobiography
Vincent van Gogh
–
Self-Portrait, Spring 1887, Oil on pasteboard, 42 × 33.7 cm.,
Art Institute of Chicago (F 345)
Vincent van Gogh
–
Vincent c. 1871-1872 aged 18. This photograph was taken at the time when he was working at the branch of
Goupil & Cie 's gallery in
The Hague.
Vincent van Gogh
–
Vincent c. 1866, approx. age 13
Vincent van Gogh
–
Van Gogh's drawing of
87 Hackford Road
8.
MOCAD
–
The Museum of Contemporary Art Detroit or MOCAD is a non-collecting contemporary art museum located in Detroits cultural center. The mission of the Museum of Contemporary Art Detroit is, MOCAD is where adventurous minds encounter the best in contemporary visual, literary, music and performing arts. A responsive center for diverse audiences, MOCAD presents art that contextualizes, interprets, educates and expands culture, MOCAD is housed in a 22, 000-square-foot building, a converted former auto dealership designed by architect Andrew Zago. The architecture is intentionally raw and unfinished, mOCADs exhibition history dates to the opening of its first exhibition Meditations in an Emergency on October 28,2006. It was curated by Klaus Kertess, and included work by Tabaimo, Kara Walker, Nari Ward and their third exhibition, which ran until July 2007 was titled Stuff, The International Collection of Burt Aaron. It was an exhibit of the collection of renowned Michigan collector Burt Aaron. Other past Exhibitions Include, Words Fail Me, considering DETROIT and considering ARCHITECTURE, SUSTAINABLE DESIGNS FROM DETROIT. Becoming, Photographs from the Wedge Collection, I Repeat Myself When Under Stress. Curated by Thomas Trummer and Trevor Smith, jesper Just | With Mixed Emotions. Art Spiegelman, Portrait of the Artist As a Young %@&*, curated by Elizabeth Brown, Chief Curator at the Henry Art Gallery. Christian Marclay, The Sounds of Christmas, joshua White and Gary Panter’s Light Show. In the years since its doors opened MOCAD has already developed a rich history, MOCAD hosts musical, literary and artistic events throughout the year. More recent events include the screening of films from Prelinger Archives, Lost Landscapes of Detroit and Love Sick, with a wide range of special programs and events, the Museum of Contemporary Art Detroit maintains the interest of an eclectic community. This fee is offered on a scale, which allows the public to “pay what they can” to support the Museum. Members, students and children under the age of 12 will continue to receive free admission, admission into public programs and other special events may vary
MOCAD
–
Architecture
9.
Ironically
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Irony, in its broadest sense, is a rhetorical device, literary technique, or event in which what appears, on the surface, to be the case, differs radically from what is actually the case. Irony may be divided into such as verbal, dramatic. Verbal, dramatic, and situational irony are often used for emphasis in the assertion of a truth, other forms, as identified by historian Connop Thirlwall, include dialectic and practical irony. Also, Eric Partridge, in Usage and Abusage, writes that Irony consists in stating the contrary of what is meant, the use of irony may require the concept of a double audience. The term is used as a synonym for incongruous and applied to every trivial oddity in situations where there is no double audience. The American Heritage Dictionarys secondary meaning for irony, incongruity between what might be expected and what actually occurs and this sense, however, is not synonymous with incongruous but merely a definition of dramatic or situational irony. It is often included in definitions of irony not only that incongruity is present, according to the Encyclopædia Britannica, The term irony has its roots in the Greek comic character Eiron, a clever underdog who by his wit repeatedly triumphs over the boastful character Alazon. The Socratic irony of the Platonic dialogues derives from this comic origin. e, the word came into English as a figure of speech in the 16th century as similar to the French ironie. It derives from the Latin ironia and ultimately from the Greek εἰρωνεία eirōneía, meaning dissimulation, Romantic irony, A self-aware and self-critical form of fiction. Cosmic irony, A contrast between the absolute and the relative, the general and the individual, which Hegel expressed by the phrase, when the audience knows that the character will die before morning. It is most often used when the author causes a character to speak or act erroneously, in tragic irony, the audience knows the character is making a mistake, even as the character is making it. Verbal irony is distinguished from situational irony and dramatic irony in that it is produced intentionally by speakers, for instance, if a man exclaims, Im not upset. But reveals an upset emotional state through his voice while truly trying to claim hes not upset, but if the same speaker said the same words and intended to communicate that he was upset by claiming he was not, the utterance would be verbal irony. This distinction illustrates an important aspect of verbal irony—speakers communicate implied propositions that are contradictory to the propositions contained in the words themselves. Were left in no doubt as to whos ambitious and whos honourable, the literal truth of whats written clashes with the perceived truth of whats meant to revealing effect, which is irony in a nutshell. Ironic similes are a form of verbal irony where a speaker intends to communicate the opposite of what they mean, a fair amount of confusion has surrounded the issue of the relationship between verbal irony and sarcasm. Fowlers A Dictionary of Modern English Usage states, Sarcasm does not necessarily involve irony and irony has often no touch of sarcasm and this suggests that the two concepts are linked but may be considered separately. 2 a, a mode of satirical wit depending for its effect on bitter, caustic, the psychologist Martin, in The Psychology of Humour, is quite clear that irony is where the literal meaning is opposite to the intended and sarcasm is aggressive humor that pokes fun
Ironically
–
A
stop sign ironically defaced with a plea not to deface stop signs.
Ironically
–
A "No smoking" sign surrounded by images of a smoking
Sherlock Holmes at
Baker Street tube station
10.
Abstraction
–
An abstraction is the product of this process — a concept that acts as a super-categorical noun for all subordinate concepts, and connects any related concepts as a group, field, or category. Conceptual abstractions may be formed by filtering the information content of a concept or an observable phenomenon, in a type–token distinction, a type is more abstract than its tokens. Abstraction in its use is a material process, discussed in the themes below. Its development is likely to have been connected with the development of human language. Abstraction involves induction of ideas or the synthesis of particular facts into one theory about something. It is the opposite of specification, which is the analysis or breaking-down of an idea or abstraction into concrete facts. Thales believed that everything in the universe comes from one main substance and he deduced or specified from a general idea, everything is water, to the specific forms of water such as ice, snow, fog, and rivers. Modern scientists can use the opposite approach of abstraction, or going from particular facts collected into one general idea. This conceptual scheme emphasizes the inherent equality of both constituent and abstract data, thus avoiding problems arising from the distinction between abstract and concrete, in this sense the process of abstraction entails the identification of similarities between objects, and the process of associating these objects with an abstraction. For example, picture 1 below illustrates the concrete relationship Cat sits on Mat, for example, graph 1 below expresses the abstraction agent sits on location. This conceptual scheme entails no specific hierarchical taxonomy, only a progressive exclusion of detail, things that do not exist at any particular place and time are often considered abstract. By contrast, instances, or members, of such a thing might exist in many different places and times. Those abstract things are said to be multiply instantiated, in the sense of picture 1, picture 2. It is not sufficient, however, to abstract ideas as those that can be instantiated. Although the concepts cat and telephone are abstractions, they are not abstract in the sense of the objects in graph 1 below, perhaps confusingly, some philosophies refer to tropes as abstract particulars — e. g. the particular redness of a particular apple is an abstract particular. This is similar to qualia and sumbebekos, karl Marxs writing on the commodity abstraction recognizes a parallel process. The state as both concept and material practice exemplifies the two sides of this process of abstraction, conceptually, the current concept of the state is an abstraction from the much more concrete early-modern use as the standing or status of the prince, his visible estates. At the same time, materially, the practice of statehood is now constitutively and materially more abstract than at the time when princes ruled as the embodiment of extended power and that difference accounts for the ontological usefulness of the word abstract
Abstraction
–
Cat on Mat (picture 1)
11.
Figurative art
–
However, abstract is sometimes used as a synonym for non-representational art and non-objective art, i. e. art which has no derivation from figures or objects. Figurative art is not synonymous with figure painting, although human, the difference is that in figurative art these elements are deployed to create an impression or illusion of form and space, and, usually, to create emphasis in the narrative portrayed. Figurative art is based upon a tacit understanding of abstracted shapes. Eventually idealization gave way to observation, and an art which balanced ideal geometry with greater realism was seen in Classical sculpture by 480 B. C. The Greeks referred to the reliance on visual observation as mimesis, until the time of the Impressionists, figurative art was characterized by attempts to reconcile these opposing principles. From the early Renaissance, Mannerism and the Baroque through 18th-, 19th- and he was a major inspiration for such classically oriented artists as Jacques-Louis David, Jean-Auguste-Dominique Ingres and Paul Cézanne. Abstract art Illustration Narrative art Neofigurative Art Realism Stuckism
Figurative art
–
Ein Meerhafen ("A Seaport"), a figurative landscape by the Austrian artist
Johann Anton Eismann (1604–1698), which depicts buildings, people, ships, and other features that can be distinguished individually; by contrast, the abstract landscape below suggests its subject matter without directly representing figures
Figurative art
–
Untitled
abstract expressionist landscape by the American artist
Jay Meuser (1911–1963)
Figurative art
–
Nude study (1896) by
Kenyon Cox, an advocate of figurative art
Figurative art
–
Jacques-Louis David.
Oath of the Horatii, 1786
12.
Prominence
–
It is a measure of the independence of a summit. A peaks key col is a point on this contour line. By convention, the prominence of Mount Everest, the Earths highest mountain, is taken to equal the elevation of its summit above sea level, if the peaks prominence is P metres, to get from the summit to any higher terrain one must descend at least P metres. Together with the convention for Mount Everest, this implies that the prominence of any island or continental highpoint is equal to its elevation above sea level, for every ridge connecting the peak to higher terrain, find the lowest point on the ridge. The key col is defined as the highest of these cols, the prominence is the difference between the elevation of the peak and the elevation of the key col. The following mental exercise may illustrate the meaning of topographic prominence, imagine you are standing at the top of a peak and imagine that an imaginary sea level rises to your feet. Now slowly lower the sea level and an imaginary island appears beneath your feet. Your island will grow and will merge with other islands that emerge, the parent peak may be either close or far from the subject peak. The summit of Mount Everest is the parent peak of Aconcagua at a distance of 17,755 km, the key col may also be close or far from the subject peak. The key col for Aconcagua is the Bering Strait at a distance of 13,655 km, the key col for the South Summit of Mount Everest is about 100 m distant. Prominence is interesting to many mountaineers because it is a measurement that is strongly correlated with the subjective significance of a summit. Peaks with low prominences are either subsidiary tops of some higher summit or relatively insignificant independent summits, peaks with high prominences tend to be the highest points around and are likely to have extraordinary views. Only summits with a sufficient degree of prominence are regarded as independent mountains, for example, the worlds second-highest mountain is K2. While Mount Everests South Summit is taller than K2, it is not considered an independent mountain because it is a subsummit of the main summit, many lists of mountains take topographic prominence as a criterion for inclusion, or cutoff. John and Anne Nuttalls The Mountains of England and Wales uses a cutoff of 15 m, in the contiguous United States, the famous list of fourteeners uses a cutoff of 300 ft /91 m. Also in the U. S.2000 feet of prominence has become a threshold that signifies that a peak has major stature. This generates lists of peaks ranked by prominence, which are different from lists ranked by elevation. Such lists tend to emphasize isolated high peaks, such as range or island high points, one advantage of a prominence-ranked list is that it needs no cutoff, since a peak with high prominence is automatically an independent peak
Prominence
–
Figure 3. Diagram of a mountain range showing peaks and cols, from which mountain parentage and prominences can be determined.
Prominence
–
Figure 1. Vertical arrows show the topographic prominence of three peaks on an island. The dotted horizontal lines show the lowest contours that do not encircle higher peaks.
13.
Myth
–
A myth is any traditional story consisting of events that are ostensibly historical, though often supernatural, explaining the origins of a cultural practice or natural phenomenon. The word myth is derived from the Greek word mythos, which means story. Mythology can refer either to the study of myths, or to a body or collection of myths, myth can mean sacred story, traditional narrative or tale of the gods. A myth can also be a story to explain why something exists, human cultures usually include a cosmogonical or creation myth, concerning the origins of the world, or how the world came to exist. The active beings in myths are generally gods and goddesses, heroes and heroines, or animals, most myths are set in a timeless past before recorded time or beginning of the critical history. A myth can be a story involving symbols that are capable of multiple meanings, a myth is a sacred narrative because it holds religious or spiritual significance for those who tell it. Myths also contribute to and express a cultures systems of thought and values, myths are often therefore stories that are currently understood as being exaggerated or fictitious. According to Albert A. Anderson, a professor of philosophy, in these works, the term had several meanings, conversation, narrative, speech, story, tale, and word. Like the related term logos, mythos expresses whatever can be delivered in the form of words, Anderson contrasts the two terms with ergon, a Greek term for action, deed, and work. The term mythos lacks an explicit distinction between true or false narratives, in the context of the Theatre of ancient Greece, the term mythos referred to the myth, the narrative, the plot, and the story of a theatrical play. According to David Wiles, the Greek term mythos in this era covered an entire spectrum of different meanings, from undeniable falsehoods to stories with religious, according to philosopher Aristotle, the spirit of a theatrical play was its mythos. The term mythos was also used for the material of Greek tragedy. The tragedians of the era could draw inspiration from Greek mythology, David Wiles observes that modern conceptions about Greek tragedy can be misleading. It is commonly thought that the ancient audience members were familiar with the mythos behind a play. However, the Greek dramatists were not expected to faithfully reproduce traditional myths when adapting them for the stage and they were instead recreating the myths and producing new versions. Storytellers like Euripides relied on suspense to excite their audiences, in one of his works, Merope attempts to kill her sons murderer with an axe, unaware that the man in question is actually her son. According to an ancient description of reactions to this work. They rose to their feet in terror and caused an uproar, David Wiles points that the traditional mythos of Ancient Greece, was primarily a part of its oral tradition
Myth
–
Prometheus (1868) by
Gustave Moreau. In the mythos of
Hesiodus and possibly
Aeschylus (the
Greek trilogy
Prometheus Bound,
Prometheus Unbound and
Prometheus Pyrphoros), Prometheus is bound and tortured for giving fire to humanity at its creation.
Myth
–
1929
Belgian banknote, depicting
Ceres,
Neptune and
caduceus.
Myth
–
Fu Xi and
Nüwa represented as half-snake, half-human creatures
14.
Spirituality
–
Modern spirituality typically includes a belief in a supernatural realm, personal growth, a quest for an ultimate/sacred meaning, religious experience, or an encounter with ones own inner dimension. The meaning of spirituality has developed and expanded over time, the term spirituality originally developed within early Christianity, referring to a life oriented toward the Holy Spirit. The term spirit means animating or vital principle in man and animals and it is derived from the Old French espirit which comes from the Latin word spiritus and is related to spirare. In the Vulgate the Latin word spiritus is used to translate the Greek pneuma, the term spiritual, matters concerning the spirit, is derived from Old French spirituel, which is derived from Latin spiritualis, which comes from spiritus or spirit. The term spirituality is derived from Middle French spiritualité, from Late Latin spiritualitatem, there is no single, widely agreed definition of spirituality. A survey of reviews by McCarroll e. a. dealing with the topic of spirituality gave twenty-seven explicit definitions and this causes some difficulty in trying to study spirituality systematically, i. e. it impedes both understanding and the capacity to communicate findings in a meaningful fashion. To accomplish this, the re-formation is oriented at a mold, which represents the shape, in Judaism the Torah, in Christianity there is Christ, for Buddhism, Buddha. Houtman and Aupers suggest that modern spirituality is a blend of humanistic psychology, mystical and esoteric traditions, Spirituality is sometimes associated with philosophical, social, or political movements such as liberalism, feminist theology, and green politics. Some argue spirituality is intimately linked to resolving mental health issues, managing substance abuse, marital functioning, parenting, words translatable as spirituality first began to arise in the 5th century and only entered common use toward the end of the Middle Ages. In a Biblical context the term means being animated by God, to be driven by the Holy Spirit, in the 11th century this meaning changed. Spirituality began to denote the mental aspect of life, as opposed to the material and sensual aspects of life, in the 13th century spirituality acquired a social and psychological meaning. In the 17th and 18th century a distinction was made higher and lower forms of spirituality, A spiritual man is one who is Christian more abundantly. The word was associated with mysticism and quietism, and acquired a negative meaning. Modern notions of spirituality developed throughout the 19th and 20th century, mixing Christian ideas with westen esoteric traditions and elements of Asian, especially Indian, Spirituality became increasingly disconnected from traditional religious organisations and institutions. Ralph Waldo Emerson was a pioneer of the idea of spirituality as a distinct field, the Transcendentalists emphasised an intuitive, experiential approach of religion. Following Schleiermacher, an individuals intuition of truth was taken as the criterion for truth, in the late 18th and early 19th century, the first translations of Hindu texts appeared, which were also read by the Transcendentalists, and influenced their thinking. A major influence on modern spirituality was the Theosophical Society, which searched for secret teachings in Asian religions and it aims to present Hinduism as a homogenized ideal of Hinduism with Advaita Vedanta as its central doctrine. Due to the colonisation of Asia by the world, since the 19th century an exchange of ideas has been taking place between the western world and Asia, which also influenced western religiosity
Spirituality
–
Union with Christ is the purpose of Christian mysticism.
Spirituality
–
Jñāna marga
Spirituality
–
Bhakti marga
Spirituality
–
Rāja marga
15.
Max Weber (artist)
–
Max Weber was a Jewish-American painter and one of the first American Cubist painters who, in later life, turned to more figurative Jewish themes in his art. He is best known today for Chinese Restaurant, in the collection of the Whitney Museum of American Art, the finest canvas of his Cubist phase, in the words of art historian Avis Berman. Born in the Polish city of Białystok, then part of the Russian Empire, Weber emigrated to the United States and he studied art at the Pratt Institute in Brooklyn under Arthur Wesley Dow. Dow was an early influence on Weber as he was an enlightened and vital teacher in a time of conservative art instruction. Dow had met Paul Gauguin in Pont-Aven, was a student of Japanese art. His friends among fellow Americans included some equally adventurous young painters, such as Abraham Walkowitz, H. Lyman Sayen, avant-garde France in the years immediately before World War I was fertile and welcoming territory for Weber, then in his early twenties. He arrived in Paris in time to see a major Cézanne exhibition, meet the poet Guillaume Apollinaire, frequent Gertrude Steins salon, Rousseau gave him some of his works, others, Weber purchased. He was responsible for Rousseaus first exhibition in the United States, in 1909 he returned to New York and helped to introduce Cubism to America. He is now considered one of the most significant early American Cubists, the reviews were of an almost hysterical violence. He was attacked for his brutal, vulgar, and unnecessary art license, as art historian Sam Hunter wrote, Webers wistful, tentative Cubism provided the philistine press with their first solid target prior to the Armory Show. For a few years, Weber enjoyed a productive if rocky relationship with Stieglitz, so poor was Weber in these years that he camped out for some weeks in Stieglitzs gallery. Weber was also acquainted with Wilhelmina Weber Furlong and Thomas Furlong, whom he met at the Art Students League. Weber died in Great Neck, New York in 1961 and he was the subject of a major retrospective at the Jewish Museum in 1982. Weber evidently was a prickly personality even with his allies and he and Stieglitz had a falling-out, and Weber was not represented in the famous Armory Show because his friend, Arthur B. Davies, one of the organizers, had only allotted him space for two paintings. In a fit of pique at Davies, he withdrew entirely from the exhibition, other artists in the Stieglitz circle kept their distance, especially after Weber told people that there were only three indisputably great modern painters, Cézanne, Rousseau, and himself. Almost without exception, they found him obnoxious, opinionated, rude, in time, Webers work found more adherents, including Alfred H. Barr, Jr. the first director of the Museum of Modern Art. In 1930, the Museum of Modern Art held a retrospective of his work and he was praised as a pioneer of modern art in America in a 1945 Life magazine article
Max Weber (artist)
–
Max Weber in 1914
Max Weber (artist)
–
Summer, 1909, oil on canvas, 40 1/4 x 23 7/8 in. (102.2 x 60.6 cm),
Smithsonian American Art Museum
Max Weber (artist)
–
The Cellist, 1917, which was featured in Weber's 1930 retrospective exhibition at the Museum of Modern Art
Max Weber (artist)
–
Portrait of Abraham Walkowitz, c. 1907
16.
Marsden Hartley
–
Marsden Hartley was an American Modernist painter, poet, and essayist. Hartley was born in Lewiston, Maine, where his English parents had settled and he was the youngest of nine children. His mother died when he was eight, and his father remarried four years later to Martha Marsden and his birth name was Edmund Hartley, he later assumed Marsden as his first name when he was in his early 20s. A few years after his mothers death when Hartley was 14, his family moved to Ohio, Hartley began his art training at the Cleveland Institute of Art after his family moved to Cleveland, Ohio, in 1892. He won a scholarship to the Cleveland School of Art, in 1898, at age 22, Hartley moved to New York City to study painting at the New York School of Art under William Merritt Chase, and then attended the National Academy of Design. Hartley was an admirer of Albert Pinkham Ryder and visited his studio in Greenwich Village as often as possible. His friendship with Ryder, in addition to the writings of Walt Whitman and American transcendentalists Henry David Thoreau and Ralph Waldo Emerson, Hartley moved to an abandoned farm near Lovell, Maine, in 1908. He considered the paintings he produced there his first mature works, Hartley had his first solo exhibition at Stieglitzs 291 in 1909, and exhibited his work there again in 1912. Stieglitz also provided Hartleys introduction to European modernist painters, of whom Cézanne, Picasso, Hartley first traveled to Europe in April 1912, and he became acquainted with Gertrude Steins circle of avante-garde writers and artists in Paris. Stein, along with Hart Crane and Sherwood Anderson, encouraged Hartley to write as well as paint, in 1913, Hartley moved to Berlin, where he continued to paint and befriended the painters Wassily Kandinsky and Franz Marc. He also collected Bavarian folk art and his work during this period was a combination of abstraction and German Expressionism, fueled by his personal brand of mysticism. The earliest of his Berlin paintings were shown in the landmark 1913 Armory Show in New York, in Berlin, Hartley developed a close relationship with a Prussian lieutenant, Karl von Freyburg, who was the cousin of Hartleys friend Arnold Ronnebeck. References to Freyburg were a recurring motif in Hartleys work, most notably in Portrait of a German Officer, freyburgs subsequent death during the war hit Hartley hard, and he afterward idealized their relationship. Many scholars interpreted his work regarding Freyburg as embodying his homosexual feelings for him, Hartley finally returned to the U. S. in early 1916. He lived in Europe again from 1921 to 1930, when he moved back to the U. S. for good and he painted throughout the country, in Massachusetts, New Mexico, California, and New York. He returned to Maine in 1937, after declaring that he wanted to become the painter of Maine and this aligned Hartley with the Regionalism movement, a group of artists active from the early- to-mid 20th century that attempted to represent a distinctly American art. He continued to paint in Maine, primarily scenes around Lovell and his ashes were scattered on the Androscoggin River. In addition to being considered one of the foremost American painters of the first half of the 20th century, Hartley also wrote poems, essays and his book Twenty-five Poems was published by Robert McAlmon in Paris in 1923
Marsden Hartley
–
Marsden Hartley in 1939
Marsden Hartley
–
Young American Artists of the Modern School, L. to R.
Jo Davidson,
Edward Steichen,
Arthur B. Carles,
John Marin; back: Marsden Hartley, Laurence Fellows, c. 1911,
Bates College Museum of Art
Marsden Hartley
–
The Ice Hole, 1908,
New Orleans Museum of Art
Marsden Hartley
–
Painting No. 48, 1913,
Brooklyn Museum
17.
Milton Avery
–
Milton Clark Avery was an American modern painter. Born in Altmar, New York, he moved to Connecticut in 1898, the son of a tanner, Avery began working at a local factory at the age of 16 and supported himself for decades with a succession of blue-collar jobs. The death of his brother-in-law in 1915 left Avery, as the remaining adult male in his household. His interest in art led him to attend classes at the Connecticut League of Art Students in Hartford, in 1917, he began working night jobs in order to paint in the daytime. In 1924, he met Sally Michel, an art student. Her income as an illustrator enabled him to himself more fully to painting. The two had a daughter, March Avery, in 1932, for several years in the late 1920s through the late 1930s, Avery practiced painting and drawing at the Art Students League of New York. Roy Neuberger saw his work and thought he deserved recognition, determined to get the world to know and respect Averys work, Neuberger bought over 100 of his paintings, starting with Gaspé Landscape, and lent or donated them to museums all over the world. With the work of Milton Avery rotating through high-profile museums, he came to be a highly respected, in the 1930s, he was befriended by Adolph Gottlieb and Mark Rothko among many other artists living in New York City in the 1930s–40s. It was Rothko who wrote perhaps the most vivid summation of Averys art, the Phillips Collection in Washington, D. C. was the first museum to purchase one of Averys paintings in 1929, that museum also gave him his first solo museum exhibition in 1944. He was elected a Fellow of the American Academy of Arts, Avery was a man of few words. Why talk when you can paint and he often quipped to his wife. Their daughter, March Avery, is also a painter and he died at Montefiore Hospital in the Bronx, New York after a long illness, and is buried in the Artists Cemetery in Woodstock, Ulster County, New York. After his death in 1965, his widow, Sally Avery, donated his papers to the Archives of American Art. In 2007, the Archives optically scanned these papers and made available to researchers as the Milton Avery Papers Online. Avery was often thought of as an American Matisse, especially because of his colorful and his poetic, bold and creative use of drawing and color set him apart from more conventional painting of his era. Early in his career, his work was considered too radical for being too abstract, french Fauvism and German Expressionism influenced the style of Averys early work, and his paintings from the 1930s are similar to those of Ernst Ludwig Kirchner. By the 1940s, Avery’s painting style had more similar to Henri Matisse
Milton Avery
–
Green Sea, 1958, oil on canvas,
University of Kentucky Art Museum (
Lexington, Kentucky)
18.
Armature (sculpture)
–
In sculpture, an armature is a framework around which the sculpture is built. This framework provides structure and stability, especially when a material such as wax. When sculpting the human figure, the armature is analogous to the skeleton and has essentially the same purpose. An armature is often made of heavy, dark aluminium wire which is stiff, the wire is affixed to a base which is usually made of wood. The artist then begins fleshing out the sculpture by adding wax or clay over the wire, depending on the material and technique, the armature may be left buried within the sculpture but, if the sculpture is to be hollowed out for firing, it must1 be removed. Large representational sculptures meant for display are typically fashioned of bronze or other types of sheet metal. For example, a large armature designed by Gustave Eiffel holds up the Statue of Liberty, the armature can be seen from below by visitors to the base of the sculptures interior. An armature used in animation is an articulated metal, wire or even wooden figure covered with material to build the character. Lost wax Skeletal animation ^1 For this reason, much work for firing begins with a simple paper and/or wood armature. These materials can be removed relatively easily from finished piece while it is still fairly plastic, any paper left behind will burn out in the kiln. A metal armature would expand in the heat and burst the piece
Armature (sculpture)
–
Armature for a classical pose of a figure holding a lyre.
19.
Expressionist
–
Expressionism was a modernist movement, initially in poetry and painting, originating in Germany at the beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective, Expressionist artists sought to express the meaning of emotional experience rather than physical reality. Expressionism was developed as an avant-garde style before the First World War and it remained popular during the Weimar Republic, particularly in Berlin. The style extended to a range of the arts, including expressionist architecture, painting, literature, theatre, dance, film. The term is sometimes suggestive of angst, in a general sense, painters such as Matthias Grünewald and El Greco are sometimes termed expressionist, though in practice the term is applied mainly to 20th-century works. The Expressionist emphasis on individual perspective has been characterized as a reaction to positivism, though an alternate view is that the term was coined by the Czech art historian Antonin Matějček in 1910, as the opposite of impressionism, An Expressionist wishes, above all, to express himself. Immediate perception and builds on more complex psychic structures, in 1905, a group of four German artists, led by Ernst Ludwig Kirchner, formed Die Brücke in the city of Dresden. This was arguably the founding organization for the German Expressionist movement, a few years later, in 1911, a like-minded group of young artists formed Der Blaue Reiter in Munich. The name came from Wassily Kandinskys Der Blaue Reiter painting of 1903, among their members were Kandinsky, Franz Marc, Paul Klee, and Auguste Macke. However, the term Expressionism did not firmly establish itself until 1913, though mainly a German artistic movement initially and most predominant in painting, poetry and the theatre between 1910–30, most precursors of the movement were not German. Expressionism is notoriously difficult to define, in part because it overlapped with other major isms of the modernist period, with Futurism, Vorticism, Cubism, Surrealism, more explicitly, that the expressionists rejected the ideology of realism. The term refers to a style in which the artist seeks to depict not objective reality but rather the subjective emotions. It is arguable that all artists are expressive but there are examples of art production in Europe from the 15th century onward which emphasize extreme emotion. Expressionism has been likened to Baroque by critics such as art historian Michel Ragon, according to Alberto Arbasino, a difference between the two is that Expressionism doesnt shun the violently unpleasant effect, while Baroque does. Expressionism throws some terrific fuck yous, Baroque doesnt, brazil, Anita Malfatti, Cândido Portinari, Di Cavalcanti, Iberê Camargo and Lasar Segall. Estonia, Konrad Mägi, Eduard Wiiralt Finland, Tyko Sallinen, Alvar Cawén, Juho Mäkelä, there were a number of groups of expressionist painters, including Der Blaue Reiter and Die Brücke. Der Blaue Reiter was based in Munich and Die Brücke was based originally in Dresden, Die Brücke was active for a longer period than Der Blaue Reiter, which was only together for a year. The Expressionists had many influences, among them Edvard Munch, Vincent van Gogh and they were also aware of the work being done by the Fauves in Paris, who influenced Expressionisms tendency toward arbitrary colours and jarring compositions
Expressionist
–
The Scream by
Edvard Munch (1893), which inspired 20th-century Expressionists
Expressionist
–
Portrait of Eduard Kosmack by
Egon Schiele
Expressionist
–
"View of Toledo" by
El Greco, 1595/1610 has been indicated to have a particularly striking resemblance to 20th-century expressionism. Historically however it is an example of
Mannerism. [
citation needed]
Expressionist
–
Wassily Kandinsky, On White II, 1923
20.
Willem de Kooning
–
Willem de Kooning was a Dutch-American abstract expressionist artist who was born in Rotterdam, Netherlands, and moved to New York in 1927. Willem de Kooning was born in Rotterdam, the Netherlands, on April 24,1904 and his parents, Leendert de Kooning and Cornelia Nobel, were divorced in 1907, and de Kooning lived first with his father and then with his mother. He left school in 1916 and became an apprentice in a firm of commercial artists, until 1924 he attended evening classes at the Academie van Beeldende Kunsten en Technische Wetenschappen, now the Willem de Kooning Academie. In 1926 de Kooning travelled to the United States as a stowaway on the Shelley, a British freighter bound for Argentina and he stayed at the Dutch Seamens Home in Hoboken, New Jersey, and found work as a house-painter. In 1927 he moved to Manhattan, where he had a studio on West Forty-fourth Street and he supported himself with jobs in carpentry, house-painting and commercial art. De Kooning began painting in his time and in 1928 he joined the art colony at Woodstock. He also began to some of the modernist artists active in Manhattan. None of them were executed, but a sketch for one was included in New Horizons in American Art at the Museum of Modern Art, De Kooning met his wife, Elaine Fried, at the American Artists School in New York. She was 14 years his junior, thus was to begin a lifelong partnership affected by alcoholism, lack of money, love affairs, quarrels and separations. They were married on December 9,1943, at this time, de Koonings work borrowed strongly from Gorkys surrealist imagery and was influenced by Picasso. This only changed when de Kooning met the younger painter Franz Kline, Kline died young and he was one of de Koonings closest artist friends. Klines influence is evident in de Koonings calligraphic black images of this period, in the late 1950s, de Koonings work shifted away from the figurative work of the women and began to display an interest in more abstract, less representational imagery. He became a US citizen in 1961 and moved to East Hampton in 1963 and this became his primary residence and he remained there until the end of his life. On Long Island de Kooning, in addition to his painting, inspired in part by the work of Henry Moore, de Kooning created highly abstracted figurative sculpture very reminicent of his figurative paintings. It was revealed toward the end of his life that de Kooning began losing his memory in the late 1980s and had been suffering from Alzheimers disease for some time. This revelation has initiated considerable debate among scholars and critics about how responsible de Kooning was for the creation of his late work, succumbing to the progress of his disease, William de Kooning painted his final works in 1991. He passed away in 1997 at the age of 92, upon death William de Kooning was cremated. His final place of rest is publicly unknown, De Koonings paintings of the 1930s and early 1940s are abstract still-lifes characterised by geometric or biomorphic shapes and strong colours
Willem de Kooning
–
De Kooning in his studio in 1961
Willem de Kooning
–
Willem de Kooning, Woman V (1952–53),
National Gallery of Australia
Willem de Kooning
–
Woman III, (1953), private collection
Willem de Kooning
–
Willem de Kooning (1968)
21.
Jackson Pollock
–
Paul Jackson Pollock, known professionally as Jackson Pollock, was an American painter and a major figure in the abstract expressionist movement. He was well known for his style of drip painting. During his lifetime, Pollock enjoyed considerable fame and notoriety, he was a major artist of his generation, regarded as reclusive, he had a volatile personality, and struggled with alcoholism for most of his life. In 1945, he married the artist Lee Krasner, who became an important influence on his career, Pollock died at the age of 44 in an alcohol-related single-car accident when he was driving. In December 1956, four months after his death, Pollock was given a retrospective exhibition at the Museum of Modern Art in New York City. A larger, more comprehensive exhibition of his work was held there in 1967, in 1998 and 1999, his work was honored with large-scale retrospective exhibitions at MoMA and at The Tate in London. Pollock was born in Cody, Wyoming, in 1912, the youngest of five sons and his parents, Stella May and LeRoy Pollock, were born and grew up in Tingley, Iowa and were educated at Tingley High School. Pollocks mother is interred at Tingley Cemetery, Ringgold County, Iowa and his father had been born with the surname McCoy, but took the surname of his adoptive parents, neighbors who adopted him after his own parents had died within a year of each other. Stella and LeRoy Pollock were Presbyterian, they were of Irish and Scots-Irish descent, LeRoy Pollock was a farmer and later a land surveyor for the government, moving for different jobs. Stella, proud of her familys heritage as weavers, made, in November 1912, Stella took her sons to San Diego, Jackson was just 10 months old and would never return to Cody. He subsequently grew up in Arizona and Chico, California, while living in Echo Park, California, he enrolled at Los Angeles Manual Arts High School, from which he was expelled. He had already been expelled in 1928 from another high school, during his early life, Pollock explored Native American culture while on surveying trips with his father. In 1930, following his older brother Charles Pollock, he moved to New York City, bentons rural American subject matter had little influence on Pollocks work, but his rhythmic use of paint and his fierce independence were more lasting. In the early 1930s, Pollock spent a summer touring the Western United States together with Glen Rounds, an art student. Pollock was introduced to the use of paint in 1936 at an experimental workshop in New York City by the Mexican muralist David Alfaro Siqueiros. He later used paint pouring as one of techniques on canvases of the early 1940s, such as Male and Female. After his move to Springs, he began painting with his canvases laid out on the studio floor, from 1938 to 1942 Pollock worked for the WPA Federal Art Project. Henderson engaged him through his art, encouraging Pollock to make drawings, jungian concepts and archetypes were expressed in his paintings
Jackson Pollock
–
Photographer
Hans Namuth extensively documented Pollock's unique painting techniques.
Jackson Pollock
–
No. 5, 1948
Jackson Pollock
–
Pollock's studio in
Springs, New York
Jackson Pollock
–
Jackson Pollock's grave in the rear with Lee Krasner's grave in front in the
Green River Cemetery
22.
Conrad Marca-Relli
–
New York School Abstract Expressionism, represented by Jackson Pollock, Willem de Kooning, Franz Kline, Robert Motherwell, Marca-Relli and others became a leading art movement of the postwar era. Marcarelli was born in Boston and, with his father Cosimo, brother Ettore, in 1930 he studied at the Cooper Union for a year. He served in the US Army military service during World War II, Marca-Relli taught at Yale University from 1954 to 1955 and from 1959 to 1960, and at the University of California at Berkeley. In 1953, he bought a house near Jackson Pollocks home in Springs, as his career progressed, he increasingly distanced himself from the New York School. He lived and worked in countries around the world, moving to Parma, Italy with his wife, Anita Gibson. Conrad Marca-Relli died on August 29,2000, in Parma, during the late 1940s and early 1950s, he was actively involved in the avant-garde art world in Greenwich Village. These artists were called the Downtown Group as opposed to the Uptown Group established during the war at The Art of This Century Gallery and his first one-man show was in New York City in 1948. In 1949 Marca-Relli was among the founders of the Artists Club located at 39 East 8th Street and he was selected by his fellow artists to show in the Ninth Street Show held on May 21-June 10,1951. The show was located at 60 East 9th Street on the first floor, Conrad Marca-Relli was among the 24 out of a total 256 New York School artists included in the Ninth Street Show and in all the following New York Painting and Sculpture Annuals from 1953 to 1957. These Annuals were important because the participants were chosen by the artists themselves, marca-Rellis early cityscapes, still lifes, circus themes and architectural motifs are reminiscent of Italian surrealist painter Giorgio de Chirico. Throughout his career, Marca-Relli created monumental-scale collages and he combined oil painting and collage, employing intense colors, broken surfaces and expressionistic spattering. He also experimented with metal and vinyl materials, over the years the collages developed an abstract simplicity, evidenced by black or somber colors and rectangular shapes isolated against a neutral backdrop. In 1967, the Whitney Museum of American Art gave him a retrospective show,2016, Repetto Gallery, London Action painting Abstract expressionism Art movement Collage Collagist New York School Ninth Street Show Corrado di Marca-Relli. Oils, Text by H. Rubin, Exhibition, Kootz Gallery, New York,1959 William C Agee, Conrad Marca-Relli OCLC,1555599 Conrad Marca-Relli, Marlborough-Gerson Gallery, Marca-Relli Feb. City to town, essays by Carter Ratcliff 2011, Knoedler&Company Gallery publisher, New York,2011, exhibition, May 5 - July 29,2011 Conrad Marca-Relli. The Springs Years 1953 -1956, essays by Carter Ratcliff 2011, Pollock-Krasner House and Study Center publisher, New York,2011, exhibition, May 5 - July 29,2011 Conrad Marca-Relli. The Architecture of Action, essays by David Anfam and Kenneth Baker, Ronchini Gallery publisher, London, exhibition October 10 - November 24,2012 Conrad Marca-Relli. Agee, Hollis Taggart Galleries publisher, New York,2016, Exhibition, January 21 - March 5,2015, Hollis Taggart Galleries, New York ISBN 978-0-9889139-0-5 Arnason, New York, H. N. Abrams,1963
Conrad Marca-Relli
–
Conrad Marca-Relli in 1982 in his studio
23.
Old Master
–
In art history, Old Master refers to any painter of skill who worked in Europe before about 1800, or a painting by such an artist. An old master print is a print made by an artist in the same period. The term old master drawing is used in the same way, therefore, beyond a certain level of competence, date rather than quality is the criterion for using the term. The Oxford English Dictionary defines the term as A pre-eminent artist of the period before the modern, a pre-eminent western European painter of the 13th to 18th centuries. The term is used to refer to a painting or sculpture made by an Old Master. Les Maitres dautrefois of 1876 by Eugene Fromentin may have helped to popularize the concept, the collection in the Dresden museum essentially stops at the Baroque period. The end date is necessarily vague – for example, Goya is certainly an Old Master, the term might also be used for John Constable or Eugène Delacroix, but usually is not. The term tends to be avoided by art historians as too vague, especially when discussing paintings, although the terms Old Master Prints and it remains current in the art trade. Auction houses still usually divide their sales between, for example, Old Master Paintings, Nineteenth-century paintings and Modern paintings, christies defines the term as ranging from the 14th to the early 19th century. S. Master of Flémalle, Master of Mary of Burgundy, Master of Latin 757, Master of the Brunswick Diptych or Master of Schloss Lichtenstein
Old Master
–
Giorgione's
Sleeping Venus (c. 1510), Dresden,
Gemäldegalerie Alte Meister.
Old Master
–
Still Life with Pie, Silver Ewer and Crab by
Willem Claeszoon Heda (1658) Oil on canvas
Frans Hals Museum, Haarlem
Old Master
–
Portrait of a young woman by
Sandro Botticelli, 1480
Old Master
–
Sistine Chapel ceiling,
Ignudi, Michelangelo, 1509
24.
History
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History is the study of the past as it is described in written documents. Events occurring before written record are considered prehistory and it is an umbrella term that relates to past events as well as the memory, discovery, collection, organization, presentation, and interpretation of information about these events. Scholars who write about history are called historians and their works continue to be read today, and the gap between the culture-focused Herodotus and the military-focused Thucydides remains a point of contention or approach in modern historical writing. In Asia, a chronicle, the Spring and Autumn Annals was known to be compiled from as early as 722 BC although only 2nd-century BC texts survived. Ancient influences have helped spawn variant interpretations of the nature of history which have evolved over the centuries, the modern study of history is wide-ranging, and includes the study of specific regions and the study of certain topical or thematical elements of historical investigation. Often history is taught as part of primary and secondary education, the word history comes ultimately from Ancient Greek ἱστορία, meaning inquiry, knowledge from inquiry, or judge. It was in that sense that Aristotle used the word in his Περὶ Τὰ Ζῷα Ἱστορίαι, the ancestor word ἵστωρ is attested early on in Homeric Hymns, Heraclitus, the Athenian ephebes oath, and in Boiotic inscriptions. History was borrowed from Latin into Old English as stær, and it was from Anglo-Norman that history was borrowed into Middle English, and this time the loan stuck. In Middle English, the meaning of history was story in general, the restriction to the meaning the branch of knowledge that deals with past events, the formal record or study of past events, esp. human affairs arose in the mid-fifteenth century. With the Renaissance, older senses of the word were revived, and it was in the Greek sense that Francis Bacon used the term in the sixteenth century. For him, historia was the knowledge of objects determined by space and time, in an expression of the linguistic synthetic vs. analytic/isolating dichotomy, English like Chinese now designates separate words for human history and storytelling in general. In modern German, French, and most Germanic and Romance languages, which are synthetic and highly inflected. The adjective historical is attested from 1661, and historic from 1669, Historian in the sense of a researcher of history is attested from 1531. Historians write in the context of their own time, and with due regard to the current dominant ideas of how to interpret the past, in the words of Benedetto Croce, All history is contemporary history. History is facilitated by the formation of a discourse of past through the production of narrative. The modern discipline of history is dedicated to the production of this discourse. All events that are remembered and preserved in some authentic form constitute the historical record, the task of historical discourse is to identify the sources which can most usefully contribute to the production of accurate accounts of past. Therefore, the constitution of the archive is a result of circumscribing a more general archive by invalidating the usage of certain texts and documents
History
–
Historia by
Nikolaos Gysis (1892)
History
–
History by
Frederick Dielman (1896)
History
–
The title page to
The Historians' History of the World
History
–
The title page to"La Historia d'Italia"
25.
Larry Rivers
–
Larry Rivers was an American artist, musician, filmmaker and occasional actor. Rivers resided and maintained studios in New York City, Southampton, Long Island, Larry Rivers was born in the Bronx, as Yitzroch Loiza Grossberg to Samuel and Sonya Grossberg, Jewish immigrants from the Ukraine. He changed his name to Larry Rivers in 1940, after being introduced as Larry Rivers, Rivers took up painting in 1945 and studied at the Hans Hofmann School from 1947–48. He earned a BA in art education from New York University in 1951 and he was a pop artist of the New York School, reproducing everyday objects of American popular culture as art. He was one of eleven New York artists featured in the exhibition at the Terrain Gallery in 1955. During the early 1960s Rivers lived in the Hotel Chelsea, notable for its residents such as Bob Dylan, Janis Joplin, Leonard Cohen. In 1965 Rivers had his first comprehensive retrospective in five important American museums and his final work for the exhibition was The History of the Russian Revolution, which was later on extended permanent display at the Hirshhorn Museum and Sculpture Garden in Washington, DC. During 1967 he was in London collaborating with the American painter Howard Kanovitz, during this trip they narrowly escaped execution as suspected mercenaries. During the 1970s Rivers worked closely with Diana Molinari and Michel Auder on many video tape projects, including the infamous Tits, Rivers married Augusta Berger in 1945, and they had one son, Steven. Rivers also adopted Bergers son from a relationship, Joseph. He married Clarice Price in 1961, a Welsh school teacher who cared for his two sons, Rivers and Clarice Price had two daughters, Gwynne and Emma. Shortly after, he lived and collaborated with Diana Molinari, who featured in many of his works of the 1970s, after that Rivers lived with Sheila Lanham, a Baltimore poet. In the early 1980s, Rivers and East Village figurative painter Daria Deshuk lived together and in 1985 they had a son, at the time of his death in 2002. Poet Jeni Olin was his companion, Rivers also sustained a relationship with poet Frank OHara in the late 1950s and delivered the eulogy at OHaras funeral in 1966. His primary gallery being the Marlborough Gallery in New York City, in 2002 a major retrospective of Rivers work was held at the Corcoran Gallery of Art in Washington, D. C. New York University bought correspondences and other documents from the Larry Rivers Foundation to house in their archive, however, his daughters Gwynne and Emma objected to one particular film being displayed, as it depicts them naked as young children. The films purpose is supposedly to be a documentation on their growth through puberty, the matter was addressed in the December 2010 issue of the magazine Vanity Fair, and the October 2010 issue of Grazia. The film will never be displayed as requested by both children
Larry Rivers
–
Larry Rivers
26.
Grace Hartigan
–
Grace Hartigan was a second-generation American Abstract Expressionist painter and a member of the New York School. Born in Newark, New Jersey, of Irish-English descent, Hartigan was the oldest of four children, encouraging her romantic fantasies, her father and grandmother often sang songs and told her stories. At seventeen she was married to Robert Jachens, a planned move to Alaska, where the young couple planned to live as pioneers, ended in California, where Hartigan began painting with her husbands encouragement. After her husband was drafted in 1942, Hartigan returned to New Jersey to study mechanical drafting at the Newark College of Engineering and she also worked as a draftsman in an airplane factory to support herself and her son. During this time, she studied painting with Isaac Lane Muse, through him, she was introduced to the work of Henri Matisse and Kimon Nicolaïdes’s The Natural Way to Draw, which influenced her later work as a painter. In 1945, Hartigan moved to New York City, and quickly became a member of the artistic community. Her friends included Jackson Pollock, Larry Rivers, Helen Frankenthaler, Willem and Elaine de Kooning, Frank OHara, Knox Martin, and many painters, artists, poets. Hartigan gained her reputation as part of the New York School of artists and she was often thought of as a “second generation Abstract Expressionist”, being heavily influenced by her colleagues of the time. Though she built her career upon more of a complete abstraction, in the early fifties Hartigan began to incorporate more recognizable motifs. In the early fifties, she exhibited for a time under the name George Hartigan in order to try to achieve better recognition for her work. Paintings from the Old Masters, In the early 1950s Grace Hartigan began painting figuratively from old master paintings, clement Greenberg, an influential art critic in New York during the mid 20th century, enthusiastically supported Hartigans Abstract Expressionist works, but opposed her painting figuratively. This discord resulted in her break from Greenberg, Painting from the old masters fostered Hartigans growth in depicting space, light, form, and structure. Some examples of paintings are Hartigans River Bathers, Knight, Death, and Devil, and The Tribute Money, working after Matisse, Durer. Brides, In 1949, Hartigan rented a studio on Grand Street in lower Manhattan, inspired by the display windows of the numerous bridal shops concentrated on the street, Hartigan began to paint groups of mannequins dressed in bridal gowns. Grand Streets Brides, based on Goyas Carlos IV of Spain and His Family, was one of works that drew the attention of critics and collectors. Later in her career, Hartigan said, bridal theme is one of my empty ritual ideas and it just seems ludicrous to me to go through all that fuss. Additionally, she stated, I paint things that Im against to try to make them wonderful, Oranges, In November 1952, Hartigan and close friend Frank OHara began a collaborative project, Oranges. Frank O’Hara had written a collection of fourteen poems while a student at Harvard, Hartigan created a painting in response to each of the fourteen poems, incorporating text from each poem into every image
Grace Hartigan
–
"Most celebrated of the young American women painters, Grace Hartigan, who comes from Newark, N.J., has developed a brilliantly bold, semi-abstract style to capture the garish jumble of excitement of the market district of New York's lower East Side where she lives." LIFE Magazine, May 13, 1957
27.
Elaine de Kooning
–
Elaine de Kooning was an Abstract Expressionist and Figurative Expressionist painter in the post-World War II era. She wrote extensively on the art of the period and was an associate for Art News magazine. On December 9,1943, she married painter Willem de Kooning, Elaine de Kooning was born Elaine Marie Catherine Fried in 1918 in the Flatbush, New York. Later in life Elaine told people she was born in 1920 and her parents were Mary Ellen OBrien, an Irish Catholic, and Charles Frank Fried, a Protestant of Jewish descent. Her father Charles was a plant manager for the Bond Bread Company, Elaine was the eldest of four children, Marjorie Luyckx, Conrad and Peter Fried. Her mother, despite being recalled as less loving and attentive than some parents by Elaine’s younger sister, elaines mother started taking Elaine to museums at the age of five and taught her to draw what she saw. Elaine’s childhood room was decorated with painting reproductions, Mary Ellen was committed to the Creedmoor Psychiatric Center for a year during Elaine’s childhood after a neighbor reported her for neglect of her children. In grade school, Elaine began drawing and selling portraits of children attending her school and she was interested in and did well at sports as well as art. Elaine studied at Erasmus Hall High School in Brooklyn, after graduating from High School, she briefly attended Hunter College in New York City, where she befriended a group of abstract and Social Realist painters. In 1937, she attended the Leonardo da Vinci Art School and went on to study at the American Artists School, while attending school, Elaine made money working as an art school model. Elaine had admired Willem’s artwork before meeting him, in 1938 her teacher introduced her to Willem de Kooning at a Manhattan cafeteria when she was 20, after it he began to instruct her in drawing and painting. He even destroyed many of her drawings, but this impelled Elaine to strive for precision and grace in her work. When they married in 1943, she moved into his loft, Elaine and Willem de Kooning had what was later called an open marriage, They both were casual about sex and about each other’s affairs. Elaine had affairs with men who helped further Willem’s career, such as Harold Rosenberg, hess, who was a writer about art and managing editor for Artnews, and Charles Egan, owner of the Charles Egan Gallery. Willem had a daughter, Lisa de Kooning, in 1956, Elaine and Willem both struggled with alcoholism, which eventually led to their separation in 1957. While separated, Elaine remained in New York, struggling with poverty, despite struggling with alcoholism, they both continued painting. Although separated for twenty years, they never divorced. Elaine de Kooning was a landscape and portrait artist active in the Abstract Expressionist movement of the early twentieth century
Elaine de Kooning
–
Elaine de Kooning in 1980
28.
Balcomb Greene
–
Balcomb Greene and his wife, artist Gertrude Glass Greene, were heavily involved in political activism to promote mainstream acceptance of abstract art. They were founding members of the American Abstract Artists organization and his early style was completely non-objective. Juan Gris and Piet Mondrian as well as Pablo Picasso and Henri Matisse influenced his early style, from the 1940s his work opened out to the light and space of natural form. He discerned the pain of a man, and hewed to it integrally from beginning to end…, in his study of the figure he did not stress anatomical shape but rather its intuitive, often conflicting spirit. Balcomb Greene contributed to modernist cause through his writings, It is actually the artist, and only he, Balcomb Greene was born on May 22,1904, Millville, New York. He studied from 1922 to 1926 at Syracuse University, where he received his BA degree, in 1927 he studied English literature at Columbia University. Greene taught English literature at Dartmouth College from 1928 to 1931, in 1931 he went to Paris and studied art at the Académie de la Grande Chaumière. Soon after his return to New York in 1933 he realized that his true interest was painting, in 1935 he became the first president of the Artists Union and in 1936 the first chairman of the American Abstract Artists. Also in 1939 and 1941 he was reelected as chairman of American Abstract Artists, but resigned from that organization in 1942, when he began a career as a professor of art history and aesthetics. After receiving his masters degree in art history, Greene taught at Carnegie Institute of Technology, Pittsburgh, Gertrude Greene stayed in New York, and the couple shared a studio on Montauk, Long Island, during summer breaks. Greene worked alone to pursue his solitary style but at the time he was familiar with the Abstract Expressionist movement. He wrote in Art News, The Fourth Illusions, or Hunger for Genius A picture is painted of modern art that arranges all participants into movements, like well-behaved Englishmen in clubs. In spite of his conviction he agreed to participate in the invitational New York Painting, in 1972 he was elected into the National Academy of Design as an Associate member. Greene granted interviews to Jacqueline Moss, who was researching his wife for her masters thesis, Balcomb Greene died November 12,1990, in Montauk Point, New York. His first solo shows were in Paris in 1937, and at J. B, newmanns New Art Circle, in New York, in 1947. From 1950 to 1961 he exhibited annually at Bertha Schaefer Gallery, New York, where his 1950,1955 and he exhibited at the American University, Washington, D. C. In 1961 Balcomb Greene had an exhibition at the Whitney Museum of American Art. He continued to have one man shows at the Saidenberg Gallery in New York from 1962 to 1968 and he had several other solo exhibitions, Feingarten Gallery, Los Angeles, in 1963 and 1964
Balcomb Greene
–
Balcomb Greene, 1939
29.
Robert De Niro, Sr.
–
Robert Henry De Niro, better known as Robert De Niro Sr. was an American abstract expressionist painter and the father of actor Robert De Niro. He was the eldest of three children, he and siblings John and Joan were raised in Syracuse, New York, De Niro studied at the renowned Black Mountain College under Josef Albers from 1939 to 1940. De Niro studied with Hans Hofmann at his Provincetown, Massachusetts summer school, Hofmanns teaching, focused on Abstract Expressionism and Cubist formalism, had a strong influence on De Niros development as a mature artist. In 1944, De Niro had a relationship with the poet Robert Duncan, at Hofmanns summer school, he met fellow student Virginia Admiral, whom he married in 1942. The couple moved into a large, airy loft in New Yorks Greenwich Village and they surrounded themselves with an illustrious circle of friends, including writers Anaïs Nin and Henry Miller, playwright Tennessee Williams, and the actress and famous Berlin dancer Valeska Gert. Admiral and De Niro separated shortly after their son Robert De Niro Jr. was born in August 1943, De Niro had his first solo exhibition at Peggy Guggenheims gallery in April and May of the following year. At that point, he was working in an abstract manner. Much of his work from this period was lost in a fire in 1949. De Niro had a series of exhibitions in the 1950s at the Charles Egan Gallery in New York. Critics praised DeNiro’s compositions filled with improvised areas of vibrant color that gave way to loosely painted still lifes, by the mid-1950s, De Niro was regularly included in important group exhibitions such as the Whitney Annual, the Stable Annual, and the Jewish Museum. He was awarded a Longview Foundation award in 1958, from 1961 to 1964, De Niro traveled to France to paint in Paris and in the surrounding countryside. In 1968, he was awarded a Guggenheim Fellowship, throughout the 1970s and 1980s, De Niro continued to exhibit in museums and galleries throughout the United States, including New York, San Francisco, Kansas City, Los Angeles, and Washington, D. C. He taught at art schools and colleges including the Cooper Union, the New School for Social Research. De Niro was a visiting artist at Michigan State Universitys Department of Art in the spring of 1974, DC Moore Gallery represents the Estate of Robert De Niro Sr. The first exhibition of his works at the gallery was in April 2012, in June 2014, Robert De Niro Sr. Paintings and Drawings, 1948–1989 opened at DC Moore Gallery, Robert De Niro Sr. died of cancer on the morning of May 3,1993 at his Manhattan home. He is interred at Kensico Cemetery in Valhalla, New York, the 1993 film A Bronx Tale was dedicated to De Niro Sr. after his death, it was the directorial debut of De Niro Jr. Past winners include Stanley Whitney, Joyce Pensato, Catherine Murphy, De Niro Sr. is the subject of the 2014 short documentary Remembering the Artist, in which his life and career are chronicled in the artists own words by his contemporaries and De Niro Jr
Robert De Niro, Sr.
–
Robert De Niro, Sr.
Robert De Niro, Sr.
–
Flowers in a Blue Vase by Robert De Niro, Sr.
Robert De Niro, Sr.
–
The De Niro family grave in
Kensico Cemetery
30.
Fairfield Porter
–
Fairfield Porter was an American painter and art critic. He was the fourth of five children of James Porter, an architect, and Ruth Furness Porter and he was the brother of photographer Eliot Porter and the brother-in-law of federal Reclamation Commissioner Michael W. Straus. While a student at Harvard, Porter majored in fine arts and his studies at the Art Students League predisposed him to produce socially relevant art and, although the subjects would change, he continued to produce realist work for the rest of his career. He would be criticized and revered for continuing his representational style in the midst of the Abstract Expressionist movement. Many of his paintings were set in or around the summer house on Great Spruce Head Island, Maine. John Ashbery wrote of him, Characteristically, tended to prefer the late woolly Vuillards to the early ones everyone likes, Porter said once, When I paint, I think that what would satisfy me is to express what Bonnard said Renoir told him, make everything more beautiful. Porter bequeathed about 250 of his works to the Parrish Art Museum, laurence at the Piano, New Britain Museum of American Art
Fairfield Porter
–
Fairfield Porter, Under the Elms, 1971–1972
