1.
Tachisme
–
Tachisme is a French style of abstract painting popular in the 1940s and 1950s. The term is said to have been first used with regards to the movement in 1951 and it is often considered to be the European equivalent to abstract expressionism, although there are stylistic differences. It was part of a larger movement known as Art Informel. Another name for Tachism is Abstraction lyrique, COBRA is also related to Tachisme, as is Japans Gutai group. After World War II the term School of Paris often referred to Tachisme, according to Chilvers, the term tachisme was first used in this sense in about 1951 and it was given wide currency by Michel Tapié in his book Un Art autre. Tachisme was a reaction to Cubism and is characterized by spontaneous brushwork, drips and blobs of paint straight from the tube, Art Informel was more about the absence of premeditated structure, conception or approach than a mere casual, loosened or relaxed art procedure. Gutai and Informel Post-war art in Japan and France, 1945—1965
Tachisme
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Serge Poliakoff Composition: Gray and Red, 1964
2.
Art Informel
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Several distinguishing trends are identified within the movement such as lyrical abstraction, matter painting, New Paris School, tachisme and art brut. The French art critic Michel Tapié coined the term art autre in the book in 1952 in relation to non-geometric abstract art. This movement has given way to New Informalism in the year 2000 in Chevry ll, in Gif sur Yvettes, it’s an open work that a spectator can read freely. The pictorial adventure is completely new, instead of going from the meaning to constructing the corresponding signs, in the works of Laurent Jiménez-Balaguer, the language of signs is further deconstructed, allowing for a universal interpretation of a private language. The contribution of music produced the art of musical informalism, lengerke, Ch. von, «La pintura contemporánea
Art Informel
–
Serge Poliakoff Composition: Gray and Red, 1964
3.
School of Paris
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School of Paris refers to a group of French and émigré artists who worked in Paris between the first years of the 20th century and the 1950s. The School of Paris was not an art movement or institution. Between 1900 and 1940 the city was a magnet for artists all over the world. School of Paris was used to describe this broad affiliation, particularly of non-French artists, before World War I, a group of expatriates in Paris created in the styles of Post-Impressionism, Cubism and Fauvism. It included artists like Pablo Picasso, Marc Chagall, Amedeo Modigliani, associated French artists included Pierre Bonnard, Henri Matisse, Jean Metzinger and Albert Gleizes. Picasso and Matisse have been described as the leaders of the school. The term School of Paris was coined in 1925 by André Warnod to celebrate the contribution of the many artists who had recently migrated to Paris. After World War II, however, these nationalistic and anti-Semitic attitudes were discredited, a significant group of Jewish artists came to be known as the Jewish School of Paris. This group included Emmanuel Mané-Katz, Chaïm Soutine, Adolphe Féder, Chagall, Moïse Kisling, Shimshon Holzman, the Musée dArt et dHistoire du Judaisme has works from artists such as Pascin, Michel Kikoine, Soutine, and Jacques Lipschitz. They included Alexandre Tansman, Alexander Tcherepnin, Bohuslav Martinů and Tibor Harsányi, unlike Les Six, another group of Montparnasse musicians at this time, the musical school of Paris was a loosely-knit group that did not adhere to any particular stylistic orientation. After the Second World War the term School of Paris often referred to tachisme, and lyrical abstraction and these artists are also related to CoBRa. Important proponents were Jean Dubuffet, Zoran Mušič, Pierre Soulages, Nicolas de Staël, Hans Hartung, Serge Poliakoff, Bram van Velde, Georges Mathieu, Jean Messagier, among others. Many of their exhibitions took place at the Galerie de France in Paris, and then at the Salon de Mai
School of Paris
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Raoul Dufy, Regatta at Cowes, (1934), Washington D.C.
National Gallery of Art.
School of Paris
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Sonia Delaunay, Rythme, 1938
School of Paris
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Jean Metzinger, c.1906,
Femme au Chapeau (Woman with a Hat), oil on canvas, 44.8 x 36.8 cm, Korban Art Foundation
School of Paris
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Marc Chagall, 1912, Still-life (Nature morte), oil on canvas, private collection
4.
John Hoyland
–
John Hoyland RA was a London-based British artist. He was one of the leading abstract painters. In 1953 Hoyland went abroad for the first time, hitch-hiking with a friend to the South of France, after the bleakness of Sheffield it was a revelation, To me it was like landing in Tahiti. Down there were all these girls, swimming and diving. Hoyland visited again in 1957 with David Smith when he was at the Royal Academy and got what he referred to as The Gauguin syndrome, a romance with travel. The 1960s were a decade for Hoyland, it was in these years that he found his voice as an artist. It was also the time when he made his first trip to America, to New York in 1964, there he met Robert Motherwell, with whom he was to become great friends, also Mark Rothko and Barnett Newman, and visited their studios. Hoylands first solo exhibition was held at the Marlborough New London Gallery in 1964 and his first solo show at the Whitechapel Art Gallery in 1967. In the 1960s, Hoylands work was characterised by simple shapes, high-key colour, in the 1970s his paintings became more textured. He exhibited at the Waddington Galleries, London throughout the 1970s and 1980s, during the 1960s and 1970s, he showed his paintings in New York City with the Robert Elkon Gallery and the André Emmerich Gallery. His paintings are closely aligned with Post-Painterly Abstraction, Color Field painting, Hoyland disliked the abstract painter label, describing himself simply as a painter. When asked why he disliked the term abstraction, he answered and it smacks always of geometry to me, of rational thought. Theres no geometry, theres no rectangles in nature, no straight lines. Theres only the circle, the one really powerful form in nature I keep getting back to. Retrospectives of his paintings have been held at the Serpentine Gallery, in 1982 he won the John Moores Painting Prize and in 1998 the Royal Academys Wollaston Award. His works are held in public and private collections including the Tate. He was elected to the Royal Academy in 1991 and was appointed Professor of Painting at the Royal Academy Schools in 1999, the National Portrait Gallery holds portraits of the artist in its collection. Hoyland died 31 July 2011 aged 76, of complications following heart surgery undertaken in 2008 and he was survived by his wife Beverley Heath Hoyland and his son Jeremy, from his first marriage to Airi Karakainen
John Hoyland
–
Lebanon, 2007, acrylic on cotton duck, 60 x 55 inches
5.
Abstract painter
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Abstract art uses a visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world. Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective, the arts of cultures other than the European had become accessible and showed alternative ways of describing visual experience to the artist. By the end of the 19th century many artists felt a need to create a new kind of art which would encompass the fundamental changes taking place in technology, science and philosophy. The sources from which individual artists drew their theoretical arguments were diverse, Abstract art, non-figurative art, non-objective art, and nonrepresentational art are loosely related terms. They are similar, but perhaps not of identical meaning, Abstraction indicates a departure from reality in depiction of imagery in art. This departure from accurate representation can be slight, partial, or complete, even art that aims for verisimilitude of the highest degree can be said to be abstract, at least theoretically, since perfect representation is likely to be exceedingly elusive. Artwork which takes liberties, altering for instance color and form in ways that are conspicuous, total abstraction bears no trace of any reference to anything recognizable. In geometric abstraction, for instance, one is unlikely to find references to naturalistic entities, Figurative art and total abstraction are almost mutually exclusive. But figurative and representational art often contains partial abstraction, both geometric abstraction and lyrical abstraction are often totally abstract. It is at level of visual meaning that abstract art communicates. One can enjoy the beauty of Chinese calligraphy or Islamic calligraphy without being able to read it, in Chinese painting, abstraction can be traced to the Tang dynasty painter Wang Mo, who is credited to have invented the splashed-ink painting style. While none of his paintings remain, this style is seen in some Song Dynasty Paintings. A late Song painter named Yu Jian, adept to Tiantai buddhism and his paintings show heavily misty mountains in which the shapes of the objects are barely visible and extremely simplified. This type of painting was continued by Sesshu Toyo in his later years, another instance of abstraction in Chinese painting is seen in Zhu Deruns Cosmic Circle. The painting is a reflection of the Daoist metaphysics in which chaos, in Tokugawa Japan some zen monk-painters created Enso, a circle who represents the absolute enlightenment. Usually made in one spontaneous brush stroke, it became the paradigm of the minimalist aesthetic that guided part of the zen painting, three art movements which contributed to the development of abstract art were Romanticism, Impressionism and Expressionism. Artistic independence for artists was advanced during the 19th century, patronage from the church diminished and private patronage from the public became more capable of providing a livelihood for artists. Expressionist painters explored the use of paint surface, drawing distortions and exaggerations
Abstract painter
–
Wassily Kandinsky,
Kandinsky's first abstract watercolor, 1910.
Abstract painter
–
Robert Delaunay, 1912–13, Le Premier Disque, 134 cm (52.7 in.), Private collection.
Abstract painter
–
James McNeill Whistler,
Nocturne in Black and Gold: The Falling Rocket (1874),
Detroit Institute of Arts. A near abstraction, in 1877 Whistler sued the art critic
John Ruskin for libel after the critic condemned this painting. Ruskin accused Whistler of "ask[ing] two hundred
guineas for throwing a pot of paint in the public's face."
Abstract painter
–
Henri Matisse,
The Yellow Curtain, 1915. With his
Fauvist color and drawing Matisse comes very close to pure abstraction.
6.
Art movement
–
Art movements were especially important in modern art, when each consecutive movement was considered as a new avant-garde. According to theories associated with modernism and the concept of postmodernism, the period of time called modern art is posited to have changed approximately halfway through the 20th century and art made afterward is generally called contemporary art. Postmodernism in visual art begins and functions as a parallel to late modernism, the postmodern period began during late modernism, and according to some theorists postmodernism ended in the 21st century. During the period of time corresponding to modern art each movement was often considered a new avant-garde. Also during the period of time referred to as modern art movement was seen corresponding to a somewhat grandiose rethinking of all that came before it. Generally there was a commonality of visual style linking the works, postmodernist theorists posit that the idea of art movements are no longer as applicable, or no longer as discernible, as the notion of art movements had been before the postmodern era. There are many theorists however who doubt as to whether or not such an era was actually a fact, the term refers to tendencies in visual art, novel ideas and architecture, and sometimes literature. In music it is common to speak about genres and styles instead. See also cultural movement, a term with a broader connotation, as the names of many art movements use the -ism suffix, they are sometimes referred to as isms. 20th-century Western painting Art periods List of art movements Post-expressionism Western art history the-artists. org Art movements since 1900, 20th-Century Art Compiled by Dr. Witcombe, Sweet Briar College, Virginia. WebMuseum, Paris Themes index and detailed glossary of art periods
Art movement
–
History of art
Art movement
–
Jacques-Louis David,
The Coronation of Napoleon, (1806),
Musée du Louvre,
History painting
Art movement
–
Eugène Delacroix,
Liberty Leading the People 1830,
Romanticism
Art movement
–
Thomas Cole, The Course of Empire: The Savage State 1836,
Hudson River School
7.
Post-war
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Post-War is the fifth studio album by M. Ward. It was released on August 22,2006 by Merge Records and it features the single To Go Home, a cover of a song written by Daniel Johnston. Guest appearances were made by Jim James of My Morning Jacket, Rachel Blumberg, drummer for the rock band The Decemberists, Neko Case. Ward has said that the song Todays Undertaking was heavily inspired by Roy Orbisons 1963 single In Dreams, all songs by Matt Ward except where noted
Post-war
–
Post-War
Post-war
8.
Modernist
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Among the factors that shaped modernism were the development of modern industrial societies and the rapid growth of cities, followed then by reactions of horror to World War I. Modernism also rejected the certainty of Enlightenment thinking, and many modernists rejected religious belief, the poet Ezra Pounds 1934 injunction to Make it new. Was the touchstone of the approach towards what it saw as the now obsolete culture of the past. In this spirit, its innovations, like the novel, atonal and twelve-tone music, divisionist painting and abstract art. Modernism explicitly rejected the ideology of realism and makes use of the works of the past by the employment of reprise, incorporation, rewriting, recapitulation, revision, others focus on modernism as an aesthetic introspection. While J. M. W. Art critic Clement Greenberg describes the Pre-Raphaelite Brotherhood as proto-Modernists, There the proto-Modernists were, of all people, the Pre-Raphaelites actually foreshadowed Manet, with whom Modernist painting most definitely begins. They acted on a dissatisfaction with painting as practiced in their time, rationalism has also had opponents in the philosophers Søren Kierkegaard and later Friedrich Nietzsche, both of whom had significant influence on existentialism. A major 19th-century engineering achievement was The Crystal Palace, the huge cast-iron, Glass and iron were used in a similar monumental style in the construction of major railway terminals in London, such as Paddington Station and Kings Cross Station. These technological advances led to the building of structures like the Brooklyn Bridge. The latter broke all previous limitations on how tall man-made objects could be and these engineering marvels radically altered the 19th-century urban environment and the daily lives of people. Arguments arose that the values of the artist and those of society were not merely different, but that Society was antithetical to Progress, the philosopher Schopenhauer called into question the previous optimism, and his ideas had an important influence on later thinkers, including Nietzsche. Darwins theory of evolution by natural selection undermined religious certainty and the idea of human uniqueness, in particular, the notion that human beings were driven by the same impulses as lower animals proved to be difficult to reconcile with the idea of an ennobling spirituality. Karl Marx argued that there were fundamental contradictions within the capitalist system, historians, and writers in different disciplines, have suggested various dates as starting points for modernism. Everdell also thinks modernism in painting began in 1885–86 with Seurats Divisionism, the poet Baudelaires Les Fleurs du mal, and Flauberts novel Madame Bovary were both published in 1857. In the arts and letters, two important approaches developed separately in France, the first was Impressionism, a school of painting that initially focused on work done, not in studios, but outdoors. Impressionist paintings demonstrated that human beings do not see objects, the school gathered adherents despite internal divisions among its leading practitioners, and became increasingly influential. A significant event of 1863 was the Salon des Refusés, created by Emperor Napoleon III to display all of the paintings rejected by the Paris Salon. While most were in standard styles, but by artists, the work of Manet attracted tremendous attention
Modernist
Modernist
–
Eugène Delacroix 's
Liberty Leading the People, 1830, a
Romantic work of art
Modernist
–
A
Realist portrait of
Otto von Bismarck
Modernist
–
Odilon Redon, Guardian Spirit of the Waters, 1878, charcoal on paper,
The Art Institute of Chicago
9.
Larry Aldrich
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Larry Aldrich was an American fashion designer, art collector, and founder of the Aldrich Contemporary Art Museum in Ridgefield, Connecticut. Aldrich began working in the trade in 1924. He began producing garments under his own label in the 1940s and he was president of the New York Couture Group. He began collecting art in 1937, though initially it was just a circumstantial act and he was married in 1940 and he and his wife bought a weekend home in Ridgefield, Connecticut. His wife had an interest in painting and, concerned about her boredom during the week while he was in New York, he began bringing home literature about art, when World War II ended, air travel to Paris resumed. Aldrich had already concluded he would like to acquire art and in 1947, he. His collection grew to be substantial, on his way out to buy cigarettes one day, he spied a building for sale. Seeing that it had high ceilings, he thought it would work well as a place to house his art collection. After investing a substantial sum to renovate, he turned it into a museum, initially called the Old Hundred and he soon changed it, however, because the name did not indicate the contemporary character of the contents. He founded the Larry Aldrich Museum in 1964, the Museum awards an annual Larry Aldrich Award
Larry Aldrich
–
Larry Aldrich
10.
Aldrich Contemporary Art Museum
–
The Aldrich Contemporary Art Museum is a contemporary art museum located in Ridgefield, Connecticut. The Aldrich has no permanent collection and is the museum in Connecticut that is dedicated solely to the exhibition of contemporary art. The Aldrich was founded in 1964 by Larry Aldrich with the purpose of being one of the first truly contemporary art museums in the United States. Using money he raised from selling his own art collection, Mr. Aldrich bought an 18th-century former church and general store known as Old Hundred and converted it into the Larry Aldrich Museum. The museum, whose board of trustees included Alfred Barr, Joseph Hirshhorn, Philip Johnson. To better focus on its mission to exhibit only the very newest art. Mr. Groundbreaking took place in April 2003, and the galleries reopened to the public in June 2004 with a new name, the new building received a design award from the American Institute of Architects. The Aldrich Museum features works by national and international emerging and mid-career artists, Larry Aldrich said in a 1986 interview, Almost all the well-known American artists you can think of have been seen here at early stages of their careers. Among them Jasper Johns, Robert Rauschenberg, Frank Stella and Cy Twombly, in 2011, The Aldrich implemented a new programming strategy of twice-yearly show changes in which solo and group exhibitions are united under common themes that link their content. Recent themed exhibition series include Portraiture and Collaborations and Found, in 1993, former director Harry Philbrick, while director of education, started The Aldrich Museum’s currently discontinued Student Docent Program. Students also got to see the process of the exhibitions on view. In an interview with The New York Times Philbrick said, It begins to get them to think critically about the process—making the work of art and they know theres a real live human being who makes these things, and can relate what they learn to a work of art. The program was adopted by museums across the United States, dorothy Mayhall Carlus and Ruth Dyer Robert Metzger Ellen ODonnell Rankin Barry Rosenberg Jill Snyder Harry Philbrick Alyson Baker Alfred H. Barr, Jr. Joseph Hirshhorn Philip Johnson Official website
Aldrich Contemporary Art Museum
–
Aldrich Contemporary Art Museum
11.
Arshile Gorky
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Arshile Gorky was an Armenian-American painter, who had a seminal influence on Abstract Expressionism. He spent most his life as a national of the United States, along with Mark Rothko, Jackson Pollock and Willem de Kooning, Gorky has been hailed as one of the most powerful American painters of the 20th century. As such, his works were often speculated to have been informed by the suffering, Gorky was born on April 15,1904, in the village of Khorgom, situated on the shores of Lake Van in the Ottoman Empire. In later years he was vague about his date of birth, in 1908 his father emigrated to America to avoid the draft, leaving his family behind in the town of Van. In 1915, Gorky fled Lake Van during the Armenian Genocide and escaped with his mother, in the aftermath of the genocide, Gorkys mother died of starvation in Yerevan in 1919. Arriving in America in 1920, the 16-year-old Gorky was reunited with his father, but they never grew close. In the process of reinventing his identity, he changed his name to Arshile Gorky, claiming to be a Georgian noble, in 1922, Gorky enrolled in the New School of Design in Boston, eventually becoming a part-time instructor. During the early 1920s he was influenced by Impressionism, although later in the decade he produced works that were more postimpressionist, during this time he was living in New York and was influenced by Paul Cézanne. In 1925 he was asked by Edmund Greacen of the Grand Central Art Galleries to teach at the Grand Central School of Art, in 1927, Gorky met Ethel Kremer Schwabacher and developed a lifelong friendship. Gorky said, The stuff of thought is the seed of the artist, dreams form the bristles of the artists brush. As the eye functions as the sentry, I communicate my innermost perceptions through the art. In 1931, Gorky sent a group of works ranging in price from $100 to $450 to the Downtown Gallery in New York, the exact nature of their relationship is unknown. Mrs. John D. Rockefeller purchased from the gallery a Cézannesque still life by Gorky titled Fruit, Gorky may have been introduced to the gallery owner by Stuart Davis who regularly exhibited there. In 1933, Arshile Gorky became one of the first artists employed by the Works Progress Administration Federal Art Project and this later came to include such artists as Alice Neel, Lee Krasner, Jackson Pollock, Diego Rivera and Mark Rothko. In 1935, Gorky signed a contract with the Guild Art Gallery. Co-owned by Anna Walinska and Margaret Lefranc, but funded and directed by Lefranc, notable paintings from this time include Landscape in the Manner of Cézanne and Landscape, Staten Island. At the close of the 1920s and into the 1930s he experimented with cubism, the painting illustrated above, The Artist and His Mother, is a memorable, moving and innovative portrait. His The Artist and His Mother paintings are based on a photograph taken in Van in which he is depicted standing beside his mother
Arshile Gorky
–
Arshile Gorky in December 1936
Arshile Gorky
–
Arshile Gorky's The Artist and His Mother (ca. 1926–1936),
Whitney Museum of American Art,
New York City.
Arshile Gorky
–
Arshile Gorky's Portrait of Master Bill, 1929–1936. Oil on canvas.
Arshile Gorky
–
Arshile Gorky. The Liver is the Cock's Comb (1944), oil on canvas, 73 1 ⁄ 4 × 98" (186 × 249 cm),
Albright–Knox Art Gallery,
Buffalo, New York. The painting represents the peak of Gorky's achievement and his individual style, after he had emerged from the influence of Cézanne and Picasso.
12.
Wols
–
WOLS is a Spanish-language FM radio station broadcasting at a frequency of 106.1 MHz serving the Charlotte, North Carolina market. Its programming consists of music and other material distributed by La Raza, while WOLS is licensed to the Union County town of Waxhaw, North Carolina, its studios are actually located in Charlotte. The transmitter site is in Catawba, South Carolina, the station signed on in May 1994 on 1480 AM, a frequency that had been silent for several years, with the call letters WIST. At that time radio station owners were limited to one AM station per market. GHB Broadcasting operated WIST-AM through a Limited Marketing Agreement with Christ Covenant Church, most of the adult standards music came from the Satellite Music Network format Stardust. A year later, the FM station, once intended to be an FM outlet for WHVN, signed on with the call letters WLWW, the name WNMX Mix 106 was chosen in 1996. The stations sales manager had worked for WMXC when it was called The Mix. He hoped to resurrect that format on 106.1, by this time the AM aired some separate programs, including a talk show from John Sullivan. The AM became WTLT in Summer 1997 with a separate news/talk format, for one month WNMX tried a more contemporary sound with local DJs during the day. However, many listeners protested so the station returned to the Stardust format, over the years the definition of adult standards has evolved, and the Stardust satellite format evolved with the times as well. Fewer songs from the big band era were played, though new performances of the old songs have become available, when oldies station WWMG changed its format to rhythmic Top 40 music in 2004, WNMX added more rock and roll songs to its local morning show. In Summer 2006 ABC merged Stardust with its Memories format, WNMX still played many of the older records on the local morning show. Ironically, the Timeless Favorites format had evolved into the format that listeners rejected in 1997, on February 12,2008 WNMX changed their format to 60s-70s oldies, branded as Oldies 106.1, with the Goodtime Oldies format from the Jones Radio Network. Goodtime Oldies features a playlist of 60s and 70s oldies, the station also changed its call sign to WOLS, which was moved from an AM station in Florence, South Carolina. That station took on the call sign WOLH, on January 1,2009, Norsan Media took over WOLS, picking up La Raza, the Regional Mexican format of WGSP-FM. At one time, WOLS carried broadcasts of sports teams. At the time of the change to Spanish language programming, these broadcasts were the only English language programming on WOLS, WOLS was the flagship station for the NBAs Charlotte Bobcats from the teams debut in 2004 through the 2008-2009 season. At the end of season, WFNZ, an all-sports station
Wols
Wols
Wols
13.
Georges Mathieu
–
Georges Mathieu was a French abstract painter, art theorist and member of the Académie des Beaux-Arts in Paris. He is considered one of the fathers of European lyrical abstraction, Mathieu was born in 1921 in Boulogne-sur-Mer. His father Adolphe Georges Mathieu, bank manager at Barclays, and his mother Madeleine Durpé, in 1933 Mathieus parents divorced and he was placed in the care of his aunt in Versailles. From 1927 to 1933, he followed his scholarship in various schools of Boulogne-sur-Mer and later in Lycée Hoche in Versailles, thereafter, he studied English and Law at the University of Lille. Mathieu obtained a position as an English teacher in 1942 at the lycée of Douai in the north of France, in 1942, he executed figurative paintings of England from postcards as a hobby. Later during year 1944, he began his reflection on aesthetics held by the following concept and this revelation originates from the readings of Edward Crankshaw and his interpretation of the work of Joseph Conrad as an abstract literature. Consequently, he executed his first non-figurative painting, Inception, in 1947, he settled in Paris, employed the American Express, and rented a chambre de bonne near the Luxembourg Palace. This position was an opportunity for Mathieu to reach a prestigious clientele and he meets Salvador Dalí for the first time on his occasion. From 1953 to 1963, he was proposed to be the editor-in-chief of the United States Lines Paris Revue. With a print run of 15000 copies, this journal is distributed for free until 1963, it gave Mathieu the opportunity to interview celebrities of the time. In 1946, his first abstract paintings were featured at the Salon des moins de 30 ans exhibition in Paris. He founded the first artistic group L’Imaginaire with Wols, Jean-Michel Atlan, Hartung, Bryen, Riopelle, the exhibition was called Towards Lyrical Abstraction, but the title was later changed because of the presence of works of Pablo Picasso and Jean Arp. The same year, he exposes at the Salon des Réalités Nouvelles, the group is later expanded, with Michel Tapié, Picabia and François Stahly to form H. W. P. S. M. T. B. He promoted an art free from the constraints of figurative paintings and he painted his first large canvases as soon as 1952. From 1957 he traveled and painted in Japan, USA and in 1959 in Brazil, Argentina, restropectives of his work started as early as 1959. Mathieu and Simon Hantaï held a series of conferences called the Cérémonies commémoratives de la seconde condamnation de Siger de Brabant in 1957, many scholars like essayist T. S. Eliot, philosopher Stéphane Lupasco and scientists took a stand at these conferences. The event was named after the philosopher Siger de Brabant, who played a key role in the 13th-century, in 1965, Mathieu exposed a hundred paintings at the Galerie Charpentier. He executed for this event Paris, Capitale des Arts, a giant canvas featuring primary colors on a blue background, today, Galerie Charpentiers walls house the headquarters of Sothebys France, rue Faubourg Saint-Honoré in Paris
Georges Mathieu
–
"Cyclic aspects of sign embryology" (1951)
14.
Norman Bluhm
–
Norman Bluhm, was an American painter classified as an abstract expressionist, and as an action painter. He was born on March 28,1921 in Chicago, Illinois and he studied under Mies van der Rohe at the then Armour Institute of Technology. After service in World War II with the USAAF he decided not to resume his architectural studies, rather he studied art at the Academia de Belle Arte, Florence, Italy and at the Ecole des Beaux Arts in Paris. From 1948 until 1956 he lived in Paris and he had numerous friends in art, literature, and other creative fields. Among his close acquaintances were Joan Mitchell, Sam Francis, Jean-Paul Riopelle, Zao Wou-ki and he was married to Claude Souvrain until 1956. He returned to the United States in 1956 and he married Carolyn Ogle in 1961. They lived in New York City until 1969 with their two children, David and Nina, from 1970 to 1980 they lived in Millbrook, New York. From 1980 to 1987 they lived in East Hampton, New York, thereafter, they lived in East Wallingford, Vermont until Bluhms death on February 3,1999. Bluhms work has been praised and his works are in the collections of many major museums. His work changed throughout his career while retaining elements that to the discerning viewer are obvious. Among his more noted work are a series of paintings done with his good friend the poet Frank OHara. Shortly before Bluhm died, in 1999, Art in America editor Raphael Rubinstein predicted that this body of work would be as important to the 21st century as Cézanne’s later output was to the 20th. Bluhms work while recognized and praised has never received the measure of attention that some of his contemporaries, such as Joan Mitchell, in part, this is due to Bluhms unwillingness to cater sufficiently to those in the commercial art world. Also changing art tastes in the 60s with the advent of Pop Art placed Bluhm in a critical netherworld, in 2007, the Station Museum of Contemporary Art in Houston, Texas, organised a major exhibition under the title The Late Paintings of Norman Bluhm
Norman Bluhm
–
Untitled (1984)
15.
Sam Francis
–
Samuel Lewis Francis was an American painter and printmaker. Sam Francis was born in San Mateo, California, the son of Katherine Lewis Francis and Samuel Augustus Francis, Sr. The 1935 death of his mother, who had encouraged his interest in music affected him deeply, Francis served in the United States Air Force during World War II before being injured during test flight maneuvers. He was in the hospital for years, and it was while there, after being visited by artist David Park in 1945. Once out of the hospital he returned to Berkeley, this time to study art and he received both his BA degree and MA degree from University of California, Berkeley, where he studied botany, medicine and psychology. Francis was initially influenced by the work of abstract expressionists such as Mark Rothko, Arshile Gorky and he spent the 1950s in Paris, having his first exhibition there at the Galerie Nina Dausset in 1952. While in Paris he became associated with Tachisme, and had his work championed by art critics Michel Tapié, between 1950 and 1958 Francis spent time and painted in Paris, the south of France, Tokyo, Mexico City, Bern and New York. His artistic development was affected by his exposure to French modern painting, Asian culture, after his 1953 painting Big Red was included in the 1956 exhibition Twelve Artists at the Museum of Modern Art, New York, Francis began a rapid rise to international prominence. Francis painted large murals for the Kunsthalle, Basel in 1956-8 and for the Chase Manhattan Bank, between 1960 and 1963 he created several series of works, including the Blue Balls series. Consisting of biomorphic predominantly blue forms and drips, these works referenced the pain that resulted from the tuberculosis that he suffered in 1961. Francis returned to California during the 1960s and continued painting, mainly in Los Angeles, in 1965 Francis started a series of paintings that featured large areas of open canvas, minimal color and strong line. His work evolved further after he began intensive Jungian analysis with Dr. James Kirsch in 1971 and began paying attention to his dreams. Francis works of the early 1970s have been referred to as Fresh Air pictures, created by adding pools, drips and splatters of color to wet bands of paint applied with a roller, these works re-asserted the artists interest in color. By 1973–4 many of Francis paintings featured a grid or matrix made up of crossing tracks of color. Many of these works were large in scale, measuring up to twenty feet long. After 1980 the formal structure of the grid gradually disappeared from Francis work and he was extremely active as a printmaker, creating numerous etchings, lithographs and monotypes, many of which were executed in Santa Monica at the Litho Shop, which Francis owned. In 1984 Francis founded The Lapis Press with the goal of producing unusual and he died in Santa Monica and was buried in Olema, in Marin County, California. Sam Francis was married five times, and was the father of four children and he was married from 1947 through 1952 to Vera Miller, a high school girlfriend, then to California painter Muriel Goodwin then to Japanese painter Teruko Yokoi with whom he had a daughter, Kayo
Sam Francis
–
Sam Francis in 1968
Sam Francis
–
Black and Red, oil on canvas 1950–1953,
Honolulu Museum of Art © Sam Francis Foundation, California/Artists Rights Society (ARS), New York
16.
Joan Mitchell
–
Joan Mitchell was an American second generation abstract expressionist painter and printmaker. She was a member of the American abstract expressionist movement, even much of her career took place in France. Along with Lee Krasner, Grace Hartigan, Helen Frankenthaler, Shirley Jaffe and Sonia Gechtoff, she was one of her eras few female painters to gain critical and her paintings and editioned prints can be seen in major museums and collections across the United States and Europe. Mitchell was born in Chicago, Illinois, the daughter of dermatologist James Herbert Mitchell and she lived on Chestnut Street in the Streeterville neighborhood and attended high school at Francis W. Parker School in the Lincoln Park neighborhood. Mitchell studied at Smith College in Massachusetts and The Art Institute of Chicago, a $2,000 travel fellowship allowed her to study in Paris and Provence in 1948—49, and she also traveled in Spain and Italy. Mitchell is recognized as a principal figure—and one of the few female artists—in the second generation of American Abstract Expressionists, by the early 1950s, she was regarded as a leading artist in the New York School. Her paintings are expansive, often covering two separate panels, landscape was the primary influence on her subject matter. She painted on unprimed canvas or white ground with gestural, sometimes violent brushwork and she has described a painting as an organism that turns in space. An admirer of van Goghs work, Mitchell observed in one of his final paintings – Wheatfield with Crows – the symbology of death, suicide, hopelessness, depression and darkness. With her sense that Wheatfield with Crows was a note, she painted a painting called No Birds as a response. After moving to Paris in 1959, Mitchell began painting in a studio on the rue Fremicourt in the 15th arrondissement of Paris. The marks on these works were said to be extraordinary, The paint flung and squeezed on to the canvases, spilling and spluttering across their surfaces and smeared on with the artists fingers. The artist herself referred to the work created in this period of the early 1960s as very violent and angry, but by 1964 she was trying to get out of a violent phase and into something else. Mitchell said that she wanted her paintings to convey the feeling of the sunflower and some of them come out like young girls. In 1951, Mitchells work was exhibited in the landmark Ninth Street Show alongside that of Jackson Pollock, Willem de Kooning, in 1952, she had her first solo exhibition at the New Gallery. In October 1957, the first major feature on her work appeared in ARTnews. In 1972, Mitchell staged her first major exhibition, entitled “My Five Years in the Country, ” at the Everson Museum of Art in Syracuse. December 1988 saw Mitchells first retrospective exhibition, which she referred to as being art-historized live and it featured 54 paintings produced from 1951 to 1987
Joan Mitchell
–
No Birds (1987/88).
Joan Mitchell
–
Untitled (1960) sold at auction for $11.9 million in 2014, a record for a female artist.
17.
Ellsworth Kelly
–
Ellsworth Kelly was an American painter, sculptor, and printmaker associated with hard-edge painting, Color Field painting and minimalism. His works demonstrate unassuming techniques emphasizing simplicity of form, similar to the work of John McLaughlin and he lived and worked in Spencertown, New York. Kelly was born the son of three to Allan Howe Kelly and Florence Bithens Kelly in Newburgh, New York, approximately 60 miles north of New York City. His father was a company executive of Scots-Irish and German descent. His mother was a schoolteacher of Welsh and Pennsylvania-German stock. His family moved from Newburgh to Oradell, New Jersey, a town of nearly 7,500 people and his family lived near the Oradell Reservoir, where his paternal grandmother introduced him to ornithology when he was eight or nine years old. There he developed his passion for form and color, John James Audubon had a particularly strong influence on Kellys work throughout his career. Kelly has said he was alone as a young boy. He had a stutter that persisted into his teenage years. Kelly attended public school, where art classes stressed materials and sought to develop the artistic imagination, although his parents were reluctant to support Kellys art training, a school teacher encouraged him to go further. As his parents would pay only for training, Kelly studied first at Pratt Institute in Brooklyn. Upon entering U. S military service in 1943 Kelly requested to be assigned to the 603rd Engineers Camouflage Battalion and he was inducted at Fort Dix, New Jersey and sent to Camp Hale, Colorado, where he trained with mountain ski troops. Six to eight weeks later, he was transferred to Fort Meade, during World War II, he served with other artists and designers in a deception unit known as The Ghost Army. The Ghost soldiers used inflatable tanks, trucks, and other elements of subterfuge to mislead the Axis forces about the direction and disposition of Allied forces and his exposure to military camouflage during the time he served became part of his basic art training. Kelly served with the unit from 1943 until the end of the European phase of the war. Bill to study from 1946-47 at the School of the Museum of Fine Arts, Boston, where he took advantage of the museums collections, while in Paris Kelly established his aesthetic. There in the City of Lights he attended classes infrequently, and he had heard a lecture by Max Beckmann on the French artist Paul Cézanne in 1948 and moved to Paris that year. The experience of visiting artists such as Alberto Magnelli, Francis Picabia, Alberto Giacometti, after being abroad for six years, Kelly decided to return to America in 1954
Ellsworth Kelly
–
Ellsworth Kelly arrives at LACMA’s gala opening of the Broad Contemporary Art Museum on February 9, 2008 in Los Angeles
Ellsworth Kelly
–
Ellsworth Kelly, The Meschers, 1951, oil on canvas, 59 x 59 inches,
Museum of Modern Art. Kelly was a pioneer of
hard-edge painting in the 1940s and 1950s
Ellsworth Kelly
–
White Curves (2002), made of white aluminium, in the garden of the
Fondation Beyeler in
Riehen, Switzerland
18.
Color field
–
Color Field painting is a style of abstract painting that emerged in New York City during the 1940s and 1950s. It was inspired by European modernism and closely related to Abstract Expressionism, Color Field is characterized primarily by large fields of flat, solid color spread across or stained into the canvas creating areas of unbroken surface and a flat picture plane. The movement places less emphasis on gesture, brushstrokes and action in favour of a consistency of form. In color field painting color is freed from objective context and becomes the subject in itself, the focus of attention in the world of contemporary art began to shift from Paris to New York after World War II and the development of American Abstract Expressionism. During the late 1940s and early 1950s Clement Greenberg was the first art critic to suggest and identify a dichotomy between differing tendencies within the Abstract Expressionist canon. Mark Rothko was one of the painters that Greenberg referred to as a Color Field painter exemplified by Magenta, Black, Green on Orange, for Rothko, color was merely an instrument. What is common among these stylistic innovations is a concern for tragedy, ecstasy, by 1958, whatever spiritual expression Rothko meant to portray on canvas, it was growing increasingly darker. His bright reds, yellows and oranges of the early 1950s subtly transformed into dark blues, greens, grays and his final series of paintings from the mid-1960s were gray, and black with white borders, seemingly abstract landscapes of an endless bleak, tundra-like, unknown country. In 1947, during a subsequent semester teaching at the California School of Fine Art, Rothko, Still was considered one of the foremost Color Field painters – his non-figurative paintings are largely concerned with the juxtaposition of different colors and surfaces. His jagged flashes of color give the impression that one layer of color has been torn off the painting, revealing the colors underneath, reminiscent of stalactites, stills arrangements are irregular, jagged, and pitted with heavy texture and sharp surface contrast as seen above in 1957D1. Another artist whose best known works relate to abstract expressionism and to color field painting is Robert Motherwell. Robert Motherwells Elegy to the Spanish Republic No.110 is the work of a pioneer of both Abstract Expressionism and Color Field painting. Robert Motherwells Elegy to The Spanish Republic series embodies both tendencies, while Motherwells Open Series of the late 1960s, 1970s and 1980s places him firmly within the Color Field camp. Barnett Newman is considered one of the figures in abstract expressionism. Newmans mature work is characterised by areas of pure and flat separated by thin vertical lines, or zips as Newman called them. Newman himself thought that he reached his fully mature style with the Onement series seen here, the zips define the spatial structure of the painting while simultaneously dividing and uniting the composition. Newmans late works, such as the Whos Afraid of Red, Yellow and Blue series, use vibrant, pure colors, another critical view advanced by Clement Greenberg connects Pollocks allover canvasses to the large-scale Water Lilies of Claude Monet done during the 1920s. In several paintings that Pollock painted after his classic drip painting period of 1947-1950, he used the technique of staining fluid oil paint, during 1951 he produced a series of semi-figurative black stain paintings, and in 1952 he produced stain paintings using color
Color field
–
Kenneth Noland, Beginning,
magna on canvas painting by
Hirshhorn Museum and Sculpture Garden, 1958.
Kenneth Noland working in
Washington, DC., was a pioneer of the color field movement in the late 1950s.
Color field
–
Mark Rothko,
No. 61 (Rust and Blue), 1953, 115 cm × 92 cm (45 in × 36 in).
Museum of Contemporary Art, Los Angeles
Color field
–
Clyfford Still, 1957 D1, 1957. Still was considered an
abstract expressionist and one of the foremost Color Field painters
Color field
–
Robert Motherwell, Elegy to the Spanish Republic No. 110, 1971. A pioneer of both
Abstract Expressionism and Color Field painting, Robert Motherwell's Elegy to The Spanish Republic series embodies both tendencies.
19.
Abstract expressionism
–
Abstract Expressionism is a post–World War II art movement in American painting, developed in New York in the 1940s. It was the first specifically American movement to achieve international influence and put New York City at the center of the art world. In the United States, Alfred Barr was the first to use this term in 1929 in relation to works by Wassily Kandinsky, technically, an important predecessor is surrealism, with its emphasis on spontaneous, automatic, or subconscious creation. Jackson Pollocks dripping paint onto a canvas laid on the floor is a technique that has its roots in the work of André Masson, Max Ernst, and David Alfaro Siqueiros. His long essay Totem Art had considerable influence on artists as Martha Graham, Isamu Noguchi, Jackson Pollock, Mark Rothko. Around 1944 Barnett Newman tried to explain Americas newest art movement, paalen is mentioned twice, other artists mentioned are Gottlieb, Rothko, Pollock, Hofmann, Baziotes, Gorky and others. Motherwell is mentioned with a question mark, additionally, it has an image of being rebellious, anarchic, highly idiosyncratic and, some feel, nihilistic. In practice, the term is applied to any number of working in New York who had quite different styles. Yet all four artists are classified as abstract expressionists, Abstract expressionism has many stylistic similarities to the Russian artists of the early 20th century such as Wassily Kandinsky. Why this style gained mainstream acceptance in the 1950s is a matter of debate, American social realism had been the mainstream in the 1930s. It had been influenced not only by the Great Depression, but also by the muralists of Mexico such as David Alfaro Siqueiros, the political climate after World War II did not long tolerate the social protests of these painters. Abstract expressionism arose during World War II and began to be showcased during the early forties at galleries in New York such as The Art of This Century Gallery. The McCarthy era after World War II was a time of censorship in the United States, but if the subject matter were totally abstract then it would be seen as apolitical. Or if the art was political, the message was largely for the insiders, many of the sculptors listed participated in the Ninth Street Show, a famous exhibition curated by Leo Castelli on East Ninth Street in New York City in 1951. Although the abstract expressionist school spread throughout the United States, the major centers of this style were New York City. At a certain moment the canvas began to appear to one American painter after another as an arena in which to act, what was to go on the canvas was not a picture but an event. In the 1940s there were not only few galleries but also few critics who were willing to follow the work of the New York Vanguard, there were also a few artists with a literary background, among them Robert Motherwell and Barnett Newman, who functioned as critics as well. Hess, the editor of ARTnews, championed Willem de Kooning
Abstract expressionism
–
Jackson Pollock,
No. 5, 1948, oil on
fiberboard, 244 × 122 cm. (96 × 48 in.), private collection
Abstract expressionism
–
David Smith,
Cubi VI (1963),
Israel Museum,
Jerusalem. David Smith was one of the most influential American sculptors of the 20th century.
Abstract expressionism
–
Mark Tobey, Canticle, 1954. Tobey, like Pollock, was known for his calligraphic style of allover compositions.
Abstract expressionism
–
Willem de Kooning, Woman V, 1952–1953. De Kooning's series of Woman paintings in the early 1950s caused a stir in the
New York City avant-garde circle.
20.
Paris
–
Paris is the capital and most populous city of France. It has an area of 105 square kilometres and a population of 2,229,621 in 2013 within its administrative limits, the agglomeration has grown well beyond the citys administrative limits. By the 17th century, Paris was one of Europes major centres of finance, commerce, fashion, science, and the arts, and it retains that position still today. The aire urbaine de Paris, a measure of area, spans most of the Île-de-France region and has a population of 12,405,426. It is therefore the second largest metropolitan area in the European Union after London, the Metropole of Grand Paris was created in 2016, combining the commune and its nearest suburbs into a single area for economic and environmental co-operation. Grand Paris covers 814 square kilometres and has a population of 7 million persons, the Paris Region had a GDP of €624 billion in 2012, accounting for 30.0 percent of the GDP of France and ranking it as one of the wealthiest regions in Europe. The city is also a rail, highway, and air-transport hub served by two international airports, Paris-Charles de Gaulle and Paris-Orly. Opened in 1900, the subway system, the Paris Métro. It is the second busiest metro system in Europe after Moscow Metro, notably, Paris Gare du Nord is the busiest railway station in the world outside of Japan, with 262 millions passengers in 2015. In 2015, Paris received 22.2 million visitors, making it one of the top tourist destinations. The association football club Paris Saint-Germain and the rugby union club Stade Français are based in Paris, the 80, 000-seat Stade de France, built for the 1998 FIFA World Cup, is located just north of Paris in the neighbouring commune of Saint-Denis. Paris hosts the annual French Open Grand Slam tennis tournament on the red clay of Roland Garros, Paris hosted the 1900 and 1924 Summer Olympics and is bidding to host the 2024 Summer Olympics. The name Paris is derived from its inhabitants, the Celtic Parisii tribe. Thus, though written the same, the name is not related to the Paris of Greek mythology. In the 1860s, the boulevards and streets of Paris were illuminated by 56,000 gas lamps, since the late 19th century, Paris has also been known as Panam in French slang. Inhabitants are known in English as Parisians and in French as Parisiens and they are also pejoratively called Parigots. The Parisii, a sub-tribe of the Celtic Senones, inhabited the Paris area from around the middle of the 3rd century BC. One of the areas major north-south trade routes crossed the Seine on the île de la Cité, this place of land and water trade routes gradually became a town
Paris
–
In the 1860s Paris streets and monuments were illuminated by 56,000 gas lamps, making it literally "The City of Light."
Paris
Paris
–
Gold coins minted by the Parisii (1st century BC)
Paris
–
The
Palais de la Cité and
Sainte-Chapelle, viewed from the Left Bank, from the
Très Riches Heures du duc de Berry (month of June) (1410)
21.
Military occupation
–
Military occupation is effective provisional control by a certain ruling power over a territory which is not under the formal sovereignty of that entity, without the volition of the actual sovereign. Military government may be characterized as the administration or supervision of occupied territory. Military government is distinguished from law, which is the temporary rule by domestic armed forces over disturbed areas. The rules of government are delineated in various international agreements, primarily the Hague Convention of 1907. A country that establishes a government and violates internationally agreed upon norms runs the risk of censure, criticism. In the current era, the practices of government have largely become a part of customary international law. Article 42 of the 1907 Hague Convention on Land Warfare specify that erritory is considered occupied when it is placed under the authority of the hostile army. The form of administration by which an occupying power exercises government authority over occupied territory is called military government, neither the Hague Conventions nor the Geneva Conventions specifically define or distinguish an act of invasion. The terminology of occupation is used exclusively, the clear distinction has been recognized among the principles of international law since the end of the Napoleonic wars in the 19th century. These customary laws of belligerent occupation which evolved as part of the laws of war gave some protection to the population under the occupation of a belligerent power. The first two articles of that state, Art. Territory is considered occupied when it is placed under the authority of the hostile army. The occupation extends only to the territory where such authority has been established, in 1949 these laws governing belligerent occupation of an enemy states territory were further extended by the adoption of the Fourth Geneva Convention. Much of GCIV is relevant to protected persons in occupied territories and Section III, Article 6 restricts the length of time that most of GCIV applies, The present Convention shall apply from the outset of any conflict or occupation mentioned in Article 2. In the territory of Parties to the conflict, the application of the present Convention shall cease on the close of military operations. GCIV emphasised an important change in international law, the Occupying Power shall not deport or transfer parts of its own civilian population into the territory it occupies. S. are not signatory to this additional protocol. The military government of the occupying power will continue past the point in time when the peace treaty comes into force. Military government continues until legally supplanted is the rule, as stated in Military Government and Martial Law, by William E. Birkhimer, see Birkhimer, p. 25–26, No proclamation of part of the victorious commander is necessary to the lawful inauguration and enforcement of military government
Military occupation
–
Stamp of the Belgian Military Occupation in
East Africa, captured from the Germans during
World War I
22.
Collaboration
–
Collaboration is the process of two or more people or organizations working together to realize or achieve something successfully. Collaboration is very similar to, but more closely aligned than, Most collaboration requires leadership, although the form of leadership can be social within a decentralized and egalitarian group. Teams that work collaboratively can obtain resources, recognition and reward when facing competition for finite resources. Structured methods of collaboration encourage introspection of behavior and communication and these methods specifically aim to increase the success of teams as they engage in collaborative problem solving. Forms, rubrics, charts and graphs are useful in situations to objectively document personal traits with the goal of improving performance in current. Collaboration is also present in opposing goals exhibiting the notion of adversarial collaboration, following are some examples of successful collaboration efforts in the past. Trade originated with the start of communication in prehistoric times, trading was the main facility of prehistoric people, who bartered goods and services from each other when there was no such thing as the modern day currency. Peter Watson dates the history of commerce from circa 150,000 years ago. Due to specialisation and division of labor, most people concentrate on an aspect of production. As such, trade at prices between locations benefits both locations. The members of an intentional community typically hold a social, political or spiritual vision. They also share responsibilities and resources, intentional communities include cohousing, residential land trusts, ecovillages, communes, kibbutzim, ashrams, and housing cooperatives. Typically, new members of a community are selected by the communitys existing membership. Hutterite, Austria Housing units are built and assigned to families but belong to the colony. Meals are taken by the colony in a common long room. The goal was to eliminate bad character traits, early Kibbutz settlements founded near Jerusalem A Kibbutz is an Israeli collective community. The movement combines socialism and Zionism in a form of practical Labor Zionism, forced by necessity into communal life, and inspired by their own ideology, the kibbutz members developed a pure communal mode of living that attracted interest from the entire world. Ayn Rand utterly rejected the notion that one should live an isolated life, Rand wrote hundreds of pages about the virtues and benefits of collaborating with others to mutual advantage
Collaboration
–
Catalan
castellers collaborate, working together with a shared goal
Collaboration
–
The
trade of goods is an economic activity providing mutual benefit
Collaboration
–
Organization and cooperation between community members provides economic and social benefits
Collaboration
–
The 2,751
Liberty ships built in four years by the United States during World War II required new approaches in organization and manufacturing
23.
Art critic
–
An art critic is a person who is specialized in analyzing, interpreting and evaluating art. Their written critiques or reviews contribute to art criticism and they are published in newspapers, magazines, books, exhibition brochures and catalogues, some of todays art critics use art blogs and other online platforms in order to connect with a wider audience and expand debate about art. Differently from art history, there is not a training for art critics, art critics come from different backgrounds. Professional art critics are expected to have an eye for art. Typically the art critic views art at exhibitions, galleries, museums or artists studios, very rarely art critics earn their living from writing criticism. The opinions of art critics have the potential to stir debate on art related topics, due to this the viewpoints of art critics writing for art publications and newspapers adds to public discourse concerning art and culture. Art collectors and patrons often rely on the advice of such critics as a way to enhance their appreciation of the art they are viewing. Many now famous and celebrated artists were not recognized by the art critics of their time, an experience-related article is Agnieszka Gratza. Always according to James Elkins in smaller and developing countries, newspaper art criticism normally serves as art history, Art criticism List of art critics History of art criticism Good audio version of symposium on contemporary art criticism entitled Empathy and Criticality, sponsored by the Frieze Foundation
Art critic
–
John Ruskin (1819-1900), c.1870.
Leo Tolstoy described Ruskin as, "one of those rare men who think with their heart." A champion of the work of
J.M.W. Turner, Ruskin detested the work of
James McNeill Whistler
Art critic
–
Jean-Honoré Fragonard, Portrait of
Denis Diderot, 1769,
Louvre,
Paris. His
art criticism was highly influential. His Essais sur la peinture was described by
Johann Wolfgang von Goethe, as "a magnificent work, which speaks even more helpfully to the poet than to the painter, though to the painter too it is as a blazing torch." Diderot's favorite painter was
Jean-Baptiste Greuze.
Art critic
–
Charles Baudelaire 1855, Photo by
Nadar. Baudelaire is associated with the
Decadent movement. His book of poetry
Les Fleurs du mal is acknowledged as a classic of
French literature
Art critic
–
Édouard Manet, Portrait of
Zacharie Astruc 1866,
Kunsthalle Bremen. He was a strong defender of
Gustave Courbet, and was one of the first to recognize the talent of
Édouard Manet. He also defended
Claude Monet,
James McNeill Whistler,
Carolus-Duran,
Fantin-Latour, and
Alphonse Legros.
24.
Abstract Expressionism
–
Abstract Expressionism is a post–World War II art movement in American painting, developed in New York in the 1940s. It was the first specifically American movement to achieve international influence and put New York City at the center of the art world. In the United States, Alfred Barr was the first to use this term in 1929 in relation to works by Wassily Kandinsky, technically, an important predecessor is surrealism, with its emphasis on spontaneous, automatic, or subconscious creation. Jackson Pollocks dripping paint onto a canvas laid on the floor is a technique that has its roots in the work of André Masson, Max Ernst, and David Alfaro Siqueiros. His long essay Totem Art had considerable influence on artists as Martha Graham, Isamu Noguchi, Jackson Pollock, Mark Rothko. Around 1944 Barnett Newman tried to explain Americas newest art movement, paalen is mentioned twice, other artists mentioned are Gottlieb, Rothko, Pollock, Hofmann, Baziotes, Gorky and others. Motherwell is mentioned with a question mark, additionally, it has an image of being rebellious, anarchic, highly idiosyncratic and, some feel, nihilistic. In practice, the term is applied to any number of working in New York who had quite different styles. Yet all four artists are classified as abstract expressionists, Abstract expressionism has many stylistic similarities to the Russian artists of the early 20th century such as Wassily Kandinsky. Why this style gained mainstream acceptance in the 1950s is a matter of debate, American social realism had been the mainstream in the 1930s. It had been influenced not only by the Great Depression, but also by the muralists of Mexico such as David Alfaro Siqueiros, the political climate after World War II did not long tolerate the social protests of these painters. Abstract expressionism arose during World War II and began to be showcased during the early forties at galleries in New York such as The Art of This Century Gallery. The McCarthy era after World War II was a time of censorship in the United States, but if the subject matter were totally abstract then it would be seen as apolitical. Or if the art was political, the message was largely for the insiders, many of the sculptors listed participated in the Ninth Street Show, a famous exhibition curated by Leo Castelli on East Ninth Street in New York City in 1951. Although the abstract expressionist school spread throughout the United States, the major centers of this style were New York City. At a certain moment the canvas began to appear to one American painter after another as an arena in which to act, what was to go on the canvas was not a picture but an event. In the 1940s there were not only few galleries but also few critics who were willing to follow the work of the New York Vanguard, there were also a few artists with a literary background, among them Robert Motherwell and Barnett Newman, who functioned as critics as well. Hess, the editor of ARTnews, championed Willem de Kooning
Abstract Expressionism
–
Jackson Pollock,
No. 5, 1948, oil on
fiberboard, 244 × 122 cm. (96 × 48 in.), private collection
Abstract Expressionism
–
David Smith,
Cubi VI (1963),
Israel Museum,
Jerusalem. David Smith was one of the most influential American sculptors of the 20th century.
Abstract Expressionism
–
Mark Tobey, Canticle, 1954. Tobey, like Pollock, was known for his calligraphic style of allover compositions.
Abstract Expressionism
–
Willem de Kooning, Woman V, 1952–1953. De Kooning's series of Woman paintings in the early 1950s caused a stir in the
New York City avant-garde circle.
25.
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
26.
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)
27.
Mark Rothko
–
Mark Rothko, born Markus Yakovlevich Rothkowitz, was an American painter of Russian Jewish descent. Although Rothko himself refused to adhere to any art movement, he is identified as an abstract expressionist. With Jackson Pollock and Willem de Kooning, he is one of the most famous postwar American artists, Mark Rothko was born in Dvinsk, Vitebsk Governorate, in the Russian Empire. His father, Jacob Rothkowitz, was a pharmacist and an intellectual who initially provided his children with a secular and political, rather than religious, according to Rothko, his pro-Marxist father was violently anti-religious. In an environment where Jews were often blamed for many of the evils that befell Russia, despite Jacob Rothkowitzs modest income, the family was highly educated, and Rothko was able to speak Russian, Yiddish, and Hebrew. Fearing that his sons were about to be drafted into the Imperial Russian Army. Markus remained in Russia, with his mother and elder sister Sonia and they arrived as immigrants, at Ellis Island, in late 1913. From that point, they crossed the country, to join Jacob, jacobs death, a few months later, from colon cancer, left the family without economic support. Sonia operated a cash register, while Markus worked in one of his uncles warehouses and his fathers death also led Rothko to sever his ties with religion. After he had mourned his fathers death for almost a year at a local synagogue, Markus had started school in the United States in 1913, quickly accelerating from third to fifth grade. In June 1921, he completed the level, with honors, at Lincoln High School in Portland. He learned his fourth language, English, and became a member of the Jewish community center. Like his father, Rothko was passionate about issues such as workers’ rights, at the time, Portland was the epicentre of revolutionary activity in the U. S. and the region where revolutionary syndicalist union Industrial Workers of the World, was strongest. He heard Emma Goldman speak on one of her West Coast activist lecture tours, with the onset of the Russian Revolution, Rothko organised debates about it. Despite the repressive political atmosphere, he wished to become a union organiser. Rothko received a scholarship to Yale, at the end of his freshman year in 1922, the scholarship was not renewed, and he worked as a waiter and delivery boy to support his studies. He found the Yale community to be elitist and racist, Rothko and a friend, Aaron Director, started a satirical magazine, The Yale Saturday Evening Pest, which lampooned the schools stuffy, bourgeois tone. In any event, Rothkos nature was more that of a man than a diligent pupil, One of his fellow students remembers that he hardly seemed to study
Mark Rothko
–
Rothko visiting the
Scott family in 1959
Mark Rothko
–
Mark Rothko, Yorktown Heights, ca. 1949.
Brooklyn Museum, by
Consuelo Kanaga
Mark Rothko
–
No. 3/No. 13 (Magenta, Black, Green on Orange), 1949, 85 3/8" × 65" (216.5 × 164.8 cm), oil on canvas,
Museum of Modern Art
Mark Rothko
–
No. 61 (Rust and Blue), 1953, 115 cm × 92 cm (45 in × 36 in).
Museum of Contemporary Art, Los Angeles
28.
Cubist
–
Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. Cubism has been considered the most influential art movement of the 20th century, the term is broadly used in association with a wide variety of art produced in Paris during the 1910s and extending through the 1920s. The movement was pioneered by Georges Braque and Pablo Picasso, joined by Andre Lhote, Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris. A primary influence that led to Cubism was the representation of form in the late works of Paul Cézanne. The impact of Cubism was far-reaching and wide-ranging, Cubism spread rapidly across the globe and in doing so evolved to a greater or lesser extent. In essence, Cubism was the origin of a process that produced diversity. In France, offshoots of Cubism developed, including Orphism, Abstract art, in other countries Futurism, Suprematism, Dada, Constructivism, De Stijl and Art Deco developed in response to Cubism. Other common threads between these movements include the faceting or simplification of geometric forms, and the association of mechanization. Cubism began between 1907 and 1911, Pablo Picassos 1907 painting Les Demoiselles dAvignon has often been considered a proto-Cubist work. Georges Braques 1908 Houses at L’Estaque prompted the critic Louis Vauxcelles to refer to bizarreries cubiques, Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro, as the first Cubist paintings. A second phase, Synthetic Cubism, remained vital until around 1919, english art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch. Douglas Coopers restrictive use of terms to distinguish the work of Braque, Picasso, Gris. Alternative interpretations of Cubism have therefore developed, wider views of Cubism include artists who were later associated with the Salle 41 artists, e. g. John Berger identifies the essence of Cubism with the mechanical diagram. The metaphorical model of Cubism is the diagram, The diagram being a symbolic representation of invisible processes, forces, structures. A diagram need not eschew certain aspects of appearance but these too will be treated as not as imitations or recreations. During the late 19th and early 20th centuries, Europeans were discovering African, Polynesian, Micronesian, artists such as Paul Gauguin, Henri Matisse, and Pablo Picasso were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures. Around 1906, Picasso met Matisse through Gertrude Stein, at a time when artists had recently acquired an interest in primitivism, Iberian sculpture, African art and African tribal masks. Picassos paintings of 1907 have been characterized as Protocubism, as seen in Les Demoiselles dAvignon
Cubist
–
Pablo Picasso, 1910, Girl with a Mandolin (Fanny Tellier), oil on canvas, 100.3 x 73.6 cm,
Museum of Modern Art, New York
Cubist
–
Pablo Picasso,
Les Demoiselles d'Avignon, 1907, considered to be a major step towards the founding of the Cubist movement
Cubist
–
Pablo Picasso, 1909-10, Figure dans un Fauteuil (Seated Nude, Femme nue assise), oil on canvas, 92.1 x 73 cm,
Tate Modern, London
Cubist
–
Paul Cézanne, Quarry Bibémus, 1898-1900,
Museum Folkwang,
Essen,
Germany
29.
Surrealist
–
Surrealism is a cultural movement that began in the early 1920s, and is best known for its visual artworks and writings. The aim was to resolve the previously contradictory conditions of dream, leader André Breton was explicit in his assertion that Surrealism was, above all, a revolutionary movement. Surrealism developed out of the Dada activities during World War I, the word surrealist was coined by Guillaume Apollinaire and first appeared in the preface to his play Les Mamelles de Tirésias, which was written in 1903 and first performed in 1917. The Dadaists protested with anti-art gatherings, performances, writings and art works, after the war, when they returned to Paris, the Dada activities continued. Meeting the young writer Jacques Vaché, Breton felt that Vaché was the son of writer. He admired the young writers anti-social attitude and disdain for established artistic tradition, later Breton wrote, In literature, I was successively taken with Rimbaud, with Jarry, with Apollinaire, with Nouveau, with Lautréamont, but it is Jacques Vaché to whom I owe the most. Back in Paris, Breton joined in Dada activities and started the literary journal Littérature along with Louis Aragon and they began experimenting with automatic writing—spontaneously writing without censoring their thoughts—and published the writings, as well as accounts of dreams, in the magazine. Breton and Soupault delved deeper into automatism and wrote The Magnetic Fields, continuing to write, they came to believe that automatism was a better tactic for societal change than the Dada form of attack on prevailing values. They also looked to the Marxist dialectic and the work of such theorists as Walter Benjamin, freuds work with free association, dream analysis, and the unconscious was of utmost importance to the Surrealists in developing methods to liberate imagination. They embraced idiosyncrasy, while rejecting the idea of an underlying madness, as Salvador Dalí later proclaimed, There is only one difference between a madman and me. Beside the use of analysis, they emphasized that one could combine inside the same frame, elements not normally found together to produce illogical. The more the relationship between the two juxtaposed realities is distant and true, the stronger the image will be−the greater its emotional power, the group aimed to revolutionize human experience, in its personal, cultural, social, and political aspects. They wanted to people from false rationality, and restrictive customs. Breton proclaimed that the aim of Surrealism was long live the social revolution. To this goal, at various times Surrealists aligned with communism and anarchism, in 1924 two Surrealist factions declared their philosophy in two separate Surrealist Manifestos. That same year the Bureau of Surrealist Research was established, leading up to 1924, two rival surrealist groups had formed. Each group claimed to be successors of a revolution launched by Guillaume Apollinaire, the other group, led by Breton, included Louis Aragon, Robert Desnos, Paul Éluard, Jacques Baron, Jacques-André Boiffard, Jean Carrive, René Crevel and Georges Malkine, among others. Goll and Breton clashed openly, at one point literally fighting, at the Comédie des Champs-Élysées, in the end, Breton won the battle through tactical and numerical superiority
Surrealist
–
Max Ernst,
The Elephant Celebes (1921),
Tate, London
Surrealist
–
Cover of the first issue of
La Révolution surréaliste, December 1924.
Surrealist
–
Yvan Goll, Surréalisme, Manifeste du surréalisme, Volume 1, Number 1, October 1, 1924, cover by
Robert Delaunay
Surrealist
–
André Masson. Automatic Drawing. 1924. Ink on paper, 23.5 x 20.6 cm.
Museum of Modern Art, New York.
30.
Geometric abstraction
–
Geometric abstraction is a form of abstract art based on the use of geometric forms sometimes, though not always, placed in non-illusionistic space and combined into non-objective compositions. Although the genre was popularized by artists in the early twentieth century. Geometric abstraction is present among many cultures throughout history both as decorative motifs and as art pieces themselves, wassily Kandinsky, one of the forerunners of pure non-objective painting, was among the first modern artists to explore this geometric approach in his abstract work. Other examples of pioneer abstractionists such as Kasimir Malevich and Piet Mondrian have also embraced this approach towards abstract painting,10, 1939–1942, characterized by primary colors, white ground and black grid lines clearly defined his radical but classical approach to the rectangle. Just as there are both two-dimensional and three-dimensional geometries, the sculpture of the 20th century was of course no less affected than painting by geometricizing tendencies
Geometric abstraction
–
Kazimir Malevich, Black Square, 1915, Oil on Canvas,
State Russian Museum, St.Petersburg
Geometric abstraction
–
Theo van Doesburg,
Neo-Plasticism: 1917, Composition VII (the three graces)
Geometric abstraction
–
Mino Argento, New York, 1973
31.
Wassily Kandinsky
–
Wassily Wassilyevich Kandinsky was a Russian painter and art theorist. He is credited with painting one of the first recognised purely abstract works, born in Moscow, Kandinsky spent his childhood in Odessa, where he graduated at Grekov Odessa Art school. He enrolled at the University of Moscow, studying law and economics, successful in his profession—he was offered a professorship at the University of Dorpat—Kandinsky began painting studies at the age of 30. In 1896 Kandinsky settled in Munich, studying first at Anton Ažbes private school and he returned to Moscow in 1914, after the outbreak of World War I. Kandinsky was unsympathetic to the theories on art in Communist Moscow. There, he taught at the Bauhaus school of art and architecture from 1922 until the Nazis closed it in 1933. He then moved to France, where he lived for the rest of his life, becoming a French citizen in 1939 and he died at Neuilly-sur-Seine in 1944. Kandinskys creation of work followed a long period of development. He called this devotion to beauty, fervor of spirit. Kandinsky was born in Moscow, the son of Lidia Ticheeva and Vasily Silvestrovich Kandinsky, Kandinsky learned from a variety of sources while in Moscow. He studied many fields while in school, including law and economics, later in life, he would recall being fascinated and stimulated by colour as a child. His fascination with colour symbolism and psychology continued as he grew, in 1889, he was part of an ethnographic research group which travelled to the Vologda region north of Moscow. In Looks on the Past, he relates that the houses and churches were decorated with such shimmering colours that upon entering them and this experience, and his study of the regions folk art, was reflected in much of his early work. The artist is the hand plays, touching one key or another. Kandinsky was also the uncle of Russian-French philosopher Alexandre Kojève, in 1896, at the age of 30, Kandinsky gave up a promising career teaching law and economics to enroll in the Munich Academy where his teachers would eventually include Franz von Stuck. He was not immediately granted admission, and began learning art on his own and that same year, before leaving Moscow, he saw an exhibit of paintings by Monet. He was particularly taken with the style of Haystacks, this. Later, he would write about this experience, That it was a haystack the catalogue informed me and this non-recognition was painful to me
Wassily Kandinsky
–
Wassily Kandinsky, c. 1913 or earlier
Wassily Kandinsky
Wassily Kandinsky
–
Der Blaue Reiter (1903)
Wassily Kandinsky
–
Early-period work, Munich-Schwabing with the Church of St. Ursula (1908)
32.
Minimal art
–
As a specific movement in the arts it is identified with developments in post–World War II Western Art, most strongly with American visual arts in the 1960s and early 1970s. Artists themselves have reacted against the label due to the negative implication of the work being simplistic. Minimalism is often interpreted as a reaction against Abstract expressionism and a bridge to Postminimal art practices, Minimalism in visual art, generally referred to as minimal art, literalist art and ABC Art emerged in New York in the early 1960s. Guggenheim Museum curated by Lawrence Alloway also in 1966 that showcased Geometric abstraction in the American art world via Shaped canvas, Color Field, in the wake of those exhibitions and a few others the art movement called minimal art emerged. Others will come after us who will do the same and that is the tremendous secret of the future. Monochrome painting was initiated at the first Incoherent arts exhibition in 1882 in Paris, with a black painting by poet Paul Bilhaud entitled Combat de Nègres dans un tunnel. Minimal art is inspired in part by the paintings of Barnett Newman, Ad Reinhardt, Josef Albers, and the works of artists as diverse as Pablo Picasso, Marcel Duchamp, Giorgio Morandi. Minimalism was also a reaction against the painterly subjectivity of Abstract Expressionism that had been dominant in the New York School during the 1940s and 1950s. The wide range of possibilities of interpretation of monochrome paintings is arguably why the monochrome is so engaging to so many artists, critics, although the monochrome has never become dominant and few artists have committed themselves exclusively to it, it has never gone away. It reappears as though a spectre haunting high modernism, or as a symbol of it, appearing during times of aesthetic and sociopolitical upheavals. The philosopher or art historian who can envision me—or anyone at all—arriving at aesthetic judgments in this way reads shockingly more into himself or herself than into my article. They very explicitly stated that their art was not about self-expression, in general, Minimalisms features included geometric, often cubic forms purged of much metaphor, equality of parts, repetition, neutral surfaces, and industrial materials. Robert Morris, an influential theorist and artist, wrote a three part essay, Notes on Sculpture 1-3, originally published across three issues of Artforum in 1966. In these essays, Morris attempted to define a conceptual framework and formal elements for himself and these essays paid great attention to the idea of the gestalt - parts. Bound together in such a way that create a maximum resistance to perceptual separation. Morris later described an art represented by a marked lateral spread, the general shift in theory of which this essay is an expression suggests the transitions into what would later be referred to as postminimalism. The decisions about structures on the front surface of the canvas were therefore not entirely subjective, in the show catalog, Carl Andre noted, Art excludes the unnecessary. Frank Stella has found it necessary to paint stripes, there is nothing else in his painting
Minimal art
–
Donald Judd, Untitled, 1991,
Israel Museum Art Garden,
Jerusalem.
Minimal art
–
Frank Stella,
Die Fahne Hoch!, 1959,
Whitney Museum of American Art
Minimal art
–
Tony Smith, Free Ride, 1962, 6'8 x 6'8 x 6'8
Minimal art
–
Kazimir Malevich, Black Square, 1915, oil on canvas,
Tretyakov Gallery,
Moscow
33.
Clement Greenberg
–
In particular, he is best remembered for his promotion of the abstract expressionist movement and was among the first published critics to praise the work of painter Jackson Pollock. Clement Greenberg was born in the borough of the Bronx, NYC and his parents were middle-class Jewish immigrants, and he was the eldest of their three sons. Since childhood, Greenberg sketched compulsively, until becoming a young adult, Greenberg attended Erasmus Hall High School, the Marquand School for Boys, then Syracuse University, graduating with an A. B. in 1930, cum laude, Phi Beta Kappa. After college, already as fluent in Yiddish as English since childhood, Greenberg taught himself Italian and German in addition to French and Latin. During the next few years, Greenberg travelled the U. S. working for his fathers dry-goods business, Greenberg married in 1934, had a son the next year, and was divorced the year after that. It was then that Greenberg began to seriously, and soon after began getting published in a handful of small magazines. Greenberg writes, Kitsch, using for raw material the debased and academicized simulacra of genuine culture and it is the source of its profits. Kitsch is mechanical and operates by formulas, Kitsch is vicarious experience and faked sensations. Kitsch changes according to style, but remains always the same, Kitsch is the epitome of all that is spurious in the life of our times. Kitsch pretends to demand nothing of its customers except their money – not even their time, for Greenberg, avant garde art was too innocent to be effectively used as propaganda or bent to a cause, while kitsch was ideal for stirring up false sentiment. Greenberg wrote several essays that defined his views on art history in the 20th century. In 1940, Greenberg joined Partisan Review as an editor and he became art critic for the Nation in 1942. He was associate editor of Commentary from 1945 until 1957, in December 1950, he joined the government funded American Committee for Cultural Freedom. Greenberg believed Modernism provided a commentary on experience. It was constantly changing to adapt to kitsch pseudo-culture, which was itself always developing, in the years after World War II, Greenberg pushed the position that the best avant-garde artists were emerging in America rather than Europe. Particularly, he championed Jackson Pollock as the greatest painter of his generation, Greenberg helped to articulate a concept of medium specificity. In Greenbergs view, after World War II the United States had become the guardian of advanced art and he was particularly impressed by the potential of painters William Ronald and Jack Bush, and later developed a close friendship with Bush. Greenberg expressed mixed feelings about pop art, on the one hand he expressed that pop art partook of a trend toward openness and clarity as against the turgidities of second generation Abstract Expressionism
Clement Greenberg
–
Clement Greenberg
34.
Donald Judd
–
Donald Judd was an American artist associated with minimalism. In his work, Judd sought autonomy and clarity for the constructed object and it created an outpouring of seemingly effervescent works that defied the term minimalism. Nevertheless, he is considered the leading international exponent of minimalism. Judd was born in Excelsior Springs, Missouri, at Columbia, he earned a degree in philosophy and worked towards a masters in art history under Rudolf Wittkower and Meyer Schapiro. At this time he attended night classes at the Art Students League of New York. He supported himself by writing art criticism for major American art magazines between 1959 and 1965, in 1968 Judd bought a five-story cast-iron building, designed by Nicholas Whyte in 1870, at 101 Spring Street for under $70,000, serving as his New York residence and studio. Over the next 25 years, Judd renovated the floor by floor. In the late 1940s, Donald Judd began to practice as a painter and his first solo exhibition, of expressionist paintings, opened in New York in 1957. His artistic style soon moved away from media and embraced constructions in which materiality was central to the work. He would not have one person show until the Green Gallery in 1963. By 1963 Judd had established an essential vocabulary of forms — ‘stacks’, ‘boxes’ and ‘progressions’ — which preoccupied him for the thirty years. Most of his output was in freestanding specific objects, that simple, often repeated forms to explore space. Humble materials such as metals, industrial plywood, concrete and color-impregnated Plexiglas became staples of his career, Judds first floor box structure was made in 1964, and his first floor box using Plexiglas followed one year later. While Judd executed early works himself, in 1964 he began delegating fabrication to professional artisans, in 1965, Judd created his first stack, an arrangement of identical iron units stretching from floor to ceiling. As he abandoned painting for sculpture in the early 1960s, he wrote the manifesto-like essay “Specific Objects” in 1964 and he pointed to evidence of this development in the works of an array of artists active in New York at the time, including H. C. Westermann, Lucas Samaras, John Chamberlain, Jasper Johns, Dan Flavin, George Earl Ortman and that the categorical identity of such objects was itself in question, and that they avoided easy association with well-worn and over-familiar conventions, was a part of their value for Judd. He replied that methods should not matter as long as the results create art, in 1968, the Whitney Museum of American Art staged a retrospective of his work which included none of his early paintings. In 1968, Judd bought a building in New York that allowed him to start placing his work in a more permanent manner than was possible in gallery or museum shows
Donald Judd
–
Donald Judd, Untitled, 1977,
Münster, Germany
Donald Judd
–
Donald Judd, American Visions: The Age of Anxiety, 1997 on
YouTube. Premiered on BBC.
Donald Judd
–
Untitled (1991),
Israel Museum, Jerusalem
35.
World War II
–
World War II, also known as the Second World War, was a global war that lasted from 1939 to 1945, although related conflicts began earlier. It involved the vast majority of the worlds countries—including all of the great powers—eventually forming two opposing alliances, the Allies and the Axis. It was the most widespread war in history, and directly involved more than 100 million people from over 30 countries. Marked by mass deaths of civilians, including the Holocaust and the bombing of industrial and population centres. These made World War II the deadliest conflict in human history, from late 1939 to early 1941, in a series of campaigns and treaties, Germany conquered or controlled much of continental Europe, and formed the Axis alliance with Italy and Japan. Under the Molotov–Ribbentrop Pact of August 1939, Germany and the Soviet Union partitioned and annexed territories of their European neighbours, Poland, Finland, Romania and the Baltic states. In December 1941, Japan attacked the United States and European colonies in the Pacific Ocean, and quickly conquered much of the Western Pacific. The Axis advance halted in 1942 when Japan lost the critical Battle of Midway, near Hawaii, in 1944, the Western Allies invaded German-occupied France, while the Soviet Union regained all of its territorial losses and invaded Germany and its allies. During 1944 and 1945 the Japanese suffered major reverses in mainland Asia in South Central China and Burma, while the Allies crippled the Japanese Navy, thus ended the war in Asia, cementing the total victory of the Allies. World War II altered the political alignment and social structure of the world, the United Nations was established to foster international co-operation and prevent future conflicts. The victorious great powers—the United States, the Soviet Union, China, the United Kingdom, the Soviet Union and the United States emerged as rival superpowers, setting the stage for the Cold War, which lasted for the next 46 years. Meanwhile, the influence of European great powers waned, while the decolonisation of Asia, most countries whose industries had been damaged moved towards economic recovery. Political integration, especially in Europe, emerged as an effort to end pre-war enmities, the start of the war in Europe is generally held to be 1 September 1939, beginning with the German invasion of Poland, Britain and France declared war on Germany two days later. The dates for the beginning of war in the Pacific include the start of the Second Sino-Japanese War on 7 July 1937, or even the Japanese invasion of Manchuria on 19 September 1931. Others follow the British historian A. J. P. Taylor, who held that the Sino-Japanese War and war in Europe and its colonies occurred simultaneously and this article uses the conventional dating. Other starting dates sometimes used for World War II include the Italian invasion of Abyssinia on 3 October 1935. The British historian Antony Beevor views the beginning of World War II as the Battles of Khalkhin Gol fought between Japan and the forces of Mongolia and the Soviet Union from May to September 1939, the exact date of the wars end is also not universally agreed upon. It was generally accepted at the time that the war ended with the armistice of 14 August 1945, rather than the formal surrender of Japan
World War II
–
Clockwise from top left: Chinese forces in the
Battle of Wanjialing, Australian
25-pounder guns during the
First Battle of El Alamein, German
Stuka dive bombers on the
Eastern Front in December 1943, a U.S. naval force in the
Lingayen Gulf,
Wilhelm Keitel signing the
German Instrument of Surrender, Soviet troops in the
Battle of Stalingrad
World War II
–
The
League of Nations assembly, held in
Geneva,
Switzerland, 1930
World War II
–
Adolf Hitler at a German
National Socialist political rally in
Weimar, October 1930
World War II
–
Italian soldiers recruited in 1935, on their way to fight the
Second Italo-Abyssinian War
36.
Serge Poliakoff
–
Serge Poliakoff was a Russian-born French modernist painter belonging to the New Ecole de Paris. Serge Poliakoff was born in Moscow in 1906, the thirteenth of fourteen children and his father, a Kyrgyz, supplied the army with horses that he bred himself and also owned a racing stable. His mother was involved with the church, and its religious icons fascinated him. He enrolled at the Moscow School of Painting, Sculpture and Architecture and he arrived in Constantinople in 1920, living off the profits from his talent as a guitarist. He went on to pass through Sofia, Belgrade, Vienna, in 1929 he enrolled at the Académie de la Grande Chaumière. His paintings remained purely academic until he discovered, during his stay in London from 1935 to 1937 and it was a little afterwards that he met Wassily Kandinsky, Sonia and Robert Delaunay, and Otto Freundlich. With these influences, Poliakoff quickly came to be considered as one of the most powerful painters of his generation. In 1947, he was trained by Jean Deyrolle in Gordes in the Vaucluse region of France amongst peers such as Gérard Schneider, Giloli, Victor Vasarely, a contract enabled him to quickly gain better financial stability. In 1962 a room was given over to his paintings by the Venice Biennial and his works are now displayed in a large number of museums in Europe and New York. Poliakoff also worked with ceramics at the Manufacture nationale de Sèvres and he influenced the paintings of Arman. In 2013, The Musée d’Art Moderne de la Ville de Paris is devoting a large-scale retrospective to the painter which includes 150 works from the period 1946-1969. Since 1970 there has no significant exhibition of the work of Serge Poliakoff in what became his home city. Jean Cassou, Poliakoff, Bodensee-Verlag, Amriswil,1963, lydia Harambourg, Serge Poliakoff, dans LÉcole de Paris 1945-1965, Dictionnaire des peintres, Neuchâtel, Ides et Calendes,1993. Lorenzelli Arte Milano, Serge Poliakoff Biography - Serge Poliakoff, The Dream of Forms - Musée dArt Moderne de la Ville de Paris
Serge Poliakoff
–
Composition grise et rouge, 1964, oil on canvas, 160x130cm
37.
Jean-Paul Riopelle
–
Jean-Paul Riopelle, CC GOQ was a painter and sculptor from Quebec, Canada. He became the first Canadian painter to attain widespread international recognition, born in Montreal, Riopelle began drawing lessons in 1933 and continued through 1938. He studied engineering, architecture and photography at the école polytechnique in 1941, in 1942 he enrolled at the École des beaux-arts de Montréal but shifted his studies to the less academic école du Meuble, graduating in 1945. He studied under Paul-Émile Borduas in the 1940s and was a member of Les Automatistes movement, breaking with traditional conventions in 1945 after reading André Bretons Le Surréalisme et la Peinture, he began experimenting with non-objective painting. He was one of the signers of the Refus global manifesto, in 1947 Riopelle moved to Paris and continued his career as an artist, where, after a brief association with the surrealists he capitalized on his image as a wild Canadian. His first solo exhibition took place in 1949 at the Surrealist meeting place, in 1959 he began a relationship with the American painter Joan Mitchell. Living together throughout the 1960s, they kept separate homes and studios near Giverny and they influenced one another greatly, as much intellectually as artistically, but their relationship was a stormy one, fueled by alcohol. His 1992 painting Hommage à Rosa Luxemburg is Riopelles tribute to Mitchell, who died that year, the presence of long filaments of paint in his painting from 1948 through the early 1950s has often been seen as resulting from a dripping technique like that of Jackson Pollock. Rather, the creation of such came from the act of throwing, with a palette knife or brush. Riopelles voluminous impasto became just as important as color and his oil painting technique allowed him to paint thick layers, producing peaks and troughs as copious amounts of paint were applied to the surface of the canvas. But it never works, so I add more, without realizing it, I have never wanted to paint thickly, paint tubes are much too expensive. But one way or another, the painting has to be done, when I learn how to paint better, I will paint less thickly. It has to right away. A third element, range of gloss, in addition to color and volume, paints are juxtaposed so that light is reflected off the surface not just in different directions but with varying intensity, depending on the naturally occurring gloss finish. These three elements, color, volume, and range of gloss, would form the basis of his oil painting technique throughout his long, Riopelle received an Honorable Mention at the 1952 São Paulo Art Biennial. In 1953 he showed at the Younger European Painters exhibition at the Solomon R. Guggenheim Museum in New York City, the following year Riopelle began exhibiting at the Pierre Matisse Gallery in New York. In 1954, works by Riopelle, along with those of B. C, binning and Paul-Émile Borduas represented Canada at the Venice Biennale. He was the sole artist representing Canada at the 1962 Venice Biennale in an exhibit curated by Charles Comfort and he was made a member of the Royal Canadian Academy of Arts
Jean-Paul Riopelle
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Jean-Paul Riopelle
Jean-Paul Riopelle
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Jean-Paul Riopelle, 1948, Untitled (sans titre), oil on canvas, 97.5 x 130 cm (38 3/8 x 51¼ in.)
Jean-Paul Riopelle
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Jean-Paul Riopelle, 1953, Untitled, oil on canvas, 114 x 145 cm (44.9 by 57 in.),
Museum of Fine Arts of Rennes, France
Jean-Paul Riopelle
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La Place Jean-Paul-Riopelle,
Montreal, Quebec
38.
Vieira da Silva
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Maria Helena Vieira da Silva was a Portuguese-French abstractionist painter. Vieira da Silva was born in Lisbon, Portugal, at the age of eleven she had begun seriously studying drawing and painting at that citys Academia de Belas-Artes. In her teen years she studied painting with Fernand Léger, sculpture with Antoine Bourdelle, Vieira da Silva also worked with Fauve artist Othon Friesz. In 1928 Vieira da Silva left Lisbon to study sculpture in Paris, by 1930 she was exhibiting her paintings in Paris, that same year she married the Hungarian painter Árpád Szenes. After a brief sojourn back in Lisbon and a period spent in Brazil during World War II and she adopted French citizenship in 1956. Vieira da Silva received the French governments Grand Prix National des Arts in 1966 and she was named a Chevalier of the Legion of Honor in 1979. She died in Paris, France on 6 March 1992 and her name sometimes appears written as Elena, but the correct version, in Portuguese, is Helena. In the 1930s Vieira da Silva began producing her characteristic works which were heavily impastoed and she is considered to be one of the most important Post-War abstract artists although she is not a “pure” abstract painter. Her paintings often resemble mazes, cities seen in profile or from high above or even library shelves in what seems to be an allegory to a search for Knowledge or the Absolute. Vieira da Silva has also created many prints, designs, for tapestries, ceramic decorations and she exhibited her work widely, winning a prize for painting at the São Paulo Art Biennial in São Paulo in 1961. In 1966-76 she made a window for the St. James church in Reims together with Josef Sima. In 1974 she made the painting A Library Burning which uses many of the elements from that window and she decorated in 1988 the new Cidade Universitária subway station of Lisbon with azulejo panels. In November 1994, the Árpád Szenes-Vieira da Silva Foundation was inaugurated in Lisbon, Vieira da Silva, 1908-1992, the quest for unknown space. National Museum for Women in the Arts, Portfolio Maria-Helena Vieira da Silva,83, Portuguese-Born Painter, archived from the original on 11 February 2014
Vieira da Silva
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Self-portrait, 1942.
Vieira da Silva
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The Corridor, oil on canvas, 1950, 64.8 x 91.1 cm, Tate Gallery, London
Vieira da Silva
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Árpád Szenes-Vieira da Silva Foundation, Lisbon
39.
Bram van Velde
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Bram van Velde was a Dutch painter known for an intensely colored and geometric semi-representational painting style related to Tachisme, and Lyrical Abstraction. He is often seen as member of the School of Paris but his work resides somewhere between expressionism and surrealism, and evolved in the 1960s into an abstract art. His paintings from the 1950s are similar to the work of Matisse, Picasso. He was championed by a number of French-speaking writers, including Samuel Beckett, Bram van Velde was born into an intensely poor family, and this would mark him profoundly for life. His mother, Catharina von der Voorst was the daughter of a Count. His father, Willem van Velde, owned a company in water transportation on the Rhine. Bram was the second of four children, after going bankrupt, the father abandoned the family, the mother and children moved repeatedly over the next years, from Leyden to Lisse, and finally to The Hague. In 1907, the young Bram entered into service as an apprentice in the painting, in 1922, the Kramers encouraged van Velde to travel and gave him a monthly stipend. He went first to Munich in May, then to north of Bremen in June and this brief exposure to contemporary art revolutionized van Veldes work. He left Worpswede shortly after, and moved to Paris and his career progressed slowly, and in February 1927 he exposed his works in Bremen. This was followed by the Jury-Freie Kunstschau of Berlin in April, finally, he was admitted into the Salon des Indépendants in Paris, where he would show his works several times. In this period he went to Chartres in the company of Otto Freundlich, Matisse would have a great impact on van Veldes work. On 6 October 1928 van Velde married the German painter Lilly Klöker, with the Great Depression, their material conditions deteriorated and they moved to Spain, and in September 1932 they were living in Majorca. It is here that van Velde used the painting of Matisse as his inspiration. When the Spanish Civil War started in 1936, Lilly van Velde died in a hospital and he came back to Paris and moved in with his brother Geer. He met Marthe Arnaud, a former Lutheran missionary in the Zambezi, on the studio of his brother Geer van Velde—also becoming an abstract painter—Bram van Velde met the writer Samuel Beckett, and the two would develop a friendship. Stopped on the street by the police in 1938 because he was speaking German with Marthe, van Velde was briefly imprisoned, in 1939, van Velde came upon his own painting style while working in a large-format with gouache. He stopped painting in 1941, but began again in autumn 1945 and his first solo exhibition opened on 21 March 1946 in Paris in the Galerie Mai with 25 canvases, nearly all of his existing works, but the show was a failure
Bram van Velde
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40.
Albert Bitran
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Albert Bitran, is a French painter, engraver and sculptor. Albert Bitran arrived in Paris in 1948 and he came from Istanbul -where he was born- to become an architect. But he soon decided to devote himself to painting,1954, his exhibition galerie Denise René with a preface by Henri-Pierre Roché marks the end of his geometrical abstraction period. 1955, in Saint Paul de Vence, he makes his first studies on landscape,1956, Naissance dun Paysage large collage-painting that will be shown in lEnvolée Lyrique at the Musée du Luxembourg in 2006. Now in the Geneva Museum, Jean-Claude Gandurs collection,1957, completes ten stained-glass windows for the church in Schoeneck, North of France. 1958, in his studio rue des Plantes, drawings, maroufles papers, oils, at Mourlot, Bellini, Leblanc, etching and lithography. In the farm in Rigny-le-Ferron, ceramic sculptures and murals, in Paris, Jean Pollac, galerie Ariel, starts showing Bitran, as he will for the next fifty years. 1961, in Copenhagen, solo exhibition galerie Birch, first of many in Scandinavia and he exhibits also regularly in Holland and in Italy where he stays during long periods and works on gouache and lithography. 1965, in Albisola he produces ceramics and meets up again with Wifredo Lam,1967, in Cuba he takes part in the collective canvas completed for the May Show. 1968, Bitran moves to rue Notre-Dame-des-Champs in Montparnasse where he will live,1970, creation of les Doubles, analytic interrogation of his painting. The doubles condense the terms of the enigma wrote the philosopher Claude Lefort and Jean-Louis Baudry,1974, his two thirty meters high murals are completed in Vitry. 1979 and 1980, Bitran chairs the painting seminar of The Summer Academy in Salzburg,1981, in his house in the South of France experiments of new techniques on paper, cardboard and canvas. 1991, retrospective of fifty years of works in Campredon Museum, interview with Jean Paris filmed and published in Coloquio. 1992, the Maison des Arts, Georges Pompidou, in Cajarc,2000, black studies, les Noirs, mostly oil on paper, are shown in Mexico and in Arts Centers in France. 2010, in London, two solo exhibitions Grosvenor Gallery, Oblique and Paintings,2012, in Lyon, Galerie Des Tuiliers, Erosion des noirs. 2013, in Mont de Marsan Cultural Center, Méandres,2014, Bitran is represented in the exhibition Modernités Plurielles at the Georges Pompidou Center with Un soleil neuf 1960, from the museums collection. 2015, in Paris, Galerie Convergences presents Bitran, Oils on paper,2016, Istanbul Modern Museum, in the exhibition Artists in their time shows the 1959 large painting-collage from its collection. Solo exhibition, April-June, in Luxembourg, Regard sur Albert Bitran in Elfebben Mansion, since 2000, Bitran lives and works in Montrouge and in Normandy
Albert Bitran
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Albert Bitran (Still from a video from "l'Encyclopédie audiovisuelle de l'art contemporain").
41.
Zao Wou-Ki
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Zao Wou-Ki was a Chinese-French painter. He was a member of the Académie des Beaux-Arts in Paris, Zao was born in Beijing with family roots in Dantu, Zhenjiang, Jiangsu province. In his childhood he was back to his hometown Dantu where he studied calligraphy. From 1935 to 1941, he studied painting at the China Academy of Art in Hangzhou, in 1948, he went with his wife Lan-lan, a composer, to Paris to live on the same block in Montparnasse where the classes of Émile Othon Friesz took place. His earliest exhibitions in France were met with praise from Joan Miró, Zao and his wife pursued their own careers, their son having stayed in China with Zaos parents. In the mid-1950s, they were divorced, in 1957, Zao decided to visit the United States where his younger brother Chao Wu-Wai was living in Montclair, New Jersey, close to the art scene of New York City. He wanted to more about pop art. While in the US, he painted seven canvases at his brother’s house, there are relatively few items dating from that year. Years later, the largest canvas was given by his brother, Chao Wu-Wai, to the Detroit Institute of Arts. He left the U. S. after a stay, traveling to Tokyo and then to Hong Kong, where he met his second wife Chan May-Kan. Under the influence of Zao, she became a successful sculptor, in 1972, she committed suicide at age 41 due to mental illness. Zaos works, influenced by Paul Klee, are orientated to abstraction and he names them with the date in which he finishes them, and in them, masses of colours appear to materialise a creating world, like a big bang, where light structures the canvas. He worked formats in triptychs and diptychs, while his work was stylistically similar to the Abstract Expressionists whom he met while travelling in New York, he was influenced by Impressionism. Zao Wou-Ki stated that he had been influenced by the works of Matisse, Picasso and his meetings with Henri Michaux pushed him to review his Indian ink techniques, always based in Chinese traditional drawings. Zao was a member of the Académie des beaux-arts, and was considered to have one of the most successful Chinese painters during his lifetime. His auction record of RMB89,680,000 was set at Sothebys, Beijing, former French President Jacques Chirac was offered a painting by Zao Wou-Ki by his ministers during their last meeting. By the end of his life Zao had stopped producing new paintings due to health problems and he died on 9 April 2013 at his home in Switzerland. Zao Wou-Ki, Ink and Watercolor at de Sarthe Gallery, Hong Kong Zao Wou-Ki, Paintings 1950s - 1960s at de Sarthe Gallery, Hong Kong Zhao Wuji at Gallery Heede & Moestrup - Copenhagen 赵无极：在巴黎重新发现中国
Zao Wou-Ki
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Zao Wou-Ki
42.
Pierre Soulages
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Pierre Soulages is a French painter, engraver, and sculptor. In 2014 François Hollande described him as the worlds greatest living artist, born in Rodez, Aveyron, in 1919, Soulages is also known as the painter of black, owing to his interest in the colour both as a colour and a non-colour. When light is reflected on black, it transforms and transmutes it and it opens a mental field all its own. He also worked as a designer of stage sets, in 1979, Pierre Soulages was made a Foreign Honorary Member of the American Academy of Arts and Letters. From 1987 to 1994, he produced 104 stained glass windows for the Romanesque Abbey church Sainte-Foy in Conques, Soulages is the first living artist invited to exhibit at the state Hermitage Museum of St. Petersburg and later with the Tretyakov Gallery of Moscow. A composition he created in 1959 sold for 1.200.000 euros at Sothebys in 2006, in 2007, the Musée Fabre of Montpellier devoted an entire room to Soulages, presenting his donation to the city. This donation includes twenty paintings dating from 1951 to 2006, among which are works from the 1960s. A retrospective of his art was held at the Centre National dArt et de Culture Georges Pompidou from October 2009 to March 2010, in 2010, the Museo de la Ciudad de Mexico presented a retrospective of Soulages paintings that also included an interview-video with the painter. In 2014, Musée Soulages, opened in Rodez, France, a museum dedicated to permanently displaying his works, plus temporary contemporary exhibitions, Soulages donated 500 works. Made in two separate donations, the paintings represent all stages of his work, from oil paintings to his phase of work called Outrenoir. Together they have formed his most complete display of work from the first 30 years of his career. Also in 2014 was Soulages first American exhibition in 10 years, Soulages has said, My instrument is not black but the light reflected from the black. Naming his own practice Outrenoir, the paintings he produces are known for their endless black depth, knowing that he needed a new term to define the way that he was working, Soulages invented Outrenoir to define his practice. Not having a translation into English, the closest meaning is beyond black, in an interview in 2014 he explains the definition of the term, Outrenoir doesnt exist in English, the closest is beyond black. In French, you say outre-Manche, beyond the Channel, to mean England or outre-Rhin, beyond the Rhine, in other words, beyond black is a different country from black. The infatuation Soulages has with black began long before his investigations with Outrenoir at the age of 60. ”I made these because I found that the light reflected by the black surface elicits certain emotions in me. The fact that light can come from the colour which is supposedly the absence of light is already quite moving, the texture that is then produced either absorbs or rejects light, breaking up the surface of the painting by disrupting the uniformity of the black. He often uses bold cuts in vertical and horizontal lines, the crevasses and forms created by using angles and contours
Pierre Soulages
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43.
Jean Le Moal
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Jean Le Moal was a French painter of the new Paris school, designer of stained glass windows, and one of the founder members of the Salon de Mai. Jean Le Moal enrolled at the Ecole des Beaux-Arts de Lyon in 1926, and he also attended the Académie Ranson. In 1939 Le Moal worked on the 1400sq. meter ceiling of the French Pavilion at the International Exhibition in New York. In 1941 he exhibited in XX jeunes peintres de tradition française, with Bazaine, Manessier, Singier, Pignon, Gischia, in 1945 he was a founding member of the Salon de Mai. In the post-war years Jean Le Moal became established as a prominent figure in European painting and he exhibited throughout Europe and was also awarded the Prix de la Critique in 1953. Le Moal, Manessier, Singier, Galerie Drouin, Paris,1946, camille Bourniquel, Jean Le Moal, Le Musée de Poche, Editions Georges Fall, Paris,1960. Le Moal, Musées de Metz and Musée dÉtat, Luxembourg 1963, Jean Le Moal, Musées de Rennes, Chartres, Rouen, Dijon, Lille and Caen,1970 and 1971. Le Moal, Galerie de France, Paris,1974, michel-Georges Bernard, Jean Le Moal, Éditions Ides et Calendes, Neuchâtel,2001. Jean Le Moal, Un chemin de lumière, De chapelles en cathédrales, lœuvre-vitrail, Musée Pierre-Noël, lyrical Abstraction Jean Le Moal, Océan, 1958–1959, Musée de Quimper, France
Jean Le Moal
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Jean Le Moal, 1971
44.
Gustave Singier
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Gustave Singier was a Belgian non-figurative painter active in France as part of the new Paris School of Lyrical Abstraction and the Salon de Mai. He spent his childhood in German occupied Belgium, then moved to France in 1919, from the age of 14, he started to paint. In 1923 he enrolled as a student at the Boulle school, from 1927, he worked as a draughtsman, designing interior architecture and furniture until 1936. In 1940, with World War II now underway, Singier was mobilized in the Belgian army, from 1941 to 1944, Singier worked in the workshop of his cabinet maker father. In 1945 he was one of the members of the Salon de Mai. In common with other painters of his generation, after the allied liberation of Western Europe, Singier discovered Kandinsky, Klee, Mondrian. In 1947 Singier was naturalized as a French citizen, in 1949, he had his first solo exhibition at the Billiet-Caputo gallery. From 1951 to 1954, Singier taught at the Ranson Academy, Singier died on 5 May 1984. He is buried in Paris, in the Montparnasse Cemetery
Gustave Singier
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Signature of the painter Gustave Singier
45.
Alfred Manessier
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Alfred Manessier was a non-figurative French painter, stained glass artist, and tapestry designer, part of the new Paris School and the Salon de Mai. Manessier was born among fishers and masons in the Picardy province of Northern France, there was a family precedent for creative work, as the grandfather was a decorative stonemason while his father and uncle had studied at Ecole des Beaux Arts at Abbeville. The father gave the man permission to go to Paris on condition that he studied architecture. It was not until his father, then a wine merchant in Amiens. He had enrolled in architecture in 1929, switched to art with Roger Bissiere at Academie Ranson in 1935 just prior to the death in 1936. The couple was given the task to employ and reside with 50 unemployed artists for March, among the artists were Bissiere, Jean Bertholle, and Manessier, who worked on four murals. The following year he married painter Therese Simonnet, in 1939 Manessier was called into military conscription, as a technical draftsman. Manessier left teaching in 1943 for painting full-time, during this year he made a 3-day visit to the Trappist monastery in Orne. Demoralized by the Occupation and war, at the monastery he was moved by the ancient garb and art, chants and worship, rhythms of work. I felt profoundly the cosmic link between sacred chanting and the world of all around. These men who sang were perhaps a little out of touch with the world, if we had the evangelical purity of the Primitives, if we could look at nature with all innocence of love, then perhaps we could depict the sacred as they did. But we are men of century, broken, exploded. Thus began the period of abstract painting, mosaic-like patterns. Between paintings, he began to explore other mediums for expression. In 1945 his daughter was born, and the 34-year-old Manessier was commissioned to produce costumes, in 1947 he was commissioned to produce two stained glass windows for a Breseux church In 1949 he produced a tapestry for the Dominicans of Saulchoir, Seine-et-Oise. These other mediums were ongoing supplements to his painting, throughout his career This latter project in Canada triggered for Manessier another spiritual awakening, the bottom of the lake is full of roots and of decomposed vegetation, and nature is reborn by way of all this. Never have I experienced a similar sensation and he was the victim of a car accident in Loiret on 28 July 1993, and died four days later at the Source hospital in Orléans. His funeral was held at the church of Saint-Sépulcre dAbbeville and he was buried in the Cimetière de Saint-Ouen at his birthplace
Alfred Manessier
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Alfred Manessier in 1971
46.
Jean Messagier
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Jean Messagier was a French painter, sculptor, printmaker and poet. Jean Messagier had his first solo exhibition in Paris at Galerie Arc-en-Ciel in 1947, from 1945 to 1949 the artist worked under the influence of Pablo Picasso, André Masson, Paul Klee and François Desnoyer, his professor at École nationale supérieure des arts décoratifs in Paris. Messagier again was revealed to the public at an exhibition organized by Charles Estienne at the Galerie de Babylone in 1952, entitled La Nouvelle École de Paris. approached abstractly. From 1962 until the year of his death Jean Messagier exhibited in France and abroad, Jean Messagier spent his childhood during the 1920s and 1930s between Paris and Franche-Comté, where he realized his first representational watercolors and drawings, portraits and landscapes. Messagier would soon be represented at group exhibitions in Germany, Zurich, Florence, Brussels, London and he would also participate in the Salon des Réalités Nouvelles, Salon Comparaisons, Peinture informelle and the Salon d’Octobre of which he was one of the founding members. Following his schooling at Large-Chênois in Montbeliard, Messagier moved to Paris, at lEcole Nationale des Arts Décoratifs in Paris, his professors included Roland Oudot, Maurice Brianchon, Raymond Legueult and François Desnoyer. In parallel he studied with the poet Paul Valéry at the Collège de France, in 1943, at the age of 23, Jean Messagier held his first solo exhibition at the Château de Montbéliard. In 1944 Jean Messagier married the ceramicist Marcelle Baumann, in 1947 Messagier realized his first sculptures, exhibited at the Salon dAutomne in Paris and held a solo exhibit at the Galerie Arc-en-Ciel in Paris. After brief stays in Italy and Algeria the two had their first child, Matthew in 1949, etienne recognized Messagier as a Robinson Crusoe of the Post-War movement. Messagier co-founded the Salon dOctobre in Paris and exhibited there in 1952 and 1953, in 1954 Marcelle gave birth to their second son, Thomas. At this time the family resided in the heart of Paris,8 Rue Pierre et Marie Curie, in 1958 their third son, Simon, was born. The gesture of painting became the creative act. Painting was no longer an activity oriented towards an aesthetic production, painting for Messagier became the medium through which the universe spoke. Natural forms were observed and replaced by paintings within which the forces of nature could be experienced, between 1953 and 1956 Messagier refined his pictorial vocabulary to include a kind of symmetry, closer in spirit to W. Blake than to the constructivists. Defying the laws of gravity and seemingly outside of spacetime, his paintings of this period evoke a state of suspended animation, a dream-world as conceived by Mallarmé. Allusive and dissolved forms that he painted so far gave way to vast indeterminate stretches of monochrome color, expressing Messagiers unswerving commitment to nature, air, over the years his gesture became further loosened, reaching its apogee during the 1960s with wide and elegant gyrations. These works resemble a network of loops or clouds wrapping and mingling together tirelessly, for Messagier, an artist had to be a social actor. In 1962, to inaugurate his new studio—located in an old mill next to les Trois cantons at the foot of the Charrot bridge that spans the Doubs river—Messagier organized his first massive party
Jean Messagier
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Portrait photograph of the artist
Jean Messagier
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Jean Messagier, 1947, Untitled, oil on canvas, 80 x 130 cm (31.5 x 51.2 inches), private collection
Jean Messagier
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Jean Messagier, 1962, Juillet à Antennese, oil and mixed media on canvas, 140 x 210 cm (55 x 82.5 inches)
Jean Messagier
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Jean Messagier, 1966, Louis IV l'apres midi, oil on canvas, 130 x 88 cm, private collection
47.
Belgium
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Belgium, officially the Kingdom of Belgium, is a sovereign state in Western Europe bordered by France, the Netherlands, Germany, Luxembourg, and the North Sea. It is a small, densely populated country which covers an area of 30,528 square kilometres and has a population of about 11 million people. Additionally, there is a group of German-speakers who live in the East Cantons located around the High Fens area. Historically, Belgium, the Netherlands and Luxembourg were known as the Low Countries, the region was called Belgica in Latin, after the Roman province of Gallia Belgica. From the end of the Middle Ages until the 17th century, today, Belgium is a federal constitutional monarchy with a parliamentary system of governance. It is divided into three regions and three communities, that exist next to each other and its two largest regions are the Dutch-speaking region of Flanders in the north and the French-speaking southern region of Wallonia. The Brussels-Capital Region is a bilingual enclave within the Flemish Region. A German-speaking Community exists in eastern Wallonia, Belgiums linguistic diversity and related political conflicts are reflected in its political history and complex system of governance, made up of six different governments. Upon its independence, declared in 1830, Belgium participated in the Industrial Revolution and, during the course of the 20th century, possessed a number of colonies in Africa. This continuing antagonism has led to several far-reaching reforms, resulting in a transition from a unitary to a federal arrangement during the period from 1970 to 1993. Belgium is also a member of the Eurozone, NATO, OECD and WTO. Its capital, Brussels, hosts several of the EUs official seats as well as the headquarters of major international organizations such as NATO. Belgium is also a part of the Schengen Area, Belgium is a developed country, with an advanced high-income economy and is categorized as very high in the Human Development Index. A gradual immigration by Germanic Frankish tribes during the 5th century brought the area under the rule of the Merovingian kings, a gradual shift of power during the 8th century led the kingdom of the Franks to evolve into the Carolingian Empire. Many of these fiefdoms were united in the Burgundian Netherlands of the 14th and 15th centuries, the Eighty Years War divided the Low Countries into the northern United Provinces and the Southern Netherlands. The latter were ruled successively by the Spanish and the Austrian Habsburgs and this was the theatre of most Franco-Spanish and Franco-Austrian wars during the 17th and 18th centuries. The reunification of the Low Countries as the United Kingdom of the Netherlands occurred at the dissolution of the First French Empire in 1815, although the franchise was initially restricted, universal suffrage for men was introduced after the general strike of 1893 and for women in 1949. The main political parties of the 19th century were the Catholic Party, French was originally the single official language adopted by the nobility and the bourgeoisie
Belgium
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Charlemagne and
Charles V
Belgium
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Flaga
Belgium
Belgium
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Episode of the
Belgian Revolution of 1830 (1834), by
Egide Charles Gustave Wappers
48.
Louis Van Lint
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Louis Van Lint was a Belgian painter, major figure of the Belgian post-war abstraction. Louis Van Lint studied painting at the Academy of Saint-Josse-ten-Noode under Henry Ottevaere and he studied sculpture and architecture as well. His early work reflects a traditional painting style with a unique sense of color. In 1940 he founded the group La Route Libre with Gaston Bertrand, as his style matured, he switched to abstraction in which he excelled as colorist and master of form. After World War II he co-founded The Young Belgian Painters with Gaston Bertrand, Anne Bonnet, Van Lint experimented with geometric abstraction for a decade, and then, influenced by the French painter Bazaine, he started his lyrical abstraction period. He participated in the demonstrations and exhibitions of the CoBrA group, in 1958, The Solomon R. Guggenheim Foundation gave him a prize and in 1960 he became a member of the Royal Academy of Belgium. In the 1960s, he introduced Hergé to abstract painting and provided him private lessons for one year. All along his life, Van Lint collected antique tools chosen for their harmonious shapes, part of the collection decorated a wall of his living room and aroused the curiosity and interest of many famous guests. International Watercolor Exhibition, Fourteenth Biennial, Brooklyn Museum, New York,1948,7 Belgian artists, Duk-Soo Palace, Seoul,1952. 2nd Sâo Paulo Biennial, Museu de Arte Moderna, Sâo Paulo,1953, l’image de Lille, Palais de Chaillot, Paris,1958. A few Belgian artists since Ensor, New York,1958, 5th Sâo Paulo Biennial, Museu de Arte Moderna, Sâo Paulo,1959. The Arts of Belgium 1920-1960, Parke-Bernet Galleries, New York,1960, twenty Contemporary Painters from Phlippe Dotremont Collection Brussels, Guggenheim Museum, New York,1959. First Midwestern Exhibition of Belgian Painters, The Arts Club & The Art Gallery of University Notre-Dame, first Midwestern Exhibition of Belgian Painters, The Contemporary Arts Center, Cincinnati,1962. First Midwestern Exhibition of Belgian Painters, The University Gallery of Minnesota,1962, Belgian drawings from Ensor to Delvaux, Smithsonian Institution, Washington,1962. Joven Pintura Belga, Sala de expociones de la direccion general de Bellas Artes, international Exhibition, Carnegie Institute, Pittsburg,1967. Belgian Art 1945-1970, Museo de Arte Moderno, Mexico,1970, cobra Hasta 12 Años Despues, En La Coleccion Karel Van Stuijenberg, Museo de arte contemporáneo, Santiago, et Museo de Arte Moderno, Buenos Aires,1994. The Flemish and Ostend painting, Venice,1997, the Thomas Neirynck Collection, Paris,2006. Cobra Passages – The Neyrinck collection, BAM, Mons,2008, from 1945 to the present days, BAM, Mons,2014
Louis Van Lint
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Louis Van Lint in 1984
49.
Palais du Luxembourg
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The Luxembourg Palace is located at 15 rue de Vaugirard in the 6th arrondissement of Paris. It was originally built to the designs of the French architect Salomon de Brosse to be the residence of the regent Marie de Medici. After the Revolution it was refashioned by Jean Chalgrin into a legislative building, since 1958 it has been the seat of the French Senate of the Fifth Republic. Immediately west of the palace on the rue de Vaugirard is the Petit Luxembourg, now the residence of the Senate President, and slightly further west, the Musée du Luxembourg, in the former orangery. On the south side of the palace, the formal Luxembourg Garden presents a 25-hectare green parterre of gravel and lawn populated with statues, after the death of Henry IV in 1610, his widow, Marie de Médicis, became regent to her son, Louis XIII. Marie de Médicis desired to make a similar to her native Florences Palazzo Pitti. Marie de Médicis bought the Hôtel de Luxembourg and its fairly extensive domain in 1612 and commissioned the new building, the suites of paintings she commissioned, in the subjects of which she expressed her requirements through her agents and advisers, are scattered among museums. Marie de Médicis installed her household in 1625, while work on interiors continued, the apartments in the right wing on the western side were reserved for the Queen and the matching suite to the east, for her son, Louis XIII, when he was visiting. The 24 Marie de Medici cycle canvases, a series commissioned from Peter Paul Rubens, were installed in the Galerie de Rubens on the floor of the western wing. A series of paintings executed for her Cabinet doré was identified by Anthony Blunt in 1967, Louis XIII commissioned further decorations for the Palace from Nicolas Poussin and Philippe de Champaigne. In 1642, Marie bequeathed the Luxembourg to her second and favourite son, Gaston, duc dOrléans, who called it the Palais dOrléans, but by popular will it was still known by its original name. Upon Gastons death, the passed to his widow, Marguerite de Lorraine, then to his elder daughter by his first marriage, Anne, duchesse de Montpensier. In 1660, Anne de Montpensier sold the Luxembourg to her younger half-sister, Élisabeth Marguerite dOrléans, duchesse de Guise who, in turn, gave it to her cousin, King Louis XIV, in 1694. In 1715, the became the residence of Marie Louise Elisabeth dOrleans. The widowed Duchess was notoriously promiscuous, having the reputation of a French Messalina, the Luxembourg palace and its gardens thus became stages where the radiantly beautiful princess acted out her ambitions, enthroned like a queen surrounded by her court. According to various songs which scurrilously evoked her amours the Lady of the Luxembourg hid several pregnancies. Her taste for strong liquors and her sheer gluttony also scandalised the court, on 21 May 1717, Madame de Berry received Peter the Great at the Luxembourg. On 28 February 1718, the Duchess of Berry threw a magnificent party for her visiting aunt, the entire palace and its gardens were elaborately illuminated
Palais du Luxembourg
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Luxembourg Palace garden façade
Palais du Luxembourg
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The Luxembourg Palace was modeled after
Palazzo Pitti in
Florence at the request of
Marie de Médicis.
Palais du Luxembourg
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Ceiling of the Salle du Livre d'Or
Palais du Luxembourg
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Floor plan (1752) shows the large enclosed
cour d'honneur and the long Rubens gallery in the right wing
50.
Francis Picabia
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Francis Picabia was a French avant-garde painter, poet and typographist. After experimenting with Impressionism and Pointillism, Picabia became associated with Cubism and his highly abstract planar compositions were colourful and rich in contrasts. He was one of the major figures of the Dada movement in the United States. He was later associated with Surrealism, but would soon turn his back on the art establishment. Francis Picabia was born in Paris of a French mother and a Cuban father who was an attaché at the Cuban legation in Paris and his mother died of tuberculosis when he was seven. Some sources would have his father as of aristocratic Spanish descent, whereas others consider him of non-aristocratic Spanish descent, financially independent, Picabia studied under Fernand Cormon and others at the École des Arts Decoratifs in the late 1890s. Fernand Cormon took him into his academy at 104 boulevard de Clichy, from the age of 20, he lived by painting, he subsequently inherited money from his mother. In the beginning of his career, from 1903 to 1908, little churches, lanes, roofs of Paris, riverbanks, wash houses, lanes, barges—these were his subject matter. Some however, began to question his sincerity and said he copied Sisley, or that his cathedrals looked like Monet, from 1909, he came under the influence of those that would soon be called Cubists and later form the Golden Section. The same year, he married Gabrielle Buffet, around 1911 Picabia joined the Puteaux Group, members of which he met at the studio of Jacques Villon in Puteaux, a commune in the western suburbs of Paris. There he became friends with artist Marcel Duchamp and close friends with Guillaume Apollinaire, other group members included Albert Gleizes, Roger de La Fresnaye, Fernand Léger and Jean Metzinger. From 1913 to 1915 Picabia traveled to New York City several times and took part in the avant-garde movements. The magazine 291 devoted an issue to him, he met Man Ray, Gabrielle and Duchamp joined him, drugs and alcohol became a problem. He suffered from dropsy and tachycardia and these years can be characterized as Picabias proto-Dada period, consisting mainly of his portraits mécaniques. He continued the periodical with the help of Marcel Duchamp in the United States, in Zurich, seeking treatment for depression and suicidal impulses, he had met Tristan Tzara, whose radical ideas thrilled Picabia. Picabia, the provocateur, was back home, Picabia continued his involvement in the Dada movement through 1919 in Zürich and Paris, before breaking away from it after developing an interest in Surrealist art. He denounced Dada in 1921, and issued an attack against Breton in the final issue of 391. The same year, he put in an appearance in the René Clair surrealist film Entracte, the film served as an intermission piece for Picabias avant-garde ballet, Relâche, premiered at the Théâtre des Champs-Élysées, with music by Erik Satie
Francis Picabia
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Francis Picabia, 1919, inside Danse de Saint-Guy
Francis Picabia
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Francis Picabia, 1912, La Source (The Spring), oil on canvas, 249.6 x 249.3 cm,
Museum of Modern Art, New York. Exhibited at the 1912 Salon d'Automne, Paris
Francis Picabia
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Machine Turn Quickly, 1916-1918, tempera on paper,
National Gallery of Art
Francis Picabia
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Francis Picabia, 1913, Udnie (Young American Girl, The Dance), oil on canvas, 290 x 300 cm,
Musée National d'Art Moderne,
Centre Georges Pompidou, Paris.
