Clemente, Francesco - Neo-Expressionismo
Bestiary, 1978
Gouache on paper, mounted on linen
79 x 83 in (200.7 x 210.8 cm)
Private collection
Map of What Is Effortless, 1978
Gouache on paper
60 x 57 in (152.4 x 144.8 cm)
Private collection
Twins, 1978
Ink, gouache, and colored pencil on four sheets of paper, mounted on linen
93 x 59 in (236.2 x 149.9 cm)
Collection Sanders, Amsterdam
Two Horizons, A Thousand, 1978
Gouache on paper
64 x 54 1/2 in (162.6 x 138.3 cm)
Paul Maenz, Cologne
Under the Hat, 1978
Gouache on paper
60 x 57 in (152.4 x 144.8 cm)
IFIDA Health Care Group, Bryn Mawr, Pennsylvania
Self-portrait, The First, 1979
Ink, pastel and gouache on paper on linen
111,8 x 147,3 cm
Private collection
Sun, 1980
Gouache on twelve sheets of handmade Pondicherry paper, joined by cotton strips
91 x 95 in (231.1 x 241.3 cm)
Philadelphia Museum of Art
Self-portrait, 1980
Oil on linen
44,8 x 34,8 cm
Gian Enzo Sperone Collection, New York
Self-portrait, 1980
Oil on linen
50 x 40 cm
Private collection
Tondo, 1981
Soft ground etching and aquatint
composition and sheet (diam.): 17 x 17" (43.2 x 43.2 cm)
Museum of Modern Art, New York City
Water and wine, 1981
Watercolour, gouache on paper
243.0 x 248.0 cm
Art Gallery of New South Wales, Sydney, Australia
Perseverance, 1981
Oil on canvas
6' 6" x 7' 9" (198.1 x 236.2 cm)
The Museum of Modern Art, New York City
Atlas, 1982
Watercolor on Arches paper
14 x 20 in (35.7 x 50.8 cm)
Thomas Ammann, Zurich
Fire, 1982
Watercolor on Arches paper
14 x 20 in (35.7 x 50.8 cm)
Thomas Ammann, Zurich
Waiting, 1982
Watercolor on Arches paper
14 x 20 in (35.7 x 50.8 cm)
Thomas Ammann, Zurich
Morning, 1982
Color woodcut
The University of Michigan Museum of Art
Untitled, 1982
Woodblock on paper
17 x 22.5 inches
Walker Art Center, Minnesota
Self-portrait, 1982
Oil on linen
101,6 x 86,4 cm
Private collection
Abbraccio, 1983
Pastel on Rives paper
26 x 19 in (66 x 48.2 cm)
Private collection
Conversion to Her, 1983
Paint on plaster on styrofoam and fiberglass
three panels, 8' x 9' 4 7/8" x 2 3/4" (244 x 286.7 x 7 cm)
The Museum of Modern Art, New York City
Furniture, 1983
Pastel on Rives paper
26 x 19 in (66 x 48.2 cm)
Private collection
Three Dead Soldiers, 1983
Pastel on Rives paper
26 x 19 in (66 x 48.2 cm)
Private collection
Kiss, 1983
Pastel on paper
66 x 48,3 cm
Private collection
Porta Coeli, 1983
Tempera on linen
261,6 x 236,2 cm
Private collection
Ohne Titel, 1984
Acrylic on canvas
353.5 x 445,5 cm
The Four Corners, 1985
Gouache on twelve sheets of handmade Pondicherry paper, joined by cotton strips
94 x 94 in (238.8 x 238.8 cm)
Collection of Barbara Radice, Milan
Untitled (31 Watercolours of CVIII), 1985
Watercolour on paper
12,3 x 19,1 cm; 25,6 x 25,9 cm
Öffentliche Kunstsammlung Basel, Kupferstichkabinett
Untitled B, 1986
Print triptych: lithograph
65.8 x 201.0cm overall
Art Gallery of New South Wales, Sydney, Australia
Flower, 1988
Pastel on paper
66,5 x 48,3 cm
Private collection
Silence, 1988
Pastel on paper
66,5 x 48,3 cm
Private collection
Bestiarium, 1989
Pastel on paper
76,2 x 66,9 cm
Museum für Moderne Kunst, Frankfurt, Germany
Foot (Testa Coda IX), 1990
Oil on linen
64 x 50 cm
Kunstmuseum Basel, Switzerland
Spider King Obscuring the Sun, 1990
Oil stick on paper
h: 66.7 x w: 102.2 cm / h: 26.3 x w: 40.2 in
Meditation, 1991
Tempera on linen
76 x 61 cm
Private colection
Honey and Sleep, 1993
Mixed media on canvas
112 x 112 cm
Private collection
Sky, Ex Libris Chenonceau, 1994-95
Pastel on paper
66 x 48,3 cm
Francesco & Alba Clemente Collection, New York
Ánima (51 days on Mount Abu), 1995
Watercolour on paper
53,7 x 70,8 cm
Francesco & Alba Clemente Collection, New York
Food (51 days on Mount Abu), 1995
Watercolour on paper
53,7 x 70,8 cm
Private collection
Heart, 1996
Oil on linen
121,9 x 152,4 cm
The Brant Foundation, Greenwich, Connecticut
Two, 1996
Oil and mixed media on canvas
100 x 127 cm
Skin, 1996
Oil on linen
121,9 x 152,4 cm
Private collection
Grisaille Self-Portrait, 1997
Oil on canvas
76,5 x 76,5 cm
Gita Mehta, 1998
Watercolour on paper
36,2 x 50,8 cm
Private collection
Scissors and Butterflies, 1999
Oil on linen
91 x 92 inches
Guggenheim Museum, New York City
She, 2000
Watercolour on paper
h: 16 x w: 12.2 in / h: 40.6 x w: 31 cm
Sky and Water, 2001-2002
Watercolour on paper
h: 44.5 x w: 44.5 in / h: 113 x w: 113 cm
Fountain, 2004
Oil on canvas
h: 30 x w: 40 in / h: 76.2 x w: 101.6 cm
Origin, 2004
Oil on canvas
h: 30 x w: 40 in / h: 76.2 x w: 101.6 cm
Boy and Girl, 2004
Oil on canvas
h: 30 x w: 40 in / h: 76.2 x w: 101.6 cm
Atlantic Avenue I - Southern Cross, 2006
Oil on canvas
h: 69.5 x w: 86 in / h: 176.5 x w: 218.4 cm
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Em "Self-portrait, The First, 1979", o artista nu fixa em nós o seu olhar penetrante, e quase nos leva a retribuí-lo. Um grupo de aves diversas pousa sobre os seus ombros. O primeiro de uma série de grandes desenhos de expressão caligráfica que Clemente fez, representando-se a si próprio, esta obra ilustra a disposição quase erótica do artista quanto à auto-exploração e auto- exposição. A figura é tratada de uma forma expressiva, enquanto as aves simbolizam a supremacia da imaginação e da subjectividade sobre a razão. Esta obra é um exemplo da corrente neo-expressionista Transvarguardia que se centrava na recuperação figurativa e expressiva em larga escala. Nos finais dos anos 70, Clemente e os outros neo-expressionistas italianos tiveram um papel preponderante no reavivar da pintura figurativa. De certa forma, esta tendência pode ser vista como uma reacção ao Expressionismo Abstracto que dominou a cena artística por muitos anos. Francesco Clemente nasceu em Nápoles (IT) em 1952.
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Francesco Clemente was born on March 23, 1952, in Naples, into a family with aristocratic roots. After writing poetry and painting as a child, he went to Rome to study architecture at the Universit� degli Studi di Roma, La Sapienza in 1970. Leaving school before completing the program, he focused instead on art. Although he came of age when Arte Povera [more] and Conceptual art [more] were in vogue, Clemente concentrated on representation in works on paper. His first solo exhibition was at the Galleria Valle Giulia in Rome in 1971. After meeting Alighiero e Boetti in Rome in 1972, Clemente traveled with the artist in Afghanistan. In 1973, Clemente first visited India, a country to which he would return again and again, often summering there. In 1974, he met Alba Primiceri, a theater actor, whom he would later marry; she would become a frequent subject of his art. In 1976 and 1977, Clemente spent time at Madras's Theosophical Society, where he delved into its library of religious and spiritual texts. His interest in Hindu spiritual life and in other non-European cultures was combined with an enthusiasm for local popular culture and crafts. Clemente began collaborating with Indian sign painters, miniaturists, and papermakers, as in Francesco Clemente Pinxit, a 1980–81 series of miniatures in gouache on handmade paper, for which young miniaturists from Jaipur and Orissa painted the decorative elements. He continued making drawings and other works on paper in the 1970s, pursuing what would become his signature subjects: the human form, particularly women's bodies; his own image; sexuality; myth and spirituality; non-Western symbols; and dreamlike visions. Clemente's participation in the 1980 Venice Biennale brought him international attention. He rapidly became seen as one of the leaders of the �return to figuration,� dubbed the Transavanguardia in Italy (by art critic Achille Bonito Oliva) and Neo-Expressionism [more] in the United States, though Clemente himself was uncomfortable with such labels. This acclaim coincided with Clemente's move to a New York loft with his growing family. In 1981, he studied Sanskrit in New York. In 1981–82, Clemente created his first large oils, a series of twelve paintings titled The Fourteen Stations, which were shown at the Whitechapel Art Gallery in London in 1983. The following year, he collaborated with Andy Warhol and Jean-Michel Basquiat on a group of works. While Clemente was working on a large scale, he simultaneously developed various book projects, including three unique works created with Beat poet Allen Ginsberg. In the 1980s, Clemente continued to travel to India; he also sojourned in southern Italy and the American Southwest. In the 1990s, he added Jamaica to his list of favorite spots and began working in a studio in New Mexico. He used a wax fresco method known as cera punica around this time. During a 1995 trip to Mount Abu in the Himalayas, Clemente painted a watercolor a day for fifty-one days in between taking walks and meditating. Among Clemente's less traditional undertakings have been murals for the now-demolished Palladium nightclub in New York (1985) and a mural and lampshades for New York's Hudson hotel, which opened in 2000. In addition, he produced some two hundred works for director Alfonso Cuar�n's film Great Expectations (1998). Clemente's art has been shown in numerous solo and group exhibitions. The first major American traveling show of his art was organized by the John and Mable Ringling Museum of Art in Sarasota, Florida (1986). Retrospectives have been organized by the Sezon Museum of Art in Tokyo (1994) and the Solomon R. Guggenheim Museum (1999). Clemente continues to divide his time between New York, Madras, and Rome.
Guggenheim Collection - Clemente Biography
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10:47 AMvim. devagar. na tua/nossa bicicleta....
agradecer o passeio entre as cerejas. que nos colhes.
beijo. comovido.
11:58 PM
Meu caro amigo:
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Com os meus cumprimentos
JDC
6:01 PM
Skin, 1996
É o que escolho hoje!
Permite, JG?
I'm in that mood.
Mas é segredo.
Um obrigada e um beijinho.
12:15 AM
Também gosto, Isabel.
10:06 PM
Gran bel blog...
4:33 PM
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