Dove, Arthur - Arte Abstracta
Sails, 1911–12
Pastel on composition board mounted on wood panel
Image: 17 7/8 x 21 1/2 in. (45.4 x 54.6 cm) Frame: 23 7/8 x 27 1/2 in. (60.6 x 69.9 cm)
Terra Foundation for American Art
Nature Symbolized #3: Steeple and Trees, 1911–12
Pastel on board mounted on wood panel
Image: 18 x 21 1/2 in. (45.7 x 54.6 cm) Frame: 27 9/16 x 31 1/8 in. (70.0 x 79.1 cm)
Terra Foundation for American Art
Team of Horses, 1911 or 1912
Pastel on composition board mounted to plywood
Amon Carter Museum, Texas
A Walk: Poplars, 1912 or 1913
Pastel on silk mounted on board
Image: 21 5/8 x 17 7/8 in. (54.9 x 45.4 cm) Frame: 32 1/4 x 28 1/2 in. (81.9 x 72.4 cm)
Terra Foundation for American Art
Golden Storm, 1925
Oil and metallic paint on plywood panel
18 9/16 x 20 1/2 in
The Phillips Collection, Washington D.C.
Waterfall, 1925
Oil on hardboard
10 x 8 in
The Phillips Collection, Washington D.C.
Goin' Fishin', 1925
Assemblage of bamboo, denim shirt sleeves, buttons, wood and oil on wood
21 1/4 x 25 1/2 in.
The Phillips Collection, Washington D.C.
Huntington Harbor I, 1926
Assemblage of canvas, oil and sand on metal panel
12 x 9 1/2 in.
The Phillips Collection, Washington D.C.
Huntington Harbor II, c. 1926
Sand, cloth, wood chips, and oil on metal support
H: 10 3/4 x W: 12 3/4 inches (H: 27 x W: 32 cm)
Carnegie Museum of Art, Pittsburgh, Pennsylvania
Clouds, 1927
Oil and sandpaper on zinc
38.1 x 50.8 cm (15 x 20 in.)
Museum of Fine Arts, Boston
George Gershwin-I'll Build a Stairway to Paradise, 1927
Ink, metallic paint, and oil on paperboard
50.8 x 38.1 cm (20 x 15 in.)
Museum of Fine Arts, Boston
Distraction, 1928
Brush and black ink and watercolor
approximate: 21.8 x 29.8 cm (8 9/16 x 12 1/8 in.)
The National Gallery of Art, Washington D.C.
Tree Forms, c. 1928
Pastel and tempera on plywood
H: 26 3/4 x W: 31 1/4 inches (H: 68 x W: 79 cm)
Carnegie Museum of Art, Pittsburgh, Pennsylvania
Moth Dance, 1929
Oil on canvas
50.8 x 66.4 cm (20 x 26 1/8 in.)
The National Gallery of Art, Washington D.C.
Composition in Green and Gray (Untitled), about 1930
Tempera, watercolor and black ink on paper
36.8 x 36.8cm (14 1/2 x 14 1/2 in.)
Museum of Fine Arts, Boston
Sand Barge, 1930
Oil on cardboard
30 1/8 x 40 1/4 in
The Phillips Collection, Washington D.C.
Ice and Clouds, 1931
Oil on board
19 1/2 X 26 3/4" (49.53 X 67.95 cm.)
Butler Institute of American Art, Ohio
Sun Drawing Water, 1933
Oil on canvas
24 3/8 x 33 5/8 in
The Phillips Collection, Washington D.C.
Summer, 1935
Oil on canvas
63.82 x 86.36 cm (25 1/8 x 34 in.)
Museum of Fine Arts, Boston
Morning Sun, 1935
Oil on canvas
20 x 28 in
The Phillips Collection, Washington D.C.
Goat, 1935
Oil on canvas
23 x 31 in. (58.1 x 78.4 cm)
The Metropolitan Museum of Art, New York City
Moon, 1935
Oil on canvas
88.9 x 63.5 cm (35 x 25 in.)
The National Gallery of Art, Washington D.C.
Red Sun, 1935
Oil on canvas
20 1/4 x 28 in
The Phillips Collection, Washington D.C.
Electric Peach Orchard, 1935
Oil on canvas
20 1/4 x 28 in
The Phillips Collection, Washington D.C.
Cows in Pasture, 1935
Wax emulsion on canvas
20 x 28 in
The Phillips Collection, Washington D.C.
Lake Afternoon, 1935
Wax emulsion on canvas
25 x 35 in
The Phillips Collection, Washington D.C.
Me and the Moon, 1937
Wax emulsion on canvas
18 x 26 in
The Phillips Collection, Washington D.C.
Reminiscence, 1937
Oil and wax emulsion on canvas
14 1/2 x 20 1/2 in
The Phillips Collection, Washington D.C.
Phelps, New York, 1937
Watercolor and black ink
5 1/8 x 7 1/8 in
The Phillips Collection, Washington D.C.
The Moon was Laughing at Me, 1937
Wax emulsion on canvas
6 1/4 x 8 1/4 in
The Phillips Collection, Washington D.C.
Sun on the Lake, 1938
Oil, wax and resin on canvas
56.2 x 91.44 cm (22 1/8 x 36 in.)
Museum of Fine Arts, Boston
Motor Boat, 1938
Oil, wax, and resin on canvas
63.5 x 88.9 cm (25 x 35 in.)
Museum of Fine Arts, Boston
Tanks, 1938
Oil and wax on canvas
63.5 x 88.9 cm (25 x 35 in.)
Museum of Fine Arts, Boston
Willows, 1939
Watercolor
5 x 7 in
The Phillips Collection, Washington D.C.
Black and White, 1940
Gouache on paper
6 x 8 in. (12.7 x 17.8 cm.)
Smithsonian American Art Museum, Washington D.C.
Swans, 1940
Watercolor
5 1/2 x 8 7/8 in
The Phillips Collection, Washington D.C.
Neighborly Attempt at Murder, 1941
Oil and wax on canvas
51.12 x 71.44 cm (20 1/8 x 28 1/8 in.)
Museum of Fine Arts, Boston
1941, 1941
Wax emulsion on canvas
25 x 35 in
The Phillips Collection, Washington D.C.
Formation III (Green Landscape), about 1942
Oil and wax on canvas; reverse of Abstract Composition (Oil on canvas)
50.8 x 71.44 cm (20 x 28 1/8 in.)
Museum of Fine Arts, Boston
Abstract Composition, about 1942
Oil on canvas; reverse of Formation III (Green Landscape)
50.8 x 71.44 cm (28 x 20 in.)
Museum of Fine Arts, Boston
Square on the Pond, 1942
Wax-based paint on canvas
50.8 x 71.12 cm (20 x 28 in.)
Museum of Fine Arts, Boston
R 25-A, 1942
Wax emulsion on canvas
15 x 21 in
The Phillips Collection, Washington D.C.
Silver Chief, 1942
Wax emulsion on canvas
21 x 15 in
The Phillips Collection, Washington D.C.
Untitled (Organic Ochre Form, Serrated Blue Border), 1942–44
Transparent and opaque watercolor and tempera paint over black chalk on paper
Sheet: 7.5 x 10.2 cm (2 15/16 x 4 in.)
Museum of Fine Arts, Boston
Roof Tops, 1943
Oil and resin on canvas
60.96 x 81.28 cm (24 x 32 in.)
Museum of Fine Arts, Boston
Sun, 1943
Wax emulsion on canvas
24 x 32 in. (61.0 x 81.4 cm.)
Smithsonian American Art Museum, Washington D.C.
Sun, 1943
Wax emulsion on paper mounted on paperboard
3 x 4 in. (7.6 x 10.2 cm)
Smithsonian American Art Museum, Washington D.C.
Sun, 1943
Watercolor and pen and ink on paper
3 x 4 in. (7.6 x 10.2 cm)
Smithsonian American Art Museum, Washington D.C.
Flight, 1943
Wax emulsion on canvas
12 x 20 in
The Phillips Collection, Washington D.C.
Indian One, 1943
Oil and wax emulsion on canvas
18 x 24 in
The Phillips Collection, Washington D.C.
Rose and Locust Stump, 1943
Wax emulsion on canvas
24 x 32 in
The Phillips Collection, Washington D.C.
Mars Yellow, Red and Green, 1943
Oil on canvas
28 x 18 in. (71.1 x 45.7 cm)
Ringling Museum of Art, Florida
Pieces of Red, Green, and Blue, 1944
Oil and wax on canvas
46.04 x 61.59 cm (18 1/8 x 24 1/4 in.)
Museum of Fine Arts, Boston
Dancing Willows, about 1944
Oil and wax on canvas
68.58 x 91.12 cm (27 x 35 7/8 in.)
Museum of Fine Arts, Boston
That Red One, 1944
Oil and wax on canvas
68.58 x 91.44 cm (27 x 36 in.)
Museum of Fine Arts, Boston
Primitive Music, 1944
Gouache on canvas
18 x 24 in
The Phillips Collection, Washington D.C.
Young Old Master, 1946
Oil on canvas
10 x 11 in
The Phillips Collection, Washington D.C.
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Em "Lake Afternoon, 1935", as formas amarelas e castanhas ondulantes desta estranha paisagem imaginária assemelham-se simultaneamente a animais e a formas abstractas. Separadas por uma mancha cor de laranja, estas formas orgânicas foram pintadas como cartoons. A gama de cores inclui os tons pálidos, o amarelo e o cor de laranja vivos, a constrastar com o fundo azul. Dove representava frequentemente a natureza nos seus trabalhos, normalmente de forma abstracta. Escreveu acerca da sua obra: «Gostaria de apanhar o vento, a água e a areia e trabalhar com eles, mas, na maioria dos casos, tenho de limitar-me à cor e às linhas de força, tal como a música fez com o som.» Este pintor nava-iorquino sustentou-se durante anos trabalhando como ilustrador comercial em revistas. O ponto de viragem deu-se quando foi apresentado ao fotógrafo e galerista Alfred Stieglitz, que admirava especialmente a obra de Dove e lhe proporcionou a primeira exibição individual em 1912, a primeira exibição pública de arte abstracta americana. Arthur Dove nasvceu em Canandaigua, Nova Iorque (EUA) em 1880 e morreu em Centerport, Nova Iorque, em 1946.
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Arthur Dove (1880-1946), American - "I would like to make something that is real in itself," [Arthur Dove] once wrote, "that does not remind anyone of any other thing, and that does not have to be explained like the letter A, for instance." And so, in a sense, he did. For Dove was the first American artist to paint a completely abstract picture, or rather a set of six; he did this in or around 1910, perhaps a little before Wassily Kandinsky's first abstract compositions. The difference, however, was that whereas Kandinsky's abstract work fell at once into a cultural context in Europe, Dove's had none. So his abstract paintings changed nothing. His work was twice orphaned, by the general indifference of American taste and by his own reclusiveness. Thus it never had the chance to be tested against the great arguments of metropolitan modernism; it remained a sequence of lyric meditations on nature, some beautiful, others clumsy and naive, but always isolated. Dove's work was all about nature, from beginning to end. The son of a well-off brickmaker in Geneva, New York, he began his art career as an illustrator for the New York press and went, in 1907, on a year-and-a-half trip to Europe, spending most of it in Paris. There he fell in with the circle of American expatriates: Weber, Maurer, Bruce. Inspired by Fauvism, he exhibited at the Salon d'Automne in Paris in 1908 and 1909; typical of his early work was The Lobster, 1908, painted in Provence - by then the locus classicus of Fauvism - and showing the influence of Cezanne in the heavy construction of the still life and of Matisse in its lush color and the twining, exuberant cabbage rose wallpaper behind. This was Dove's only time in Paris. As soon as he got back to America he "went native," as he put it, spending much of his time camping in the wilderness. "I can claim no background," he once reflected, "except perhaps the woods, running streams, hunting, fishing, camping, the sky." Thereafter, landscape would dictate the essential forms of his work, and apart from the small, rather tentative abstractions of c. 1910 (some of which look like landscape anyway), there is hardly a painting by Dove that doesn't have some perceptible reference to landscape in it, whether in the earthen and green colors or the format ("sky" above, "land" below, sometimes with suns or just legible clouds, rocks, and foliage). Dove was immersed in nature. He wanted to be a farmer, and after his father in 1912 refused to support him with a stipend of one hundred dollars a month - "No, I won't do it, I won't encourage this madness," he exclaimed - he bought a farm in Connecticut and tried to make a living off it without much success. Later, in 1920, when he and his wife split up, he bought a yawl, the Mona, on which he lived for seven years sailing the waters of Long Island Sound along the Connecticut shore. These long experiences fed into his work, while isolating him from New York's small avant-garde circles. At the same time he felt that a rural or marine life didn't cut him out of the discourse. "What do we call 'America' outside of painting?" he asked a friend. "Inventiveness, restlessness, speed, change. Well, a painter may put all these qualities in a still life or an abstraction, and be going more native than another who sits quietly copying a skyscraper." In 1913 Dove explained to a friend his process of abstraction (or, as he sometimes called it, "extraction"): the landscape slowly disappears like the Cheshire cat in the tree, leaving the "abstract" form behind. The first step was to choose from nature a motif in color, and with that motif to paint from nature, the form still being objective. The second step was to apply this same principle to form, the actual dependence on the object ... disappearing, and the means of expression becoming purely subjective. After working for some time in this way, I no longer observed in the old way, and not only began to think subjectively but also to. remember certain sensations purely through their form and color, that is, by certain shapes, planes of light, or character lines determined by the meeting of such planes. In this way Dove believed he could arrive at "essences" that would transmit his sense of the spiritual in nature, the deep concern of his art. Such "essences" were shapes that symbolized different kinds of force, organic growth, and élan vital, suggesting (he thought) some inner principle of reality. His early abstractions, particularly the large pastel paintings on linen like Nature Symbolized, No. 2, 1911 are part of his effort to realize this. One can recognize its landscape basis - the round hill and high horizon line - but within it dance sail- and comma-like forms that lend the image a joyous vibrancy. It is in the same spirit as Kandinsky and Kupka. Perhaps because Dove's ideas about this were also in the American grain (they had been formed, in part, by his reading of Ralph Waldo Emerson), such early abstractions were tolerated by his American critics, though one journalist twitted him with the couplet "To show the pigeons would not do / And so he simply paints the coo." Actually, the coo mattered to Dove. He was interested in synesthesia - the possibility that sounds could be experienced and depicted as colors or shapes, an idea current in French Symbolist circles since the 1880s. Foghorns, 1929, represents the moaning of warning sirens in the Long Island mist as concentric rings of paint growing in lightening tones of grayed pink from a dark center: the bell mouths of the horns, their peculiar resonance, and the color of the fog are fused in one image. Dove had a homespun side too, a folksy kind of buckeye humor that came out in the series of assemblages he did between 1924 and 1930, such as Portrait of Ralph Dusenberry, 1924. It has little in common with Cubist collage - it is less formal and more anecdotal, with a side of the mouth twist, a few notches up from the kind of amateur driftwood-and-shell collages that were once a staple of seaside restaurants. It is unlikely that Dove ever saw a Schwitters, but this is a Yankee Merzbild, and the framing device - a folding wooden carpenter's rule - offers a laconic joke: how do you measure the fictional space of a work of art?
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