O SÉCULO PRODIGIOSO

A arte no século XX

Delaunay-Terk, Sonia - Arte Abstracta

Domingo, Maio 24, 2009


Portrait of Philomene, 1907
Oil on canvas
Height: 40.64 cm (16 in.), Width: 42.55 cm (16.75 in.)
Private collection



Platter, 1912
Earthenware with slip decoration
H: 2 1/4 x W: 15 13/16 x D: 12 5/16 in (H: 6 x W: 40 x D: 33 cm)
Carnegie Museum of Art, Pittsburgh, Pennsylvania



Contrastes simultáneos, 1913
Oil on canvas
55 x 46 cm
Museo Thyssen-Bornemisza, Madrid



La Prose du Transsibérien et de la petite Jehanne de France, 1913
Huile sur cuir / Oil on leather
h: 22.8 x w: 19.6 cm / h: 9 x w: 7.7 in



Prismes électriques, 1914
Oil on canvas
2,50 m x 2,50 m
Pompidou Center, Paris



Flamenco dancer, 1916
Oil on canvas
448x600 mm
Private collection



Marché au Minho, 1916
Wax painting on canvas
2,16 m x 1,97 m
Pompidou Center, Paris



Portugese Still Life, 1916
Oil and wax on paper, laid down on canvas
Height: 66.04 cm (26 in.), Width: 92.08 cm (36.25 in.)
Private collection



Projet de couverture pour Vogue, 1916
Aquarelle, crayon, crayon de couleur, gouache
0.345 x 0.235 m.
Musée National d'Art Moderne - Centre Georges Pompidou, Paris



Projet de couverture pour Vogue, 1916
Aquarelle, crayon, crayon de couleur, gouache
0.345 x 0.235 m.
Musée National d'Art Moderne - Centre Georges Pompidou, Paris



Rythme sans fin, 1923
Aquarel en Oost-Indische inkt op papier
29 x 19 cm
Collection Charles Delaunay, Paris



Three women, 1925
Oil on canvas
146 x 114 cm
Museo Thyssen-Bornemisza, Madrid



"Robe-spirale", Kledingontwerp voor het Carnaval van Rio de Janeiro, 1928
Aquarel
27,5 x 13 cm
Collection Bibliothèque National, Paris



Les filles en maillot de bain, 1928
Aquarel on paper
20x27 cm
Private collection



Rythme, 1938
Oil on canvas
1,49 m x 1,82 m
Pompidou Center, Paris



Untitled, 1945
Gouache and collage on paper
61 x 50 cm
Art Collection of the Biblioteca Luis Ángel Arango, Colombia



Composition, 1955
Oil on canvas
2,16 m x 1,60 m
Pompidou Center, Paris



Rythme couleur, 1958
Oil on canvas
143x100 cm
Musée National d'Art Moderne - Centre Georges Pompidou, Paris



Montjoie, July 25, 1968
Handmade book with oil on leather binding, and pages of pen & ink on paper
Book: 16 1/4 x 11 1/4 x 3/4 in (41.0 x 28.4 x 1.8 cm)
Box: 17 x 11 3/4 x 1 1/2 in (43.0 x 30.0 x 3.8 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Les Robes Poèmes, 1969
Lithographs
h: 11.2 x w: 8 in / h: 28.4 x w: 20.3 cm



Composition, circa 1970
Lithography
55 x 43 cm



Composition, Circa 1970
Lithograph after a composition of 1933, signed in pencil
50 x 65 cm



Signal, circa 1970
Original lithograph, signed in pencil
50 x 65 cm



Geometric Composition with Blue & Red Circles, circa 1970
Etching
h: 54.5 x w: 40.5 cm / h: 21.5 x w: 15.9 in



Avec Moi-meme, 1970
Etching and aquatint
66,0 x 50,0 cm (26.0 x 19.7 in)



Untitled, 1970
Etching
45,0 x 31,0 cm (17.7 x 12.2 in)



Rhythmes-Couleurs, 1971
Lithograph in colours
Signed and numbered 32/75.
On wove paper by Arches (with watermark)
50,5 : 37,7 cm (19,8 : 14,8 in). Sheet: 64,7 x 49,6 cm (25,4 x 19,5 in)
Private collection




La Plage, 1973
Lithograph
83,0 x 65,0 cm (32.7 x 25.6 in)



Diagonale X, 1975
Original lithograph, signed in pencil
58,6 x 75,7 cm



Black snake, 1978
Silk scarf after a composition by Sonia Delaunay. Artcurial Ed., Paris.
88 x 185 cm

....................................................................................................
na obra "Les filles en maillot de bain, 1928", por detrás de três raparigas, vestidas com fatos de banho com desenhos geométricos constratantes, encontra-se um fundo de cores radiantes plenas de luz. Estya obra caracteriza a abordagem de Sonia Delaunay relativamente ao Cubismo lírico que ela e o seu marido - Robert Delaunay - desenvolveram, no seu caso com ligação à moda. O Cubismo Órfico, como foi denominado pelo poeta Guillaume Apollinaire, foi fundado com o pressuposto de que a luz e cor eram idênticas e pretendia alcançar uma pureza de expressão equivalente è da música. Anteriormente, Gauguin e os fauves tinham impulsionado em Delaunay o gosto pela cor expressiva. A prtir destas influências, Delaunay desenhou figurinos e guarda-roupas com uma grande repercussão internacional. Chamou aos seus tecidos pintados à mão "contrastes simultâneos", uma expressão que reflectia o seu interesse pela relação entre as cores. Foi Sonia Delaunay quem criou o guarda-roupa para o bailado Cleópatra, produzido pelo bailarino e coreógrafo russo Sergei Diaghilev. Sonia Delaunay-Terk nasceu em Gradižsk (UCR) em 1885 e morreu em Paris (FR) em 1979.
...................................................................................................
Sonia Delaunay-Terk, maiden name Stern, was born in Gradižsk in the Ukraine in 1885. She discovered her vocation for art at an early age and studied drawing at the Akademie der Bildenden Künste in Karlsruhe between 1903 and 1905. Then she moved to Paris. During her schooling there at the Académie de la Palette she made works which are clearly influenced by Paul Gauguin, Vincent van Gogh and the Fauves . Her marriage with Robert Delaunay, an ambitious artist of the Parisian Avant-garde, was determined by a mutual inspiration to colourful compositions. Both artists intensively dealt with the depiction of light and movement and found a new artistic form of expression on the base of a simultaneous contrast. Sonia Delaunay's paintings were preceded by numerous colour studies, which dealt with the problem of light, colour and movement. Her painting 'Bal Bullier' from 1913 transferred the image of rhythmic dance moves into circling forms, which were mixed in the centre of the painting with pure colours. The transfer of this artistic aim to every-day life, from fashion design, interior decoration to book design made the artist one of the most important members of the Art-Déco movement. In 1913 the first so-called 'simultaneous dresses' were executed, which inspired the poet Blaise Cendrars to her poem 'Sur la robe elle a un corps'. After spending some time in Portugal in 1914 Delaunay and her family lived in Madrid. Here she met Sergei Diaghilew (1872-1929), for whose 'Ballets Russes' she designed the costumes and the stage sets. She returned to Paris after the end of World War I., where she made the sets for Dadaist plays and films. The decoration of a pavilion at the World Exhibition in 1937 was a joint highlight in the couple's artistic career. Sonia Delaunay received the gold medal for her fresco 'Portugal' at the 'Pavillon des Chemins de Fer'. After world war II. she attended increasingly to painting and painted during an intensive and powerful period of creativity the large series 'Rhythme', 'Rhythme coloré' and 'Rhythmes-couleurs'. Sonia Delauney died in Paris in 1979.
......................................................................................................

Golup, Leon - Figurativismo

Domingo, Maio 17, 2009


Burnt Man, 1953-1954
Lacquer and oil on canvas
h: 46 x w: 32 in / h: 116.84 x w: 81.28 cm
Private collection



Siamese Sphinx, 1954
Lacquer and oil on canvas
h: 30 x w: 48 in / h: 76.2 x w: 121.92 cm
Private collection



Two Heads, 1954
Lacquer on canvas
h: 20 x w: 30 in / h: 50.8 x w: 76.2 cm
Private collection



Father and Son, 1955
Sanguine on paper
h: 24.24 x w: 39.5 in / h: 61.57 x w: 100.33 cm
Private collection



Parturition, 1955
Lacquer on canvas
h: 48 x w: 36 in / h: 121.92 x w: 91.44 cm
Private collection



The Boar Hunt, 1955
Sanguine on paper
h: 39.5 x w: 24.25 in / h: 100.33 x w: 61.6 cm
Private collection



Columnar Head, 1958
Lacquer and oil on canvas
45 1/8 x 48 1/2”
University of Kentucky Art Museum



Head XVIII, August 12, 1959
Oil and lacquer on canvas
25 x 23 1/16 in (63.5 x 58.5 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Head IX, December 18, 1960
Oil and lacquer on canvas
34 1/8 x 31 1/8 in (86.7 x 79.3 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Head I, 1961
Oil and lacquer on canvas
52 1/4 x 38 5/8 in. (132.7 x 98.1 cm)
Smithsonian American Art Museum, , Washington D.C.



Head, 1962
Oil on canvas
31 x 31"
Guilford College Art Gallery, North Carolina




Orator II, 1965
Lithograph (stone) in pink-orange, red and gray-violet on white Arches paper
sheet: 50 x 75 cm (19 11/16 x 29 1/2 in)
The National Gallery of Art, Washington D.C.



Wounded Sphinx, August 16-20, 1965
Lithograph, composition 29 13/16 x 41 1/16" (75.8 x 104.3 cm); sheet 29 13/16 x 41 1/16" (75.8 x 104.3 cm)
Museum of Modern Art, New York City



Wounded Sphinx II, 1965
Lithograph (stone) in dark blue and red on white Arches paper
sheet: 75.5 x 57 cm (29 3/4 x 22 7/16 in)
The National Gallery of Art, Washington D.C.



Napalm Head, 1969
Oil on canvas
40 x 29 in. (101.6 x 73.7 cm.)
Smithsonian American Art Museum, Washington D.C.



Napal II, 1969
Acrylic on linen
114x176 in
The Broad Art Foundation, Santa Monica



Napalm V, 1969
Acrylic on canvas
59 5/8 x 43 in. (151.3 x 109.2 cm)
Smithsonian American Art Museum, Washington D.C.



The Burnt Man, 1969
Offset lithograph on paper
38 1/8 X 50 1/8 in (96.8 X 127.3 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Combat (I), 1970
Offset lithograph on paper
50 1/8 X 35 1/4 in (127.3 X 89.6 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Winged Sphinx (I), 1972
Offset lithograph on paper
50 1/8 X 38 1/8 in (127.3 X 96.8 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Merceneries I, 1976
Acrylic on linen
116x186 1/2 in
The Broad Art Foundation, Santa Monica



Francisco Franco (1975), 1976
Acrylic on linen
20x17 in
The Broad Art Foundation, Santa Monica



Portait of Ho Chi Minh (1945), 1976
Acrylic on linen
35x26 in
The Broad Art Foundation, Santa Monica



Portait of Ho Chi Minh (1950), 1976
Acrylic on linen
19x15 in
The Broad Art Foundation, Santa Monica



Portait of Ho Chi Minh (1967), 1976
Acrylic on linen
21x15 in
The Broad Art Foundation, Santa Monica



Portrait of Nelson Rockefeller, 1976
Acrylic on linen
18x17 in
The Broad Art Foundation, Santa Monica



Portrait of Nelson Rockefeller (1941), 1976
Acrylic on linen
23x18 in
The Broad Art Foundation, Santa Monica



Portrait of Nelson Rockefeller (1960), 1976
Acrylic on linen
14x14 in
The Broad Art Foundation, Santa Monica



Castro 3 (1964), 1977
Acrylic on linen
24x16 in
The Broad Art Foundation, Santa Monica



Mao Tse Tung (1968), 1978
Acrylic on linen
18x18 1/4 in
The Broad Art Foundation, Santa Monica



Mao Tse Tung in Sarcophagus (1977) l, from Portraits of Power, 1978
Acrylic on canvas
Madison Museum of Contemporary Art, Wisconsin



Mercenaries II, 1979
Acrylic on canvas
305x366 cm
Musée des Beaux-Arts de Montréal, Québec



Mercenaries III, 1980
Acrylic on linen
120x198 in
The Broad Art Foundation, Santa Monica



Interrogation I, 1980/81
Acrylic on linen
120x176 in
The Broad Art Foundation, Santa Monica



Interrogation III, 1981
Acrylic on linen
120x169 in
The Broad Art Foundation, Santa Monica



Horsing Around, 1983
Acrylic on linen
86x90 in
The Broad Art Foundation, Santa Monica



White Squad V, 1984
Acrylic on linen
120x161 in
The Broad Art Foundation, Santa Monica



Merc, 1984
Lithograph
Irreg. composition 24 5/16 x 22 5/16" (61.7 x 56.7 cm) sheet 30 1/8 x 22 5/16" (76 x 56.7 cm)
Museum of Modern Art, New York City



Four Blacks, 1985
Oil on linen
121x183 in
The Broad Art Foundation, Santa Monica



Four Black Men, 1985
Oil on linen
121 3/8 x 190 1/4 in (308.2 x 483.2 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.



Threnody, 1986
Oil on linen
120x167 in
The Broad Art Foundation, Santa Monica



White Squad, 1987
Lithograph
Composition: 29 5/8 x 40 5/8" (75.2 x 103.2 cm); sheet: 29 5/8 x 41 1/2" (75.2 x 105.4 cm)
Museum of Modern Art, New York City



Wounded Sphinx, 1988
Oil on linen
120x154 in
The Broad Art Foundation, Santa Monica



Like Yeah, 1994
Acrylic on linen
244cm x 272cm.
Collection of The Leon Golub Family



Exhumed, 2002
Oil stick and ink on Bristol
10x8 inches
Private collection

.....................................................................................................
Na obra "Mercenaries II, 1979" o duro realismo reflete graficamente a natureza agressiva do mercenarismo e do mundo de assassinos, terrorismo e atrocidade a ele associado. O quadro apresenta uma superfície crua e porosa, oibtida través da dissolução de áreas de tinta, raspando-as - muitas vezes com um cutelo - e da sua posterior reconstrução. Nota-se uma grande tensão na composição. Instalados no espaço carregado de fundo abstracto, mercenários munidos da mesma artilharia num momento habitual de hostilidade. Golup recorre a imagens dos media para garantir o realismo do vestuário, armamento e gestualidade. O local, talvez em África ou América Latina, não é especificado, o que implica uma crítica à violência enquanto fenómeno social universal. A violência é o tema central de Golup e durante muitos anos ele foi visto como um autor marginal, cujo trabalho ia contra as tendências do mundo da arte. Contudo, nos finais dos anos 70, à medida que crescia o interesse por uma arte mais política e pela pintura figurativa, Golup foi reconhecido como um artista fundamental da sua época. Leon Golup nasceu em Chicago (EUA) em 1922 e morreu em 2004.
................................................................................................
Was born in 1922 in Chicago. After studying art history at the University of Chicago, and art at the Art Institute of Chicago, Golub made a name for himself with politically charged works leading the Windy City’s figurative movement of the era, contrasting with the Abstract Expressionism and Pop Art of the New York art scene. By the end of the 1950s, his paintings had been shown in New York at the Guggenheim Museum, the Museum of Modern Art and the Whitney Museum of American Art. The political content of Golub’s work became increasingly relevant throughout the Civil Rights and anti-Vietnam War movements, in which the artist was actively involved. He lived for a time in Europe, returning in 1964 to live in New York.— Died 2004.

"I have always dealt with stress and violence. This comes from my own state of mind. Now, what I have tried to do since I've always dealt with subjects like this, is try to understand what this means, and I have tried to make this an instrument for viewing...a probe into the nature of the world. In other words, if I find that I'm dealing with, let's say stress, vulnerability--actions of this kind--then I want to understand what this means in terms of events outside of myself, how this influences me, how this influences others and what I can say about the modern world through these meanings. Mercenaries, interrogations, the white squads: they all deal with this kind of thing brought up to date, brought into the immediate, into what I think of as our immediate, instantaneous, contemporary world.

Now, I do not claim, as an artist, that I represent the whole world. The world is too complex, too many things going on. I can only tell a bit of the factual situation about one aspect of the world. It is, I think, a relatively true aspect and an aspect that I have studied as extensively as I know how. So I deal with certain kinds of subject matter, which I try to do as intensely and extensively as I know how. I try to do it to emphasize a point, almost instantaneously, to make it a direct, perceptual thing, easily recognizable, something we are totally cognizant of, and something which operates immediately upon our lives. So it is an attempt to comment on the world in which we exist."

Excerpt: "Leon Golub Talks of Painting," Interview, Arts Insight Magazine,
Indianapolis, Part I, May and Part II, June 1982
.................................................................................................