Allied Member, ASID
AZ ROC 287314
January 28, 2013
Everyone that knows me, knows I am in love with the color white! My all time favorite artist for this was always ellsworth kelly, but tha’s for another post!
Today, I am bringing you another
Robert Ryman was born in Nashville, Tennessee in 1930. Ryman studied at the Tennessee Polytechnic Institute and the George Peabody College for Teachers, Nashville, before serving in the United States Army (1950-52). Ryman’s work explodes the classical distinctions between art as object and art as surface, sculpture and painting, structure and ornament.
Emphasizing instead the role that perception and context play in creating an aesthetic experience. Ryman isolates the most basic of components‚ materials, scale, and supports‚ His work enforces limitations that allow the viewer to focus on the physical presence of the work in space.
Since the 1950s, Ryman has used primarily white paint on a square surface, whether canvas, paper, metal, plastic, or wood, while working with the nuanced effects of light and shadow to animate his work. In Ryman’s work , wall fasteners and tape serve both practical and aesthetic purposes. Neither abstract nor entirely monochromatic, Ryman‚’s paintings are paradoxically surrealist.
About his work, Ryman says,
“I don’t think of my painting as abstract because I don’t abstract from anything. It’s involved with real visual aspects of what you are looking at whether wood, paint, or metal‚ it’s how it is put together, how it looks on the wall and works with the light…Of course, realism can be confused with representation. And abstract
painting‚does not mean abstracting from representation‚ My work is involved mostly with symbolism. It is about something we know, or about some symbolic situation…I am involved with real space, the room itself, real light, and real surface.”
January 25, 2013
I guess back to Dadism! Jean Arp has always been one of my all time favorite artists! You will be very familiar with his work, even if you are not familiar with him. His work has inspired so many artists on so many levels. the photo of the sculpture alone, you will recall newer artists ahving similar thoughts.
Have a wonderful day!
Jean Arp was born in Strasbourg, France. He began drawing at a very early age but soon tired of “the everlasting copying of stuffed birds and withered flowers,” and turned to poetry for relief,
On a visit to Paris in 1904 he came into contact with Modern painting. Within a few years, Arp had returned to the life of an art student, first at the Weimer Art School, and later (in 1908) at the Académie Julian in Paris. In 1911 he helped organize an exhibition in Lucerne under the title “Moderne Bund” which showed his works and those of Gauguin, Matisse, Picasso and others.
And so, Arp started making his first experiments with free forms. By the time he was twenty-five, Arp had emerged as a poet and painter of great distinction. In 1914, Arp lived in Paris where he became friends with Picasso , Apollinaire, Modigliani and Delaunay. The following year he moved to Zurich and exhibited his first mature collages and tapestries.
While in Zurich, Arp became active in the Dada movement, collaborating with Max Ernst. The playfulness of Dada appealed to him and aided the development of his unique symbolic pictographs. As the Dada movement waned, Arp (like many of his colleagues) gravitated toward Surrealism, and in 1925 he took part in the first group exhibition of Surrealist artists at the Galerie Pierre in Paris. His work at this time derived its composition from the “laws of chance” as much as from the workings of the unconscious – the cardinal principles underlying early Surrealism. Gradually Arp abandoned
the earlier Dada-like forms, which were meant to shock, and began to emphasize organic growth and structure. Arp’s Surrealist work is of the abstract or “automatic” variety practiced by Joan Miro, in which lines and forms of half-consciously perceived inner impulses suggested themselves on the surface of the canvas.
January 24, 2013
New introduction to the Fourteenth Street school of art! I had never heard of this school of art, did some digging and found this incredible artist! His work is very reminiscent of Degas and several others.
I hope you enjoy this post!
Raphael Soyer was a prominent American Social Realist painter of the Fourteenth Street school of the 1920s and 1930s, which included Isabel Bishop, Edward Laning, Reginald Marsh and Kenneth Hayes Miller.
Many members of the group worked or maintained studios in the vicinity of Union Square in Manhattan. The son of a liberal Russian Hebrew scholar, Raphael immigrated with his parents and siblings to the United States around 1912;
the family settled in the Bronx. Raphael studied at Cooper Union, the National Academy of Design, and the Educational Alliance Art School (1914–1922). He taught at the Art Students League from 1933 to 1942, when American scene
painting was the predominant artistic style. A prolific painter, lithographer, and illustrator, Soyer excelled in social scenes that often featured figures caught in reflective moments of self-absorption, even as they might be immersed in
otherwise bustling cityscapes. In the 1940s he and his twin brother, Moses, were encouraged by the Russian émigré painter David Burliuk to establish seasonal studios in Hampton Bays, where they exhibited and fraternized with a kindred
circle of Social Realist painters.
Regarded as America’s leading advocate of realism, Raphael Soyer devoted his long, productive life to “painting people … in their natural context-who belong to their time.” During the 1930s, Soyer’s poignant portrayals of
New York City’s office workers
and the unemployed secured his reputation as a major Social Realist. There was a shift in Soyer’s work of the 1940sfrom urban environments towards interior scenes. In this work, he has combined two common themes of his oeuvre:
intimate studies of
solitary women, often nudes, and portraits of fellow artists, reflecting his great affection and admiration for them.
January 23, 2013
Chilean-born artist Roberto Matta was an international figure whose worldview represented a synthesis of European, American and Latin American cultures. As a member of the Surrealist movement and an early mentor to several Abstract Expressionists, Matta broke with both groups to pursue a highly personal artistic vision. His mature work blended abstraction, figuration and multi-dimensional spaces into complex, cosmic landscapes. Matta’s long and prolific career was defined by a strong social conscience and an intense exploration of the his internal and external worlds.
I have always been a fan of MATTA’S work. It is a bit phantom and very, sometimes eerie, but i love his sense of style and where the thoughts came from. I do hope you enjoy this post!
Matta’s earliest works were abstract crayon drawings produced using the Surrealist practice of automatism. In these drawings, he referenced organic growth patterns, microscopic views of plants and the non-Euclidean geometry described by mathematician Jules Henri Poincare. Matta transitioned from drawing to oil painting in 1938, while working in Brittany with the British artist Gordon Onslow Ford. The works that Matta created around this time were the first of what he called his “Psychological Morphologies”. In these paintings, Mata explored his subconscious mind through a language of abstract forms and constantly evolving,
multi-dimensional spaces. Matta also referred to these works as “Inscapes”, with the implication that they depicted the interior landscape of the artist’s mind, interconnected with his external reality.
Matta was well established within the Surrealist group by the time that he was forced to flee Europe for America in the fall of 1939. When Matta arrived in New York City, he was the youngest and most outgoing of Surrealist emigres. These traits, combined with a shared interest in automatist
art-making techniques, allowed Matta to quickly form relationships with several of the young New York School artists. Throughout the first half of the 1940s, Jackson Pollock, Arshile Gorky, William Baziotes, Peter Busa, Robert Motherwell and others met frequently with Matta to learn about
his personal ideas about Surrealism.
In the mid-1940s, Matta’s work changed dramatically. Responding to the continuing horrors of the Second World War, Matta expanded his artistic interests beyond his exploration of the subconscious mind. He moved towards a more active engagement with the world in a series of works that he called
“Social Morphologies”. Many of Matta’s paintings from this period incorporate strangely menacing, machine-like contraptions and totemic human forms. He pitted these elements against each other in seemingly constant battle within a landscape of amorphous spaces and vaguely architectural planes.
These works have a new emotional immediacy, reverberating with a formal tension created by the often violently oppositional forms.
January 21, 2013
I was introduced to Vladimir Kush’s art not to long ago, as I had made a comment to a friend of mine that where are the living surrealists?
Well, I found one! I hope you enjoy this post and his work! I love the imagery!
Kush predominantly works in the medium of oil painting on canvas or board, with many of the original paintings also sold as limited edition canvas prints.
His bronze-colored sculptures are small-scale and usually based on imagery from his paintings, such as Walnut of Eden and Pros and Cons.
Although his style is frequently described as surrealist, Kush himself refers to it as “metaphorical realism” and cites the early influence on his style of Dali’s surrealist paintings as well as landscapes by the German Romantic painter Friedrich.
January 17, 2013
I had the pleasure many years ago of meeting Manuel Neri and getting to spend some time with him His work is tremendous and so inspirational to me.
I hope that you enjoy learning about these amazing talents! And that you find them inspirational!
|Manuel Neri has taken up the existential quest of the beauty of the unfinished, the unfinishable. His sculptures have extremes of surface and texture that relate to their creative birth and their succeeding stages of ‘death’ (and perhaps rebirth) through the artist’s continued re-working of the surfaces and form.It was in Neri’s surprising and substantial body of early paintings and painted papers, figurative as well as nonfigurative, that he developed his special skills for polychromy and brushwork, which he then applied radically to sculpture, his primary sensual and public medium.Neri’s works on paper encompass almost every artistic approach, and show a broadly talented sculptor intelligently, urgently, and creatively probing color, form, materials and the nature of graphic invention.
Manuel Neri (b. 1930) is one of the premier figurative sculptors working today. Born in Sanger, California, Neri began exploring new forms and materials in sculpture and painting in the early 1950s while studying in San Francisco. It was during this period that
such prominent Bay Area artists as David Park, Elmer Bischoff, and Richard Diebenkorn began to take a renewed interest in the human figure. Their efforts to combine the human form with abstract expressionist practice had a lasting influence on Neri.
Initially, Neri began sculpting in “junk”—burlap, wire, cardboard—and, soon thereafter, in simple plaster. His lone female figures, often in frankly erotic or naturalistic poses, were lauded immediately not only for their vitality and rawness but also for being simultaneously
contemporary and timeless. From the onset, Neri painted the “skin” of his figures with patches of bright color—a conscious bow, he has said, to the painted sculpture of Marino Marini and to the ceramics of Pablo Picasso, as well as to the visceral expressionism of Willem de Kooning.
Neri’s figures and abstractions on canvas and on paper are equally expressive. Rendered in oil, pastel, tempera, graphite, and charcoal, these works are, in the words of Jack Cowart, former chief curator of the Corcoran Gallery of Art in Washington, D.C., the “record of an artist anxiously,
constantly, experimenting and visualizing his craft.”1 Some of Neri’s most important nonsculptural works include the “Window Series” paintings from the late 1950s and early 1960s, and a series of drawings dating from 1976 onward that feature a monumental figure placed in the center of a painted sheet.
Over the past twenty years, Neri has sculpted in Carrara marble even as he continues working in bronze, in some cases, adding brushstrokes of paint, scratches, and other marks atop the marble surface or bronze patina. Recent unpainted marbles are exceptionally notable for their monumentality
and sharp delineations between rough and polished surfaces, and their clear references to classical sculpture.
By casting, carving, and hand-painting his sculptures, Neri is able to explore the life processes of transformation and disintegration. According to writer Bruce Nixon, this “collision of hand and material is fundamentally existential … [and represents] a literal, physical effort to erase the gap between [artist and model].
Indeed, throughout Neri’s entire career, a lone, archetypal woman has been the vehicle for his most ambitious formal and symbolic goals.
January 15, 2013
An art dealer friend of mine introduced me to this artist, JIMMY LEE SUDDUTH, and I immediately fell in love with his work. I have always loved folk art and have collected collages from Romare Beardon. So I would like to introduce to you an amazing talent and what is so interesting, the details of his life and how they contributed to what he loved and how he practiced his talent.
Jimmy Lee Sudduth, an African-American folk artist whose evocative, textured paintings made partly from Alabama mud were prized by collectors around the world
A self-taught artist who began painting as a very small child, Mr. Sudduth was renowned for the effects he could produce with his own homemade paint, which consisted of
mud blended with a variety of common substances — soot, axle grease, sugar, coffee grounds and much else — to lend it color and texture.
Applied and worked with his fingers, the mud assumed contour, line and form. Painted on scrap lumber, sheet metal and most commonly on plywood, Mr. Sudduth’s art often depicted everyday life in Alabama
— portraits of houses, people, farm animals and his dog, Toto. But it also ranged over the architecture of faraway places, as in his paintings of Washington landmarks and his geometric scenes of New York City skyscrapers.
First exhibited formally in the late 1960s, Mr. Sudduth’s work gained wide popularity during the folk art boom of the 1980s. Today his paintings sell for anywhere from several hundred dollars to $5,000, said Susan Mitchell Crawley,
the associate curator of folk art at the High Museum in Atlanta.
His art is in the permanent collections of the Museum of American Folk Art in New York, the Smithsonian Institution, the High Museum of Art and the Montgomery Museum of Fine Arts. It was the subject of a book,
“The Life and Art of Jimmy Lee Sudduth” (Montgomery Museum of Fine Arts, 2005), by Ms. Crawley.
Jimmy Lee Sudduth was born in Caines Ridge, Ala., on March 10, 1910. (His first name was sometimes spelled Jimmie.) The details of his early life are hazy: he was believed to have been born to a family named Wilson and adopted by the Sudduth family when he was very young,
Mr. Sudduth’s adoptive mother was also a medicine woman, and as a toddler, he accompanied her into the woods to gather plants. On one of those trips, he drew a picture in mud on a tree stump.
When he and his mother returned to the spot a few days later, the picture was still there. She took this as a sign that her son must keep painting
As an adult, Mr. Sudduth did a variety of jobs, including working in a grist mill, in a lumberyard and as a gardener. He continued to paint in mud, but there was a problem: once dry, the mud flaked off the plywood.
Realizing he needed to add something to give the mud staying power, he found that viscous substances like molasses, honey, Coca-Cola and sorghum worked well. So did ordinary sugar. “Sweet mud,” Mr. Sudduth called the result.
Over the years Mr. Sudduth became a connoisseur of dirt; he liked to say that he could locate mud in 36 different shades. Once he became famous, people sent him dirt through the mail
To expand his palette further, Mr. Sudduth colored his work with an astonishing array of available ingredients, either by mixing them into the mud or rubbing them directly onto his wooden canvas.
They included flour, coffee grounds, instant coffee, dye wrung from sodden red crepe paper, ground brick, ground charcoal, colored chalk, crushed coal, turnip greens, flower petals, pokeweed berries,
ivy, soot, axle grease, elderberries, crushed green tree buds, boiled jimson weed, sap, walnut shells, burnt matchsticks, tobacco, egg yolk, grass and leftover house paint donated by neighbors.
The only drawback to these recipes was that some of the finished paintings were supremely attractive to mice, which ate holes in them. In later years, when advancing age made it hard for Mr. Sudduth collect mud, he switched to painting in acrylics.
“I paint with my finger ’cause that’s why I got it, and that brush don’t wear out,” he said in an interview quoted in the catalog of one of his exhibitions. “When I die, the brush dies.”
January 14, 2013
I have always been in love with Thomas Hart Benton’s work! I have even collected it along my way! So expressionistic and so realistic. I do hope you enjoy this post!
Although he’d been to soirées in “Paree” and New York’s Stork Club, American artist and muralist Thomas Hart Benton played a harmonica and reveled in his self-honed image as a hard-drinking hillbilly. Detractors,
both past and present, dismissed Benton’s art as “Okie baroque”, while supporters praised his efforts to paint realistic images based on American subject matter. During Benton’s long life (1889-1975), he constantly moved people to tears –
tears of rage as well as love.
On the “good side” were ambition, talent and skill. “But he was also seduced by fame and attracted by attention.There were many ironies in Benton’s life. For example, his most famous student was Jackson Pollock, whose abstract
expressionist paintings are the antithesis, almost an affront, to Benton’s own work. He was also a Midwesterner and proud of it, but fled East and overseas to develop a style which his best known for celebrating rural America.
Born in Neosho, Missouri, Benton was the product of a prodigiously unhappy marriage. Art was far from what his father, Colonel Maecenas Benton, had in mind for his son, whom he shipped of to military school.
The elder Benton couldn’t have been a more inappropriate mate for Benton’s beautiful, artistically-inclined mother, Elizabeth. The Colonel was a rough-hewn politician, four times elected to Congress and known as the “little giant of the Ozarks.”
Benton hit his stride as a determinedly realistic painter. At a time when revolutionary art forms were flourishing, Benton was working on huge murals and audacious paintings that reflected raw American life, some of it historical,
mostly of ordinary folk caught in the throes of hard work.
January 11, 2013
I was doing research on another artists and came across this women, MARY CASSATT! I was instantly impressed by her impressionist paintings. I really enjoyed looking at her art and learning about her story! Check her out!
Mary Cassatt was born May 22, 1844 into an upper-middle class family in Pennsylvania. Mary led a privilaged life, where she had the opportunity to travel all around Europe. She traveled over seas for 5 years and visited many of the capitals including London, Paris and Berlin. While traveling Europe Mary had her first lessons in drawing and music, she also had the chance to learn to speak German and French.
Back in the US, Mary began attending the Pennsylvania Academy of Fine Arts at the age of 15. Mary experienced attidudes from fellow male students in the Academy and eventually had to learn and study the art on her own time. In 1866 she moved to Paris to continue her studies for the arts. Although she could not attend the Ecole des Beaux-Arts school because she was a women, she enlisted some of the school’s master students to teach her privately.
In 1866 Mary returned to the US where she attempted to sell her paintings in New York, she acquired many admirers, but not buyers. Discouraged, but not ready to give up on making art a career, she moved back to Europe in 1871. It was at this time that she began successfully selling her paintings. Many of her paintings portray the social and private lives of women, emphasizing on the intimate bonds between mother and child.
Mary led the way for many women artists to follow her path. She died June 14, 1926 near Paris and was buried in the family vault.
January 10, 2013
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I thought it a great idea to introduce the work of FRIDA KAHLO, to those of you who are not quite familiar with her. But know her paintings and may know that she and DIEGO RIVERA were a couple, romantically , emotionally, artistically and politically .
It is always a question, that I hear, when I am eavesdropping on a docent tour of Mexican Artists,”why are all of her paintings, or most of them, self portraits”? So, in having written about DIEGO, I thought it only fair to give a written introduction to FRIDA!
“In 1953, when Frida Kahlo had her first solo exhibition in Mexico (the only one held in her native country during her lifetime), a local critic wrote: ‘It is impossible to separate the life and work of this extraordinary person.
Her paintings are her biography.’ This observation serves to explain both why her work is so different from that of her contemporaries, the Mexican Muralists, and why she has since become a feminist icon.
“Kahlo was born in Mexico City in 1907, the third daughter of Guillermo and Matilda Kahlo. Her father was a photographer of Hungarian Jewish descent, who had been born in Germany; her mother was Spanish and Native American. Her life was to be a long series of physical traumas, and the first of these came early. At the age of six she was stricken with polio, which left her with a limp. In childhood, she was nevertheless a fearless tomboy, and this made Frida her father’s favorite. He had advanced ideas about her education, and in 1922 she entered the Preparatory (National Preparatory School), the most prestigious educational institution in Mexico, which had only just begun to admit girls. She was one of only thirty-five girls out of two thousand students.
“It was there that she met her husband-to-be, Diego Rivera , who had recently returned home from France, and who had been commissioned to paint a mural there. Kahlo was attracted to him, and not knowing quite how to
deal with the emotions she felt, expressed them by teasing him, playing practical jokes, and by trying to excite the jealousy of the painter’s wife, Lupe Marin.
“In 1925, Kahlo suffered the serious accident which was to set the pattern for much of the rest of her life. She was travelling in a bus which collided with a tramcar, and suffered serious injuries to her right leg and pelvis. The accident made it impossible for her to have children, though it was to be many years before she accepted this. It also meant that she faced a life-long battle against pain. In 1926, during her convalescence, she painted her first self-portrait, the beginning of a long series in which she charted the events of her life and her emotional reactions to them.
She met Rivera again in 1928, through her friendship with a photographer and revolutionary. Rivera’s marriage had just disintegrated, and the two found that they had much in common, not least from a political
point of view, since both were now communist militants. They married in August 1929. Kahlo was later to say: ‘I suffered two grave accidents in my life. One in which a streetcar knocked me down… The other accident is Diego.’