Art Lovers discussion
Picture of the Day
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July 2019 - little history of Non-objective, or Abstract art
We start in 1906:Hilma af Klint
(1862 - 1944)
Hilma af Klint was a Swedish artist and mystic whose paintings were among the first Western abstract art. A considerable body of her abstract work predates the first purely abstract compositions by Kandinsky. She belonged to a group called "The Five", a circle of women who shared her belief in the importance of trying to make contact with the so-called "High Masters"—often by way of séances. Her paintings, which sometimes resemble diagrams, were a visual representation of complex spiritual ideas.
In her will, Hilma af Klint left all her abstract paintings to her nephew, a vice-admiral in the Swedish Royal Navy. She specified that her work should be kept secret for at least 20 years after her death. When the boxes were opened at the end of the 1960s, very few persons had knowledge of what would be revealed.
The collection of abstract paintings of Hilma af Klint counts more than 1200 pieces. It is owned and managed by the Hilma af Klint Foundation in Stockholm, Sweden. In 2017, Norwegian architectural firm Snøhetta presented plans for an exhibition centre dedicated to af Klint in Järna, south of Stockholm, with estimated building costs of between €6 million and €7.5 million. In February 2018, the Foundation signed a long-term agreement of cooperation with the Moderna Museet, thereby confirming the perennity of the Hilma af Klint Room, i.e. a dedicated space at the museum where a dozen works of the artist are shown on a continuous basis.
https://en.wikipedia.org/wiki/Hilma_a...
Posted by Ellen in Jan.:
https://www.goodreads.com/topic/show/...
Chaos nr. 2 from the group 304
1906
From the exhibition at Guggenheim:
The second day and for the first and last time I will have to make a jump in time an skip two years.Max Ernst
(1891 - 1976)
Max Ernst was a German (naturalised American in 1948 and French in 1958) painter, sculptor, graphic artist, and poet. A prolific artist, Ernst was a primary pioneer of the Dada movement and Surrealism. He had no formal artistic training, but his experimental attitude toward the making of art resulted in his invention of frottage—a technique that uses pencil rubbings of objects as a source of images— and 'grattage', an analogous technique in which paint is scraped across canvas to reveal the imprints of the objects placed beneath. He is also noted for his novels consisting of collages.
Untitled
1909
This is an early work by Ernst, at the time only 18 and still studying philosophy in Bonn.
Third day and already I have a choice of three. But to be honest the data on the date for number three is not conclusive, some sources gave me 1910 others point to 1916 (MoMa)1910
The most well known of the three is of course:
Wassily Kandinsky
(1866 - 1944)
Wassily Wassilyevich Kandinsky was a Russian painter and art theorist.
Kandinsky is generally credited as the pioneer of abstract art. 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 (chair of Roman Law) at the University of Dorpat—Kandinsky began painting studies (life-drawing, sketching and anatomy) at the age of 30.
https://en.wikipedia.org/wiki/Wassily...
Study for composition II
1910
Arthur Beecher Carles
(1882 – 1952)
Arthur Beecher Carles (March 9, 1882 – 1952) was an American Modernist painter. In March 1910 his work was included in the “Younger American Painters” show held at Alfred Stieglitz’s New York City gallery, 291. Stieglitz gave Carles his first one-man show at 291 in January 1912.
https://en.wikipedia.org/wiki/Arthur_...
Landscape
1910
Olga Rozanova
(1886 – 1918)
Olga Rozanova was a Russian avant-garde artist in the styles of Suprematism, Neo-Primitivism, and Cubo-Futurism.
https://en.wikipedia.org/wiki/Olga_Ro...
Abstract Composition
1910 (1916 according to MoMa)
Only on pic for 1911:Umberto Boccioni
(1882 - 1916)
Umberto Boccioni was an influential Italian painter and sculptor. He helped shape the revolutionary aesthetic of the Futurism movement as one of its principal figures. Despite his short life, his approach to the dynamism of form and the deconstruction of solid mass guided artists long after his death. His works are held by many public art museums, and in 1988 the Metropolitan Museum of Art in New York City organized a major retrospective of 100 pieces.
https://en.wikipedia.org/wiki/Umberto...
He was featured in the Guess Who thread a couple of weeks ago (June 13):
https://www.goodreads.com/topic/show/...
States of mind II: those who go
1911
Oil on canvas
70.8 x 95.9 cm
MoMa
(Gift of Nelson A. Rockefeller)
Set in a train station, this series of three paintings explores the psychological dimension of modern life's transitory nature. In The Farewells, Boccioni captures chaotic movement and the fusion of people swept away in waves as the train's steam bellows into the sky. Oblique lines hint at departure in Those Who Go, in which Boccioni said he sought to express "loneliness, anguish, and dazed confusion." In Those Who Stay, vertical lines convey the weight of sadness carried by those left behind.
Two French artists today for 1912:Francis Picabia
https://en.wikipedia.org/wiki/Francis...
Francis Picabia was a French avant-garde painter, poet and typographist. After experimenting with Impressionism and Pointillism, Picabia became associated with Cubism. His highly abstract planar compositions were colourful and rich in contrasts. He was one of the early major figures of the Dada movement in the United States and in France. He was later briefly associated with Surrealism, but would soon turn his back on the art establishment.
Danses à la source II
Dances at the spring II
1912
Oil on Canvas
251.8x248;9 cm)
MoMa
Gift of the Eugene and Agnes E. Meyer collection
Robert Delaunay
(1885 - 1941)
Robert Delaunay was a French artist who, with his wife Sonia Delaunay and others, co-founded the Orphism art movement, noted for its use of strong colours and geometric shapes. His later works were more abstract. His key influence related to bold use of colour and a clear love of experimentation with both depth and tone.
https://en.wikipedia.org/wiki/Robert_...
Les Fenêtres simultanée sur la ville (Simultaneous Windows on the City)
1912
Oil on canvas
Height: 40 cm Width: 46 cm
Kunsthalle Hamburg
https://www.hamburger-kunsthalle.de/
Les Fenêtres (The windows) is a series of paintings realized between 1912 et 1913 by Robert Delaunay.
https://fr.wikipedia.org/wiki/Les_Fen...
1913 brings us two female artists, one from the Netherlands and one from Russia:Aleksandra Aleksandrovna Ekster
(1882 - 1949)
Aleksandra Aleksandrovna Ekster also known as Alexandra Exter, was a Russian Cubo-Futurist, Suprematist, Constructivist painter and designer of international stature who divided her life between Kiev, St. Petersburg, Moscow, Vienna, and Paris.
In 1924 Aleksandra Ekster and her husband emigrated to France and settled in Paris, where she initially became a professor at the Academie Moderne. From 1926 to 1930 Ekster was a professor at Fernand Léger's Académie d'Art Contemporain. In 1933 she began creating beautiful and original illuminated manuscripts (gouache on paper), perhaps the most important works of the last phase of her life. The "Callimaque" manuscript (c. 1939, the text being a French translation of a hymn by Hellenistic poet Callimachus) is widely regarded as her masterpiece. In 1936 she participated in the exhibition Cubism and Abstract Art in New York and went on to have solo exhibitions in Prague and in Paris. She was a book illustrator for the publishing company Flammarion in Paris from 1936 until her death in the Paris suburb of Fontenay-aux-Roses. During the past few decades her reputation has increased dramatically, as have the prices of her works. As a consequence, several fakes have appeared on the market in recent years.
https://en.wikipedia.org/wiki/Aleksan...
City
1913
Oil on canvas
88.5 x 70.5 cm
Jacoba van Heemskerck
(1876 - 1923)
Jonkvrouw Jacoba Berendina van Heemskerck van Beest was a Dutch painter, stained glass designer and graphic artist who worked in several modern genres. She specialized in landscapes and still-lifes.
Her first contact with Modern art came in Paris, where she took lessons from Eugène Carrière. She remained in France until 1904, then went to live with her sister, Lucie, and was introduced to the art collector, Marie Tak van Poortvliet [nl], who became her lifelong friend and later built a studio for her in the garden of her home. After 1906, she spent her Summers in Domburg, where she came into contact with avant-garde painters such as Jan Toorop and Piet Mondriaan, who offered her advice. Around 1911, she was briefly interested in Cubism.
Shortly after, she became involved in Anthroposophy, possibly through the influence of her former teacher, Nibbrig, who was a Theosophist. She then became an avid follower of Der Sturm, an avant-garde art magazine founded by Herwarth Walden, and turned increasingly to Abstraction. In 1913, she attented the "Erster Deutscher Herbstsalon [de]" in Berlin, where she met Walden and started what would be a lifelong correspondence. Thanks to his efforts, her work was popular in Germany, while it remained somewhat ignored in her home country.
https://en.wikipedia.org/wiki/Jacoba_...
Baum
1913
oil on canvas
126 by 100,5 cm
For 1914 I have again two male artists: one French and one Italian:Henri Matisse
(1869 - 1954)
Henri Émile Benoît Matisse was a French artist, known for both his use of colour and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is known primarily as a painter.Matisse is commonly regarded, along with Pablo Picasso, as one of the artists who best helped to define the revolutionary developments in the visual arts throughout the opening decades of the twentieth century, responsible for significant developments in painting and sculpture.
https://en.wikipedia.org/wiki/Henri_M...
View of Notre Dame.
1914
147.3 x 94.3 cm.
In the collection of MoMA
Museum of Modern Art.
Giacomo Balla
(1871 - 1958)
Giacomo Balla was an Italian painter, art teacher and poet best known as a key proponent of Futurism. In his paintings he depicted light, movement and speed.
Mercury Passing Before the Sun
1914
Oil on Canvas
Mercury Passing Before the Sun (Italian: Mercurio transita davanti al sole or Mercurio (che) passa davanti al sole) is the title of a series of paintings by Italian Futurist painter Giacomo Balla, depicting the November 17, 1914 transit of Mercury across the face of the Sun.
The painting represents Balla's subjective experience of the event. It exemplifies his transition to a more abstract style, as well as his interest in themes of cosmogony; he uses the opacity of gouache to suggest a dense fusion of cosmic forces. During this period, Balla had begun to experiment with the use of geometric and curving forms and transparent planes to convey movement. Mercury Passing Before the Sun translates the temporal progression of Mercury's transition into a spatial progression, using methods devised by the Cubists.
https://en.wikipedia.org/wiki/Mercury...
For 1915, I have a Russian painter and art theorist: Kazimir Malevich
(1879 - 1935)
Kazimir Malevich was a Russian avant-garde artist and art theorist, whose pioneering work and writing had a profound influence on the development of non-objective, or abstract art, in the 20th century. Born in Kiev to an ethnic Polish family, his concept of Suprematism sought to develop a form of expression that moved as far as possible from the world of natural forms (objectivity) and subject matter in order to access "the supremacy of pure feeling" and spirituality.[ Malevich is considered to be part of Ukrainian avant-garde together with Alexander Archipenko, Vladimir Tatlin, Sonia Delaunay, Aleksandra Ekster, David Burliuk that was shaped by Ukrainian born artists who worked first in Ukraine and later over geographical span between Europe and America.
https://en.wikipedia.org/wiki/Kazimir...
Suprematist Composition: Airplane Flying
1915
Oil on canvas
58.1 x 48.3 cm
MoMA
1935 Acquisition confirmed in 1999 by agreement with the Estate of Kazimir Malevich and made possible with funds from the Mrs. John Hay Whitney Bequest (by exchange)
Already 1916 and an artist from the Netherlands and someone from Switzerland, who happens to be one of my all time favorites:Theo van Doesburg
(1883 - 1931)
Theo van Doesburg was a Dutch artist, who practiced painting, writing, poetry and architecture. He is best known as the founder and leader of De Stijl. He was married to artist, pianist and choreographer Nelly van Doesburg.
https://en.wikipedia.org/wiki/Theo_va...
Mouvement héroïque
1916
oil on canvas
Height: 136 cm Width: 110.5 cm
Centraal Museum Utrecht.
https://www.centraalmuseum.nl/en/
Paul Klee
(1879 - 1940)
Paul Klee was a Swiss-born artist. His highly individual style was influenced by movements in art that included Expressionism, Cubism, and Surrealism. Klee was a natural draftsman who experimented with and eventually deeply explored color theory, writing about it extensively; his lectures Writings on Form and Design Theory (Schriften zur Form und Gestaltungslehre), published in English as the Paul Klee Notebooks, are held to be as important for modern art as Leonardo da Vinci's A Treatise on Painting for the Renaissance. He and his colleague, Russian painter Wassily Kandinsky, both taught at the Bauhaus school of art, design and architecture. His works reflect his dry humor and his sometimes childlike perspective, his personal moods and beliefs, and his musicality.
https://en.wikipedia.org/wiki/Paul_Klee
Cacodemonic
1916
Water-colour on plaster ground on cotton on cardboard
18,5 x 25,5 cm
Paul Klee Foundation,
Kunstmuseum bern,
Private collection
I have to say I am really enjoying this thread. Most of these works are along my genre of preference. Thank you for those new introductions.
Glad you like them Heather. The works I post are of course my personal selection: I like them all ;-)For 1917 I 'd like to introduce an artist born in Strasbourg a city in Alsace-Lorraine, in the time period when it was first French, then German and later French again.
When I visited that part of France in the eighties a lot of people still had a double nationality or at least felt that way.
It seemed to me they combined the best from both nationalities there: a really nice place to visit!
Jean Arp
(1886 - 1966)
Jean Arp or Hans Arp was a German-French sculptor, painter, poet, and abstract artist in other media such as torn and pasted paper.
In 1912, he went to Munich, called on Wassily Kandinsky, the influential Russian painter and art theorist, was encouraged by him in his researches and exhibited with the Der Blaue Reiter group. Later that year, he took part in a major exhibition in Zürich, along with Henri Matisse, Robert Delaunay and Kandinsky. In Berlin in 1913, he was taken up by Herwarth Walden, the dealer and magazine editor who was at that time one of the most powerful figures in the European avant-garde.
https://en.wikipedia.org/wiki/Jean_Arp
collage of squares
1917
Torn and pasted paper and colores paper on colored paper
48,5 x 34,6 cm
MoMA
Jean Arp and other Dada artists embraced chance as a tool for liberating creativity from rational thought. An account by his friend and fellow artist Hans Richter describes how Arp made “chance collages” like this one. Apparently frustrated with a drawing he had been working on for some time, Arp
“[. . .] finally tore it up, and let the pieces flutter to the floor of his studio [. . . .] Some time later he happened to notice these same scraps of paper as they lay on the floor, and was struck by the pattern they formed. It had all the expressive power that he had tried in vain to achieve. How meaningful! How telling! Chance movements of his hand and of the fluttering scraps of paper had achieved what all his efforts had failed to achieve, namely expression. He accepted this challenge from chance as a decision of fate and carefully pasted the scraps down in the pattern which chance had determined.
Interesting a story how this came to be...
Randomness does not make art. Art must have intent.
Pieces of paper falling on the ground is indeed random.But the act of recognizing a pleasing pattern by Arp was not random.
He chose very deliberately to take this composition and not the one from the day before...
His act of choosing and putting it on the wall is what makes it art.
I couldn't disagree more. I hang planters on the wall. That doesn't make them art.
Is it not the same with photography?A photographer walks around in a city and stops to take a picture of something that caught his eye, and seemed to him a pleasant composition. While other people just walked on by...
That specific photo (if it is a good one) is in my opinion art.
For 1918, we have a very famous Dutch artist and an almost unknown Polish artist and two completely different sides of the abstract spectrum:Piet Mondrian
(1872 - 1944)
https://en.wikipedia.org/wiki/Piet_Mo...
Pieter Cornelis Mondriaan, after 1906 Piet Mondrian, was a Dutch painter and theoretician who is regarded as one of the greatest artists of the 20th century. He is known for being one of the pioneers of 20th century abstract art, as he changed his artistic direction from figurative painting to an increasingly abstract style, until he reached a point where his artistic vocabulary was reduced to simple geometric elements.
Composition with Gray and Light Brown
1918
Oil on canvas
80,2 x 49,8 cm
Museum of Fine Arts (Houston)
https://www.mfah.org/
Stanislaw Ignacy Witkiewicz
(1885 - 1939)
pseudonym Witkacy, was a Polish painter, novelist, and playwright, well known as a dramatist in the period between the two world wars. After studying at the
Academy of Fine Arts in Kraków, Witkiewicz traveled in Germany, France, and Italy. In 1914 he left for Australia as the artist and photographer of an anthropological expedition led by Bronisław Malinowski. Three years later, as a reserve officer in the Russian Army, Witkiewicz witnessed the Russian Revolution. In 1918 he settled at a provincial cultural centre, Zakopane, at the foot of the Tatra Mountains.
Nova Aurigae
1918
Pastel, paper blue;
45.6 x 58.5 cm
Museum of Literature, Warsaw, Poland
Geoffrey wrote: "Randomness does not make art. Art must have intent."I agree that randomness doesn’t create art. Maybe if it could be done again deliberately (and not by copying the first)? He couldn’t just tear up more paper and throw it on the floor and paste that on another piece of paper and call it another piece of art. That, again would be meaningless so-to-say and wouldn’t constitute ‘art’ IMO. Maybe the first time, as he saw a certain composition in the way the pieces fell that one time, and he pasted them onto the paper, that was his art. But to do that repeatedly without thought of his own doesn’t count as art at all, that is only random chance.
Anyway, that’s my opinion.
I also want to add another not-so-important opinion...of all the art in this thread, this is the one I like the least, well, don't like at all in fact. It is just torn up pieces of paper.
Dirk wrote: "Is it not the same with photography?A photographer walks around in a city and stops to take a picture of something that caught his eye, and seemed to him a pleasant composition. While other people..."
There is nothing random in taking a picture on the street. The photographic artist is selecting a scene that has human interest, formulates its composition by where he places his body, the lens he chooses to photograph with, the type of film and its processing and printing. There is considerably more conscious intent that dropping pieces of paper on a substratum.
For 1919 two famous artists who don’t really need an introduction: Georgia OKeeffe
(1887 - 1986)
Georgia Totto O'Keeffe was an American artist. She was best known for her paintings of enlarged flowers, New York skyscrapers, and New Mexico landscapes. O'Keeffe has been recognized as the "Mother of American modernism".
https://en.wikipedia.org/wiki/Georgia...
Blue line
1919
Oil on canvas
51.2×43.5 cm
The Georgia O'keeffe Museum, Santa Fe
Fernand Leger
(1881 - 1955)
Joseph Fernand Henri Léger was a French painter, sculptor, and filmmaker. In his early works he created a personal form of cubism which he gradually modified into a more figurative, populist style. His boldly simplified treatment of modern subject matter has caused him to be regarded as a forerunner of pop art.
https://nl.wikipedia.org/wiki/Fernand...
The Disc
1919
Oil on canvas.
65 x 54 cm
Museo Nacional Thyssen-Bornemisza, Madrid
As with many other artists of his generation, being conscripted during the First World War not only had a profound effect on Fernand Léger’s spirit but also gradually drove him to shun abstraction and return to real objects. However, this return to realism did not occur immediately, and when he was able to take up painting again after a long convalescence following his stay in a Paris hospital, he began a series centred on representing the form of the disc. The incorporation into his compositions of this abstract motif, which was already familiar to him before the war through the non-objective language of Robert and Sonia Delaunay, may be due to his collaboration with Kahnweiler in the publication of J’ai Tué by the Delaunays’ Swiss writer friend Blaise Cendrars, which came out in November 1918 with illustrations by Léger.
The Disc in the Thyssen-Bornemisza collection was executed in October 1918 and was first shown in the artist’s one-man exhibition at Léonce Rosenberg’s Galerie l’Effort Moderne in February 1919. Completed approximately a month before the Armistice, it may be linked to his painting Armistice Day, executed that November, and July 14th, 1918 at Vernon, a slightly earlier work also on a war theme. However, although certain references to movement and the colours of the flags can be found in the present composition, Léger did not intend the disc to represent anything specific; it is simply a pictorial motif of colours and planar forms.
Paloma Alarcó
Geoffrey wrote: "Dirk wrote: "Is it not the same with photography?A photographer walks around in a city and stops to take a picture of something that caught his eye, and seemed to him a pleasant composition. While..."
So if Arp had taken a photo of the pieces of paper instead of gluing them on a canvas, that would have been art?
Yesterday we had two well known artists, today two relatively unknown ones from France and Germany:Georges Valmier
(1885 - 1937)
Georges Valmier was a French painter. His work encompassed the great movements in the modern history of painting, starting with Impressionism in his early years, then Cubism which he discovered when he was around 25 years old, and finally Abstractionism from 1921. He also designed sets and costumes for theater and ballet, and models for fabrics, carpets, and other objects. His oil paintings do not exceed 300 in number, since Valmier died prematurely at the age of 51. His paintings were the culmination of many preparatory drafts in gouaches, multiple versions of which are works in themselves and reflect his penchant for colors and remarkably inventive shapes. Valmier was also a musician, he performed the works of Debussy, Ravel, Fauré, and Satie at major concerts and in churches, and had a decisive influence on the career of André Jolivet.
Cubist Composition
1920
Oil on canvas
73 cm x 53.5 cm
Kurt Schwitters
(1887 - 1948)
Kurt Hermann Eduard Karl Julius Schwitters was a German artist who was born in Hanover, Germany.
Schwitters worked in several genres and media, including Dadaism, Constructivism, Surrealism, poetry, sound, painting, sculpture, graphic design, typography, and what came to be known as installation art. He is most famous for his collages, called Merz Pictures.
https://en.wikipedia.org/wiki/Kurt_Sc...
Merzbild Einunddreissig (Merzpicture Thirty-One),
1920
Assemblage
97.8 x 65.8 cm
Sprengel Museum, Hannover
Only one pic today...(it's Sunday guys ,-)János Mattis-Teutsch
(1884 - 1960)
János Mattis-Teutsch or Máttis-Teutsch, Mátis-Teutsch was a Hungarian painter, sculptor, graphic artist, art critic, and poet. Best known for his Seelenblumen ("Soulflowers") cycle of paintings, he was an important contributor to the development of modern art and avant-garde trends inside Romania (where he spent the larger part of his life). He was the grandfather of the artist Waldemar Mattis-Teutsch.
https://en.wikipedia.org/wiki/János_M...
Composition
1921
"Geoffrey wrote: There is nothing random in taking a picture on the street. The photographic artist is selecting a scene that has human interest, formulates its composition by where he places his body, the lens he chooses to photograph with, the type of film and its processing and printing. There is considerably more conscious intent that dropping pieces of paper on a substratum"Dirk wrote: "So if Arp had taken a photo of the pieces of paper instead of gluing them on a canvas, that would have been art?"
I have to bring this up again because it seems unfinished. I see Geoffrey's point and I know where he is coming from as he is a professional photographer. And that I am not. But there is a whole lot more to taking a photo than just looking at something and shooting it. So in Dirk's proposal of Arp taking a picture of the pieces of paper falling on the floor and using Geoffrey's explanation of the specifics of all it takes to create an artistic photograph, if Arp chose the right lens, optics, whatever else is involved (I don't know because I don't know photography), but if Arp had adjusted the lighting, the focus, etc. on the pieces on the floor to make the photo artistically and aesthetically pleasing rather than say a picture shot from a cell phone, it might be considered art. In fact, if he adjusted the focus, used a different viewpoint, or some sort of distortion, that would have intent and I think would definitely constitute art! But, I have to say I side with Geoffrey on this one. Torn up pieces thrown on the floor and pasted onto a piece of paper don't constitute art, IMO. But, it's just that, my opinion.
We also have to consider the context in which something is presented. Take duChamps readymades. A urinal is a urinal is a urinal until we see Fountain in an art gallery and are forced to consider what point the artist is trying to make. With Picasso’s Bulls Head we only briefly note the original purpose of a bike seat and handlebars before we are deflected into thinking about shape and line and form.
Heather wrote: ""Geoffrey wrote: There is nothing random in taking a picture on the street. The photographic artist is selecting a scene that has human interest, formulates its composition by where he places his b..."So in your (and Geoffrey’s) opinion it's all about the technology?
A picture taken with a cell phone cannot be art, because it doesn't have a proper lens and everything is automated from focus to exposure...
I don't think so...
Give an average Joe a 2000 $ dollar camera and chances are he will make all mediocre photo's.
Unless you're making photo's in the studio, there is always an element of chance.
It's the artistic eye and mind of the photographer that at a certain point comes to the conclusion: "NOW I have to take the picture not 5 seconds ago and not in the future because this image or composition may never come again"
What I'm trying to say is, you must not underestimate the artistic and creative mind, no matter what medium is used. Be it a Polaroid or a Hasselblad or torn pieces of paper instead of oil paint and brush.
Already 1922!The first artist today was 2 years old when the first pic of the month, by Hilma af Klint was made
Hans hartung
(1904 - 1989)
Hans Hartung was a German-French painter, known for his gestural abstract style. He was also a decorated World War II veteran of the French Foreign Legion. Hartung's freewheeling abstract paintings set influential precedents for many younger American painters of the sixties, making him an important forerunner of American Lyrical Abstraction of the 1960s and 1970s. He was featured in the 1963 film documentary "School of Paris: (5 Artists at Work)" by American filmmaker Warren Forma.
https://en.wikipedia.org/wiki/Hans_Ha...
Untitled
1922
Watercolor
Sándor Bortnyik
(1893 - 1976)
Sándor Bortnyik (July 3, 1893 – December 31, 1976) was a Hungarian painter and graphic designer. His work was greatly influenced by Cubism, Expressionism and Constructivism.
https://en.wikipedia.org/wiki/Sándor_...
Geometrical-Composition
1922
oil on canvas
Heather wrote: "I have to say I am really enjoying this thread. Most of these works are along my genre of preference. Thank you for those new introductions."I agree heartily. This is my favorite Dirk thread
You know, going along what you’ve posted so far, of the artists you’ve introduced I know very few. And I’ve liked most of them. I did know Hilma af Klint before but subsequent artists have gained my preference. I like her less than most of the others, I must admit.
Me again...I just went through the thread again and I need to correct what I just wrote. I do know probably over half of the artists you posted. I am more familiar than I first thought. But there are new ones that I do appreciate and I’m happy to know those as well. I do really like Kandinsky, Leger, Matisse, Max Ernst, O’Keeffeand others that I recognized. Again, I just don’t care for Hilma af Klint much, and I can’t put my finger on why, exactly because I do think it’s interesting how she tended to create her art from ‘mysticism’ or ‘seances’.
Today a reprise for a couple of artists, but first a new name from my homecountry Belgium!:Victor Servranckx
(1897 - 1965)
Victor Servranckx was a Belgian abstract painter and designer. Born in Diegem (Machelen) and studied from 1913–1917 at the Académie Royale des Beaux-Arts in Brussels. There, in 1916, he met René Magritte, with whom he wrote "Pure Art: A Defence of the Aesthetic" in 1922. His style was influenced by cubism, constructivism, and surrealism. He died in Vilvoorde.
https://en.wikipedia.org/wiki/Victor_...
Opus 55. Règne de l’acier poli (Reign of Polished Steel)
1923
85 x 102 cm
Olieverf op doek
Musée de Grenoble
© Musée de Grenoble
And as promised two reprises (because I like ‘m ;-)
Wassily Kandinsky
(1866 - 1944)
Wassily Wassilyevich Kandinsky was a Russian painter and art theorist.
Kandinsky is generally credited as the pioneer of abstract art. 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 (chair of Roman Law) at the University of Dorpat—Kandinsky began painting studies (life-drawing, sketching and anatomy) at the age of 30.
https://en.wikipedia.org/wiki/Wassily...
Geometric abstraction
1923
Oil on canvas
77.8 × 100.4 cm
Private collection
Sold 5 November 2013 at Christie's auction in New York for $ 12.6 million.
Again a digital riddle: I found at least three different files, is anyone familiar with the original?
If you want to have a look at his whole oeuvre:
https://www.wassilykandinsky.net/
János Mattis-Teutsch
(1884 - 1960)
János Mattis-Teutsch or Máttis-Teutsch, Mátis-Teutsch was a Hungarian painter, sculptor, graphic artist, art critic, and poet. Best known for his Seelenblumen ("Soulflowers") cycle of paintings, he was an important contributor to the development of modern art and avant-garde trends inside Romania (where he spent the larger part of his life). He was the grandfather of the artist Waldemar Mattis-Teutsch.
https://en.wikipedia.org/wiki/János_M...
Composition
1923
Only one artist for 1924, but pretty famous:Joan Miró
Joan Miró i Ferrà was a Spanish painter, sculptor, and ceramicist born in Barcelona. A museum dedicated to his work, the Fundació Joan Miró, was established in his native city of Barcelona in 1975, and another, the Fundació Pilar i Joan Miró, was established in his adoptive city of Palma de Mallorca in 1981.
https://en.wikipedia.org/wiki/Joan_Miró
Catalan Peasant with a Guitar
1924
Oil on canvas.
147 x 114 cm
Museo Nacional Thyssen-Bornemisza, Madrid
Catalan Peasant with a Guitar is one of a series of paintings produced after Miró’s first visit to Paris in 1920 and his subsequent exposure to the work of Dadaist and Surrealist poets and artists. From that moment on, the artist began to simplify his compositions in a process that gradually led him to abandon external reality in favour of a peculiar language of signs. Miró was strongly drawn to rural Catalonia, and he often used the figure of the Catalan peasant as a key feature in many of his canvases. Here, the stylised figure of the peasant wearing his characteristic red cap or barretina is portrayed full length, its sharp outlines contrasting starkly with the intense-blue background that dominates the painting, eliminating any spatial reference.
Another French artist for 1925:Félix Del Marle
(1889-1952)
Félix Del Marle was a French painter.
After classical studies and artistic training at the Academy of Fine Arts of Valenciennes and the School of Fine Arts in Lille, Del Marle moved to Paris in 1912, where he met Apollinaire and Severini, with whom he shared his studio on Dutot Street. In 1913 he adopts with enthusiasm the futuristic precepts of Marinetti and Boccioni, The same year he exhibits, at Clovis Sagot, paintings that apply the Futuristic principles. In Paris-Jour, on July 10, he publishes "The Futurist Manifesto in Montmartre" , in which he proclaims: "YOU MUST DESTROY MONTMARTRE !! "
In 1924 he discovers the work of Kupka, and turns to the abstract but also reclaims musicalism. A little later, he adheres to the doctrine of Mondrian's neoplasticism a durable influence, and he strongly defends the main principles in the “Vouloir”, an avant-garde publication of which the artistic direction was entrusted to him in 1927.
Wiki page seulement en Français:
https://fr.wikipedia.org/wiki/Félix_D...
Le Groupe Vouloir
1925
Bas relief
For 1926 I have a Czech painter:František Kupka
(1871 - 1957)
František Kupka , also known as Frank Kupka or François Kupka, was a Czech painter and graphic artist. He was a pioneer and co-founder of the early phases of the abstract art movement and Orphic Cubism (Orphism). Kupka's abstract works arose from a base of realism, but later evolved into pure abstract art.
“Drawings of curves”
1926
Watercolor on paper
23 x 23 cm.
Musée National d'Art Moderne, Centre Georges Pompidou, Paris, France.
Dirk wrote: "... From the exhibition at Guggenheim:"re: Message , Hilma af Klint, Amazing!!! It must be even more so for real.
And just scrolled through the rest - so many favs here but some are new to me - a really interesting thread, thanks Dirk
You're welcome Inkspill, entirely my pleasure!
For 1927 we go to Italy:Gerardo Dottori
(1884 – 1977)
Gerardo Dottori was an Italian Futurist painter. He signed the Futurist Manifesto of Aeropainting in 1929. He was associated with the city of Perugia most of his life, living in Milan for six months as a student and in Rome from 1926-39...
Dottori's' principal output was the representation of landscapes and visions of Umbria, mostly viewed from a great height. Among the most famous of these are Umbrian Spring and Fire in the City, both from the early 1920s.
https://en.wikipedia.org/wiki/Gerardo...
Il Trittico della Velocita, (The triptych of velocity),
1927
Italy
The full triptych:
Again two artists for 1928, both from Eastern Europe:Arthur Segal
(1875 —1944)
Arthur Segal was a Romanian artist and author, born to Jewish parents in Iaşi, Romania, and studied at the Berlin Academy from 1892. He studied with Schmid-Reutte [de] and Hölzel in Munich in 1896, and later studied in Paris and Italy in the early 1900s.
After studying in Paris and Italy, he eventually moved to Berlin in 1904 where he exhibited his work with Die Brucke and Der Blaue Reiter, two leading German expression groups. In 1910 he co-founded the Neue Sezession, a group of artists whose work was rejected by the Berliner Sezession.
Segal was firstly a painter, and his early work was heavily influenced by impressionism and neo-impressionism. From around 1910 he began a more expressionism and dadaism style, and around 1916 found his own modern style. As well as painting, he also produced woodcuts from 1910, many of which were anti-war themed. Segal was also the author of many books, articles, and often gave lectures.
Hafen von Bornholm (Harbour on Bornholm)
1928
Oil paint on board
60,3 x 81,6 cm
Tate, London
George Papazov
(1894 – 1972)
George Papazov was a Bulgarian painter and writer. He became prominent in Paris, worked and died in France. He was among the first surrealists, and was an acquaintance of Joan Miró, Max Ernst and Pablo Picasso.
https://en.wikipedia.org/wiki/George_...
Surrealist Composition
1928
Oil on canvas
73 x 54 cm
Only one artist for 1929 (Sorry guys, second heatwave of this summer just started): Edward Alexander Wadsworth
(1889 – 1949)
Edward Alexander Wadsworth was an English artist, most famous for his close association with Vorticism. He painted, often in tempera, coastal views, abstracts, portraits and still-life. He was also an engraver on wood and copper. In the First World War he was involved in transferring dazzle camouflage designs onto ships for the Royal Navy, and after the war he continued to paint nautical themes.
Composition: Cones and Spirals
egg tempera on gesso-covered panel
H 63.5 x W 89 cm
Victoria and Albert Museum
Alexander Calder(1898 - 1976)
Alexander Calder was an American sculptor who is best known for his innovative mobiles (kinetic sculptures powered by motors or air currents) that embrace chance in their aesthetic and his monumental public sculptures. Born into a family of artists, Calder's work first gained attention in Paris in the 1920s and was soon championed by the Museum of Modern Art in New York, resulting in a retrospective exhibition in 1943. Major retrospectives were also held at the Solomon R. Guggenheim Museum (1964) and the Museum of Contemporary Art, Chicago (1974).
Untitled
1930
Oil on canvas
Tip: Keep this one in mind he’s a good candidate for the “Who did this” quiz ;-)
Wouldn’t kinetic sculptures be good subjects for art and science topics, too?? 😉
Indeed, good idea, but something for another time, it's a bit too hot (more than 100° F) too sit long behind the Mac.
I would say so. It’s 98 F at this time here and I’m just behind my phone and A/C. That’s plenty for me!
A/C at work. Nice and cool but not here at home, just a fan...:-PWe"re not used too this hot weather, Thursday it's going to be a record day, hotter than any in recorded history (106°F)
But this is now already the second heatwave this year...
To Italy for 1931 and a female artist:Benedetta Cappa
(1897 – 1977)
Benedetta Cappa was an Italian futurist artist who has had retrospectives at the Walker Art Center and the Solomon R. Guggenheim Museum. Her work fits within the second phase of Italian Futurism.
Around 1917, Cappa’s brother’s activities with the Futurists and friendship with Futurist artist Růžena Zátková inspired her to leave teaching. She began her training as a painter in the studio of Giacomo Balla, an abstract artist who created pieces that captured movement and light. Cappa initially modeled her choices of theme and style after her mentor, depicting dynamic objects and the impact they have on their surroundings. Balla became an important mentor and a lifelong friend.
Cappa began to meet avant-garde artists, poets and writers who gathered in the studio. In 1918, she met Filippo Tommaso Marinetti at Casa Balla. Their friendship was first based on intellectual pursuits and they began exchanging letters in 1918. Initially, these are written with a certain formality on both parts and deal with Futurist ideas and a discussion of their literary works. By 1920 Marinetti is addressing his correspondence to B. Cappa Marinetti. Cappa and Marinetti married three years later.
As Cappa developed her artistic practice, her influence within the Futurist Movement expanded. Between the end of World War I and the early 1930’s, there was an ideological transformation which led to the period commonly known as Second Wave Futurism. The notably misogynistic tone of the foundation texts was largely muted as the number of female Futurists increased. Several other themes, such as Technology, Speed, and Mechanization carried over into this new incarnation of Futurism. For this reason, Cappa’s oil painting Il Grande X (1931) is considered the culmination of one era and the prelude to another. In the two decades since F.T. Marinetti’s manifesto, the brash avant-garde movement had largely become the establishment.
Il Grande X
(1931)
Oil on Canvas
So far really like Hilma af klint, the one given here (on looking into more of her works, I think I agree with Heather..theres something about her works that just des not appeal to me)
Olga Rozanova
Max Ernst's colors
Aleksandra Ekster
Henri Matisse
Kazimir Malevich
Theo van Doesburg
Jean Arp
Georgia o keefe
Fernand Leger
Georges Valmeer
Kurt Schwitters
Victor servrancks
Joan Miro
Felix del Marle
Frantisek Kupka
George Papazov
Sandor Bortnyik is growing on me...
And I like Piet Mondrian's New York Painting..the one with Red,Yellow and Blue colors in it...
Thanks for the great thread,Dirk...And for all the work you are putting into it..
Also this month I will post the artworks chronologically, from old to new. Basically one year each day, so I will be covering about 31 years (or a bit more, we’ll see) in July. That’s not really a long period I know, and I could go on and extend it through August to cover another 30 years. We’ll see about that later (if it’s considered too boring, maybe I will move to a separate thread…)
As always there is a general theme that won't be disclosed, you get to figure it out. But after a couple of days I’m sure it will be fairly obvious.
Enjoy!