Antoni Tàpies : ‘Color Lithographs’ (Artworks)

::

“My wish is that we might progressively lose our confidence in what we think we
believe and the things we consider stable and secure, in order to remind ourselves
of the infinite number of things still waiting to be discovered…” – [Antoni Tapies]

::

::
‘8 sobre llibre’
Color lithograph
Antoni Tàpies
::

::
‘Untitled’
Color lithograph
Antoni Tàpies
::

::
‘Untitled’
Color lithograph
Antoni Tàpies
::

::
‘Envoltorio’
Color lithograph
Antoni Tàpies
::

::
‘Lettre X’
Color lithograph
Antoni Tàpies
::

::
‘Etiquette’
Color lithograph
Antoni Tàpies
::

::
‘Divisé’
Color lithograph
Antoni Tàpies
::

Tàpies shared a general sensibility which affected artists on both sides of the Atlantic after the Second World War and the dropping of the atomic bomb, and soon expressed an interest in matter – earth, dust, atoms and particles – which took the shape of the use of materials foreign to academic artistic expression and experiments with new techniques. He believes that the notion of matter must also be understood from the point of view of Medieval mysticism as magic, mimesis and alchemy. That is how we must see his wish for his works to have the power to transform our inner selves.

The works of the last years are, most of all, a reflection on pain – both physical and spiritual – understood as an integral part of life. Influenced by Buddhist thought, Tàpies believes that a better knowledge of pain allows us to soften its effects and therefore improve our quality of life. The passage of time, which has always been a constant in his work, now takes on fresh nuances when lived as a personal experience which brings greater self-knowledge and a clearer understanding of the world.

He’s consolidated an artistic language which visually conveys both his conception of art and certain philosophical concerns which have been renewed over the years. His practice is still open to the brutality of the present while offering a form which, despite its ductility, remains faithful to its origins. So the works of the last few years aren’t only fully contemporary, they’re also a record of his own past.

[Extract : Antoni Tàpies Collection]

::

Antoni Tàpies Collection : Selected Works

Antoni Tàpies : Spaightwood Galleries

::

Fernand Léger : Paintings

::

“Enormous enlargements of an object or a fragment give it a personality it never had before,
and in this way, it can become a vehicle of entirely new lyric and plastic power.” Fernand Léger

::

“The women and children”
Fernand Léger
Oil on Canvas

“The great tug”
Fernand Léger
Oil on Canvas

“The bridge of the tug”
Fernand Léger
Oil on Canvas

“The tug”
Fernand Léger
Oil on Canvas

“The disks in the city”
Fernand Léger
Oil on Canvas

“Women in an Interior”
Fernand Léger
Oil on Canvas

::

Fernand Léger initially trained as an architect. He was part of the avant garde circle of artists working in Paris at the beginning of the 20th century. Prior to the First World War, his work was strongly influenced by Cubism. He also shared Futurism’s fascination with technology, machinery and the increased speed with which modern life was being lived. Léger developed his own style by combining elements of both movements. His paintings centred on powerful contrasts of forms and although his subjects were often abstracted, fractured and seen from multiple viewpoints, they always remained visually legible. His paintings highlighted the volumetric qualities of objects by simplifying forms into tubular structures and reducing colours to monochromes, primaries and secondaries. Léger’s intention was to conjure up the intense and unsettling experience of modern life itself with the visual dissonance of his colour contrasts. He wanted his art to have a similar physical effect to speed and noise. [i-map]

::

Fernand Léger : Tate

Fernand Léger : Artworks

::

Antoni Tàpies : Artist

::

“to remind man of what in reality he is, to give him a theme for reflection, to shock him in order to
rescue him from the madness of inauthenticity and to lead him to self-discovery.” Antoni Tàpies

::

::
Repliquer III
Antoni Tàpies
Colour etching
1981
::

::
Untitled
Antoni Tàpies
Colour etching
1986
::

::
Antoni Tàpies
Nobody is a nobody
Colour etching
1979
::

::
Antoni Tàpies
Negre sobre vermell
ink and collage on paper
2008
::

::
Antoni Tàpies
Affiche avant lettre
Color lithograph
1990
::

Tàpies shared a general sensibility which affected artists on both sides of the Atlantic after the Second World War and the dropping of the atomic bomb, and soon expressed an interest in matter – earth, dust, atoms and particles – which took the shape of the use of materials foreign to academic artistic expression and experiments with new techniques. He believes that the notion of matter must also be understood from the point of view of Medieval mysticism as magic, mimesis and alchemy. That is how we must see his wish for his works to have the power to transform our inner selves.

The works of the last years are, most of all, a reflection on pain – both physical and spiritual – understood as an integral part of life. Influenced by Buddhist thought, Tàpies believes that a better knowledge of pain allows us to soften its effects and therefore improve our quality of life. The passage of time, which has always been a constant in his work, now takes on fresh nuances when lived as a personal experience which brings greater self-knowledge and a clearer understanding of the world.

In recent years he has consolidated an artistic language which visually conveys both his conception of art and certain philosophical concerns which have been renewed over the years. His artistic practice is still open to the brutality of the present while offering a form which, despite its ductility, remains faithful to its origins. And so the works of the last few years are not only fully contemporary, they are also a record of his own past. [Extract : Antoni Tàpies Collection]

::

Antoni Tàpies Collection : Selected Works

Antoni Tàpies : Spaightwood Galleries

::

Christian Hellmich : Painter

Untitled 5
2006
Oil on Paper

Pavillion
2008
OIl on Canvas

Enterprise
2009
Oil on Canvas

Untitled 3
2007
Oil on Canvas

Bauzaun
2006
Oil on Canvas

Eingang
2005
Oil on Canvas

Among Germany’s seemingly innumerable young topnotch abstract painters Hellmich has a franchise in architecture derived complexities of zippy hard edges, delicately distressed surfaces and day dreamily sweet acrid colours. The pictures off-kilter rumpuses make you want to comprehend them. Fat chance. Negotiating Helmich’s decisive disorder is like clambering around a construction site in an earthquake.
[extract : The New Yorker : Feb 8th 2010]

Christian Hellmich Works

Kurt Schwitters : Collage

“My name is Kurt Schwitters… I am an artist and I nail my pictures together.”

Mz 410 irgendsowas (something or other)
1922
Collage

(Difficult)
c. 1942-43
Collage

Blauer Vogel
1922
Collage

Oorlog
1930
Collage

(Pino Antoni)
c. 1933-34
Collage

Untitled
1939
Collage

Untitled
1929
Collage

“I could see no reason why used tram tickets, bits of driftwood, buttons and old junk from attics and rubbish heaps should not serve well as materials for paintings; they suited the purpose just as well as factory-made paints… It is possible to cry out using bits of old rubbish, and that’s what I did, gluing and nailing them together.” Kurt Schwitters

More Works at MoMa

Ben Nicholson : A Continuous Line

1945 (Still Life) (1945)
Oil and pencil on canvas
14 x 23 1/2 inches 35.6 x 61 cm

Painting (Florentine Ballet) (1934)
Oil on canvas
14 x 24 inches (35.5 x 61 cm)

1934 (act drop curtain for Beethoven 7th symphony ballet)
Oil and pencil on board
9 x 10 1/4 inches (22.8 x 26.2 cm)

1940 (Two Forms) (1940)
Oil on board
9 x 8 7/8 inches (22.8 x 22.5 cm)

1945 (design for an act drop)
Lithograph
21 x 37 cm (image)

Painting (gouache) (1941)
Gouache
8 7/8 x 19 inches (22.5 x 48.3 cm)

Ben Nicholson is best known as a leading figure of the Modern Movement in Britain in the 1930s. His abstract paintings and reliefs secured his reputation alongside such international collaborators as Dutch painter Piet Mondrian and Russian sculptor Naum Gabo. A Continuous Line looks at Nicholson’s work from the beginning of his mature career in the early 1920s to 1958 when the artist left Britain for Switzerland. In contrast to previous exhibitions, it pays special attention to his non-abstract work of the 1920s, 1940s and 1950s, speculating on differing ideas of the modern in painting. In the wake of the first world war and during the second world war, Nicholson’s art proposed a new way of thinking about the world, including a re-engagement with nature and tradition. This can be seen in his landscapes of this time and in his gently worked surface textures, which might be seen as modern in more subtle ways than his more obviously radical abstracts. [extract : A Continuous Line : Tate]

Ben Nicholson Web Feature : A Continuous Line