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luís soares

Blog do escritor Luís Soares

Morris Louis - Beta Tau

beta tau.jpg

De 1929 a 1933, Morris Louis estuda no Maryland Institute of Fine and Applied Arts. Em 1952, muda-se para Washington, D.C. Em 1953, com o seu amigo Kenneth Noland, visita o atelier de Helen Frankenthaler, em Nova Iorque, e começa a centrar, a partir desta data, as suas pesquisas na cor e no modo como esta é absorvida pela tela. Embora o artista tenha destruído muitas das suas obras do período entre 1955 e 1957, irá, mais tarde, ganhar um certo renome com Veils [Véus], em 1958-1959. Morris Louis pertence à geração de artistas americanos que se segue ao Expressionismo Abstrato. A série Unfurleds (to unfurl significa desfraldar), que, juntamente com Stripes [Riscas], marca o fim da sua vida, engloba cerca de 150 obras. As Unfurleds são obras de grande formato, realizadas com tinta escorrida (magna, com base acrílica). O centro é deixado intacto. Morris Louis utiliza a técnica do cropping, em que é trabalhada uma metade da tela, depois a outra e se procede a um enquadramento final. Juntamente com Frank Stella e Anthony Caro, Morris Louis está na origem da abordagem do livro Art and Objecthood (1967), do crítico Michael Fried.



Joining the rarefied $100 million-plus club in a salesroom punctuated by periodic gasps from the crowd, Jean-Michel Basquiat’s powerful 1982 painting of a skull brought $110.5 million at Sotheby’s, to become the sixth most expensive work ever sold at auction. Only 10 other works have broken the $100 million mark.



From the MoMA tumblr:

While much of Whitfield Lovell’s work is based on anonymous photographs, Pop/Pistol is a uniquely personal drawing for the artist. It depicts his grandfather, Eugene Glover, who was shot and killed by muggers while returning home from the bank in 1984. Set against a vibrant orange field, the profile image of Glover (“Pop”) and the detailed rendering of a gun are surrounded by a text describing the crime that was published in the New York Daily News. By transcribing the impersonal facts of the news story in his own looping script, Lovell reclaims the publicly reported event as an instance of private grief.


You can see this new addition to MoMA’s collection on Floor 1 through April 30 as part of the Museum’s installation series “Inbox.”

[Whitfield Lovell. Pop/Pistol. 1990. Oilstick and charcoal on paper. Committee on Drawing and Prints Fund, 2016. © 2017 Whitfield Lovell. Courtesy DC Moore Gallery, NY]

John Singer Sargent - Vernon Lee (1881)


Vernon Lee was the pseudonym of the writer Violet Paget (1856-1935), best known for her books on Italian Renaissance art. Sargent had known her since childhood when their families had been neighbours in Nice, and she remained a friend all his life. This portrait sketch was painted in a single session lasting three hours. Sargent gave it to her, writing on it through the paint 'to my friend Violet'.

From the late 1870s Sargent was amongst those artists trained in Paris who made Impressionism an international style, blended with the technique and attitudes of old masters such as Velasquez. In this sketch his free brushwork makes for a brilliant illusion, and suggests the ambiguity of this author who adopted a male name.


Tate - Gallery label, August 2004

Nicole Eisenman


Sloppy Bar Room Kiss, 2011



Is it so, 2014



Morning Studio, 2016


Working from the heart and driven by the body, Nicole Eisenman explores the human condition in her critically acclaimed, wide-ranging prints, paintings, drawings, and mixed-media works. As she explains: “I reflect a certain desire in my work, I want my work to be authentic and reflective of my body, what it’s interested in. The work is nothing if not feeling-based.” Influenced by Expressionism, Impressionism, and Pablo Picasso, Eisenman populates her works with emotionally resonant, cartoonish figures, formed out of exaggerated, painterly lines and intense colors. Full of pathos and dark humor, they are expressionistic portraits of herself and her friends, or imagined characters based on her critical observations of contemporary life and culture. Whether carousing at a beer garden or lounging dreamily, in groups or alone, Eisenman’s figures seem isolated and contemplative—products of our time, reflections of ourselves.


American, b. 1965, Verdun, France, based in New York, New York