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. J-FC
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.
Nikolay Nikanorovich Dubovskoy (Russian: Николай Никанорович Дубовской; 17 December 1859, Novocherkassk — 28 February 1918, Saint Petersburg) was a Russian landscape painter, associated with the Peredvizhniki. Together with Isaac Levitan, he helped create what came to be known as the "Landscape of Mood".
Painting primarily from life and studio portrait studies, Christopher Thompson blends real figures with imagined memories. Favoring a subdued color palette and a hazy, painterly technique, Thompson takes the tradition of historical portraiture and filters it through a gritty, emotion-driven lens. The gestures, posture, and glances of his isolated, seemingly lonely figures suggest internal dramas. Pulling heavily from the legacy of British figure painting, Thompson elevates and immortalizes otherwise insignificant moments and scenes. For the artist, medium and subject matter are equally important and effective in conveying meaning and emotion, fostering a dialogue between the viewer and the character.
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.
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
A figure suddenly appears on the left in a forge where various blacksmiths are working, dressed in an orange robe and wearing a laurel wreath, with rays of light emerging from his head. This is Apollo, who addresses himself to Vulcan, the blacksmith nearest to him, whose stance reveals his lameness. Everyone has stopped working, astonished by the news Apollo is recounting: the adultery of Vulcan`s wife, the goodness Venus, with Mars, god of war, whose armour is being made at the forge. This episode, taken from Ovid`s Metamorphoses, provides the basis for one of Velázquez`s most ambitious and unique works, marking a before and after in his career from both a technical and a compositional and spatial viewpoint. (more)