Daniel Richter, Tarifa, 2001
Saltar para: Posts , Pesquisa 
Daniel Richter, Tarifa, 2001
‘My paintings have no titles because I do not wish them to be considered illustrations or pictorial puzzles’, Still wrote. ‘If properly made visible they speak for themselves.’ In a letter discussing this work, he explained that the red at the lower edge was intended to contrast with and therefore emphasise the depths of the blue. He saw the yellow wedge at the top as ‘a reassertion of the human context - a gesture of rejection of any authoritarian rationale or system of politico-dialectical dogma.’
Illustrator Dean Rohrer has been playing around with an American classic. Using Photoshop, he has been taking the figures out of Edward Hopper paintings. His thinking is formal--do the paintings work when you take the supposed subject out? It turns out they do.
Kuzma Petrov-Vodkin - Still life with lilac (1928)
Kuzma Sergeevich Petrov-Vodkin, Russian: Кузьма Сергеевич Петров-Водкин (November 5, 1878 – February 15, 1939) was an important Russian and Soviet painter and writer and one of the leading lights of Russian early-20th-century art. He is best known today for his brazen palette of primary colours, unconventional high-angle viewpoints, and his mastery of optical illusions. Still Life with Lilac — painted at the height of his career in 1928 — is a powerful example of his signature style. It also offers, thanks to infrared technology, a fascinating glimpse of how the artist tailored his style to the post-revolution Soviet regime.
The composition is dominated by a freshly cut lilac in a glass of water, and includes a crystal inkwell, a copy of the January 1925 issue of L’Art Vivant — a Parisian bi-monthly art magazine in which Petrov-Vodkin gave an interview about his artistic innovations — fallen leaves, a matchbox and a letter, all arranged on a deep-blue tablecloth.
The picture bears a striking resemblance to a later, well-known painting by the same artist, Branch of a Bird Cherry Tree in a Glass (1932), which is in the collection of The State Russian Museum in St Petersburg.
Branch of a Bird Cherry Tree in a Glass is not only one of Petrov-Vodkin’s most recognisable works, it is also a very familiar image in Russian art (largely thanks to its usage as a postcard). Up until recently, the St Petersburg painting was thought to be the only version of this composition.
He was born at Leipzig in the former German Democratic Republic. The son of a Communist official, he grew up in a home in which Communism assumed the power of a religion. He studied from the mid-1990s at the Hochschule der Künste where he was a master student of Georg Baselitz in Berlin and at the Salzburg Summer Academy in the class of Jim Dine.
His work is greatly influenced by the socialist realism which was the official art of the GDR. In recent years he has shifted to darker themes of disaster, disease and decapitation while retaining the consummate painterliness which is the hallmark of his work. His figures, in many cases are floating, falling, tumbling, without any gravitational axis. The tumult surrounding the figures is punctuated by the cross pollination of cues from Christian ideology, art history, gay culture, pornography and apocalyptic visions. Bisky transmits an impression of instability on the canvas that distinctly resonates with our contemporary state of affairs.
Bisky is being represented by König Galerie in Berlin.
René Magritte (1898-1967) - L'évidence éternelle: genoux (1954)
Antony Gormley - ANILINE DYE, 1996 - 2003
'Water-dispersed aniline dye became Gormley's favoured drawing medium at the beginning of the new millennium. Chemically-based, acrid and dangerous, the reddish tint of aniline is reminiscent of the colour in the final stage of alchemy known as rubedo or iosis (from the Greek root 'ios', meaning poison). The use of this potent substance continues his investigation into the effects and behaviour of different minerals and chemicals. Dropped on to the paper and then manipulated by brush, the visual effects caused from aniline range from the veining and spreading in WEB and CONNECTIONS III to the blotching and washing of PLACENTA. In all the drawings the surface texture is intensely varied, the chemical producing unforeseen and fugitive effects of immense beauty and mystery - metaphorically transforming a base substance into gold. The work appears to be struggling with embodiment and disembodiment, whether in allusions to disease or the creation of matter and its inevitable entropy.'
Text by Anna Moszynska, from ANTONY GORMLEY DRAWING, published by The British Museum Press, London, 2002
Ed Ruscha - Punched Glass (2007)
Christopher Thompson, an English artist, was born in Grimsby in 1969 and studied at The Royal Academy. Since graduating he has exhibited extensively at home and abroad, his work featuring in many private collections and, most notably, in The National Portrait Gallery in London.
Lucian Freud - Leigh Bowery (1991)
This is a small portrait of the maverick gay performer and nightclub personality Leigh Bowery (1961-94). It portrays Bowery’s head and naked upper torso framed against dark red upholstery. His bald head rests against his raised left shoulder, his eyes are closed and his cheeks and mouth hang loosely as though he is asleep. Freud’s manner of painting emphasises the fleshiness of Bowery’s face. This is achieved through the application of paint in different textures – in some areas relatively smooth, in others thickly but delicately built up. Apparently unconscious of the artist’s gaze, Bowery has a vulnerable appearance which belies the bulk of his physical form.