Tag: american artist

American artist Romaine Brooks and the roaring twenties – Venice – Italy

Romaine Brooks, “Autoritratto”

Romaine Brooks, “Autoritratto”

Until March 13, 2016 – Venice, Palazzo Fortuny

Beatrice Romaine Goddard was one of the most representative figures of the artistic scene of the 1920s
Paintings, drawings, photographs _ With this exhibition, the first ever in Italy to be dedicated to the American artist Romaine Brooks, we discover the non-conformist, refined and cosmopolitan community that animated the most sophisticated cultural circles of the Belle Époque in Paris, Capri and Venice: Jean Cocteau, Paul Morand, Luisa Casati, Ida Rubinstein and Gabriele d’Annunzio are just some of the characters who were privileged to be immortalised by the artist, famous for her palette of moonlight tones.

Gabriele d'Annunzio

Romaine Brooks, “Gabriele d’Annunzio, il poeta in esilio”, 1912, Olio su tela, 116×95 cm, Paris, Centre Pompidou

Curated by Jérôme Merceron on the basis of a project by Daniela Ferretti, the exhibition arises from the felicitous meeting with Lucile Audouy, a passionate and feisty collector in Paris, who has generously loaned a very important group of works for the exhibition in Venice, many of which never before seen in public.

Romaine Brooks, “La marchesa Casati”, 1920 circa, Olio su tela, 248 x 120 cm, Collezione Lucile Audouy © Photo Thomas Hennocque

Romaine Brooks, “La marchesa Casati”, 1920 circa, Olio su tela, 248 x 120 cm, Collezione Lucile Audouy © Photo Thomas Hennocque

Born in Rome in 1874 to American parents and married to pianist John Ellington Brooks, Beatrice Romaine Goddard was one of the most interesting figures of the artistic scene of the Twenties. Romantically linked to the writer Nathalie Clifford Barney and, simultaneously, to the dancer Ida Rubinstein – her model for many paintings -– the American artist also had an intense relationship with d’Annunzio, whom she immortalised in two famous portraits. Initially influenced by the painting of Whistler, she soon found her unmistakable signature style, one marked by an infinite variety of greys and old pinks and an uncanny ability to capture the soul of her subjects.

However, it is the drawings that are the deepest mirror of her tragic and lonely soul. Charged with a suffering poetry, emotion and mystery, irony and pessimism, these elements blend in the taut line devoid of any decorative frills that almost cuts into the paper without hesitation or second thoughts; they accompany us with modesty and apparent detachment through the meanders of an inner world, constantly poised between light and darkness.

Palazzo Fortuny

Robert Longo, Black and White – Nuremberg – Germany

Robert Longo, 2012 – Tiger – 33 x 42 inch – Archival pigment print on paper

From February 1st 2013 to March 30th 2013 – Galerie Fluegel-Roncak

Robert Longo who was born 1953 in Brooklyn/New York, is an American Artist who became famous for his large scale photorealistic charcoal drawings.
He has developed several distinct bodies of work including monsterwaves about to break, atomic clouds rising into the sky, sharks or tigers. The bombs and the waves are things that exist at the moment of their being he explains: a bomb is meant to explode, a rose in born to bloom, a wave is destined to crash. They are at the moment of their fulfillment.

Robert Longo – The Face, 2005 – Pigmented print – 38 x 39 inches

obert Longo has had retrospective exhibitions at the Hamburger Kunstverein and Deichtorhallen; the Menil Collection in Houston; the Los Angeles County Museum of Art; the Museum of Contemporary Art in Chicago; the Hartford Athenaeum and the Isetan Museum of Art in Tokyo and many more.
His works are in all major museum collections worldwide.

Galerie Fluegel-Roncak

Alex Katz: Give Me Tomorrow – St Ives, Cornwall – UK

Alex Katz Eleuthera 1984 Oil on linen 305 x 670.5 cm Private Collection, Courtesy Galería Javier López, Madrid © Alex Katz/Licensed by VAGA, New York, NY

9 May to 23 September 2012 – Tate St Ives

Born in 1927 in Brooklyn, New York, Alex Katz is one of the most important and respected living American artists. In July 2012 Katz celebrates his 85th birthday, and a career that spans a remarkable six decades. Tate St Ives Summer Exhibition 2012 brings together over 30 canvases and collages from the 1950s to now.

Given the gallery’s location on the beach, and the nature of the summer season here, the exhibition places a special emphasis on Katz’s seascapes and beach scenes, as well as images of family holidays and friends, painted in his own seaside retreat of Lincolnville, Maine, where he continues to spend his summers.

To accompany the show Katz has made a personal selection of works from the Tate Collection. Drawn from British, European and American artists, he brings together an illuminating cross-generational selection of artists for this special one-room display.

Alex Katz Round Hill 1977 Oil on Linen 180.3 x 243.8 cm Los Angeles County Museum of Art, Partial and Promised Gift of Barry and Julie Smooke Art © Alex Katz/Licensed by VAGA, New York, NY Digital Image © 2012 Museum Associates / LACMA

tz’s paintings are defined by their flatness of colour and form, their economy of line, and their cool but seductive emotional detachment. He works in the tradition of European and American artists like Manet, Matisse, and Hopper. Many of Katz’s works picture an everyday America of easy living, leisure and recreation. Working with the themes of portraiture, landscape, figure studies, marine scenes and flowers, Katz is influenced as much by style, fashion and music as he is art history.

In the 1950s, Abstract Expressionism was still the dominant force in American art when Katz began exhibiting. Whilst his interests were firmly based in the previous generation of artists including Pollock, Rothko, Guston and De Kooning (De Kooning and Guston in particular offered early support and encouragement), his own painting developed in reaction to their work, and he is acknowledged as a hugely influential precursor to the Pop Art movement with which he became associated throughout the 1960s.

Tate St Yves

American Chronicles: The Art of Norman Rockwell – Winnipeg, Manitoba – Canada

Norman Rockwell - “Triple Self-Portrait,” 1959 Oil on canvas, 44 ½” x 34 1/3”. Cover illustration for “The Saturday Evening Post,” February 13, 1960. Norman Rockwell Collections. ©1959 SEPS: Curtis Publishing, Indianapolis, IN

Until May 20th 2012 – Winnipeg Art Gallery

For the first time ever an exhibition of the work of Norman Rockwell is coming to Canada—and it’s coming to the WAG! One of the most popular North American artists of the past century, Norman Rockwell (1894-1978) was a keen observer of human nature and a gifted storyteller. For nearly seven decades, Rockwell chronicled our changing society in the small details and nuanced scenes of ordinary people in everyday life, providing a personalized interpretation—often an idealized one—of North American identity. His depictions offered a reassuring visual haven during a time of momentous transformation as North America evolved into a complex, modern society. In addition to 42 major paintings by the artist depicting good times and bad, quaint pastimes and charged current events, the exhibition includes archival material, photographs, and complete set of 323 tear sheets from The Saturday Evening Post.

Norman Rockwell - The Problem We All Live With - oil on canvas, 36" x 58". Illustration for Look, January 14, 1964. Licensed by Norman Rockwell Licensing, Niles, IL.

Rockwell’s contributions to our visual legacy, many of them now icons of North American culture, have found a permanent place in our psyche. Representing the exhibition’s only Canadian venue, the Winnipeg Art Gallery is partnering with the Norman Rockwell Museum, in Stockbridge, Massachusetts, to bring a major exhibition of this defining artist to Canada for the first time.

Norman Rockwell (American, 1894-1978). Going and Coming, 1947. Cover illustration for The Saturday Evening Post, August 30, 1947. Oil on canvas. Two panels, each 16 x 31 1/2 in. (40.6 x 80 cm). Norman Rockwell Art Collection Trust. © The Norman Rockwell Estate / ©1947 SEPS: Licensed by Curtis Publishing, Indianapolis, Indiana

orman Rockwell found success early, being commissioned to design four Christmas cards before his sixteenth birthday. In 1916 the 22-year-old painted his first cover for The Saturday Evening Post, the magazine he considered to be “the greatest show window in America.” Over the next 47 years, Rockwell’s art appeared on the cover of The Post 323 times. Although often seen as a painter of idealized North American family life, Rockwell also chronicled the darker side. His Four Freedoms paintings, inspired by President Franklin Delano Roosevelt’s address to Congress in 1943, toured the United States in an exhibition sponsored by The Saturday Evening Post and the U.S. Treasury Department and, through the sale of war bonds, raised more than $130 million for the war effort. Murder in Mississippi is a haunting depiction of the murder of civil rights workers in 1965. The Problem We All Live With dealt with the issue of school racial integration, depicting a young African American girl, Ruby Bridges, flanked by white federal marshals, walking to school past a wall defaced by racist graffiti.

Gallery Hours

Matthew Monahan – Untitled – Amsterdam – Netherlands

From September 3 to October 15, 2011 – Galerie Fons Welters

The universe of American artist Matthew Monahan (Eureka, CA, 1972) is full of powerful and bizarre human-like objects that have an enormous presence in the space. He creates a world humming with its own mythology and language, one that plays with our collective and individual unconsciousness, while searching for his own breathtaking artistic solutions.

According to the artist, the human body is the formal frame into which he throws all his magic. For his new show in Galerie Fons Welters he subjects the body to all kinds of formal shocks: ornamentation, fracture, excavation, erosion or dissection. But whatever he does, the gamut of testing they may have run is only to bring out the character, the face of survival, the whole surface of a human landscape, and ultimately, a feeling of love and empathy. His imagination is according to the artist a cluttered scrap heap of souvenirs, relics, and sex drive. In this context, imagination is not just a flicker on the eyelids but a hard won process of bringing images into reality, an encyclopedia of methods that has a life of its own.

Monahan has a clear set of materials that he limits himself to, each one ‘opposing’ but also complementing each other. Charcoal is dust on paper; wax is translucent; glass is transparent and brick is ambivalent. Since a few years he started to use the heaviness and grandeur of bronze. The artist is interested in all the transformation phases between materials and also images; in ”the degree of physicality a soul needs to be to stand out in the world”.
In the gallery space his objects look like figures coming from an elusive and beautiful but raw fantasy world: fragmented bodies, figures made up of exciting combinations of forms, materials and formats are accompanied by subtle charcoal drawings. The drawing is a very important medium to the artist since it stands for his artistic interest that in general focuses on the image and not on the space. “For me, drawing is a kind of digging — a line is an incision, a shadow makes a cavern. Where the cavern leads to is not clear to me. If I dig far enough, I will wrap around the image and then we can call it a sculpture. I am mostly concerned with the face, the façade that most ‘modern’ sculptors would object to. Space is too much for me. I have to work my way from the tip of the nose, and bring the ghost to the surface. You can’t rush something like that just to fill the dance floor. Think how long it took to get the Kouros boy to loosen his hips.”

In this time-consuming, intuitive and technically demanding process Monahan incarnates his artistic ideas and wakes a whole spectrum of archetypical figures to life.

Galerie Hours

John Baldessari: Pure Beauty – New York – New York

John Baldessari (American, b. 1931) God Nose, 1965 Oil on canvas; 68 x 57 in. (172.7 x 144.8 cm) Private collection © John Baldessari

October 20, 2010–January 9, 2011 – The Metropolitan Museum of Art – New York

This is the first major U.S. exhibition in twenty years to survey the work of the legendary American artist John Baldessari, widely renowned as a pioneer of conceptual art.Baldessari (b. 1931, National City, California) turned from an early career in painting toward photographic images that he combined with text, using the freeways, billboards, and strip malls of Southern California as his frequent sources. In his groundbreaking work of the late 1960s, he transferred snapshots of banal locales around his hometown onto photo-sensitized canvases and hired a sign painter to label them with their locations or excerpts from how-to books on photography. Throughout the whole of his career, Baldessari’s sharp insights into the conventions of art production, the nature of perception, and the relationship of language to mass-media imagery are tempered by a keen sense of humor. The exhibition brings together a full range of the artist’s innovative work over five decades, from his early paintings and phototext works, his combined photographs, and the irregularly shaped and over-painted works of the 1990s, to his most recent production. A selection of his videos and artist’s books will also be included in the exhibition.

Museum Hours

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