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I might have evaluated his works before, at present a book makes me composing some (further?) notes on his works. He is certainly one of the bests among abstract painting even if his style is a bit far from my most appreciated one such as geometrical abstractions. Besides, I like Kandinsky who has been excellent in both kinds of abstraction.
Mathieu, Georges Abstract Composition Date: 1960 Movement: Lyrical Abstraction Theme: Abstract Technique: Oil on canvas.
Main features of his style are obvious on this lovely picture. He is considered as a very good example also of the movement called Action Painting (provided I am correct in this naming) as a branch of Abstract Expressionism. Accordint to the book, he often worked over large canveses over a very short time. Tale says that on one occasion he arrived from Paris at Tokyo airport for his important exhibition just a few days before the pre-arranged opening. To the inquery about his works which failed to arrive, he explained, that he planned to make them on the spot by the time of the opening. He did so in one or two days producing severel huge compositions, and the exhibition was a success indeed.
Egregis Date: 1952 Movement: Lyrical Abstraction Theme: Abstract Technique: Other/Unknown.
I do not know definitively, just suppose, that the strong influence of Chinese and/or Japanese calligraphy comes from the above mentioned tale. Irrelevant tales aside, this is a beautiful and in fact quite simple artwork. There is a nearly monochrom red, over which he traced with a wide brush black strips and some near white lines – the latter ones remind me Asiatic calligraphy.
Pleurs de Flamme Date: 1989 Movement: Lyrical Abstraction Theme: Abstract Technique: Acrylic.
In sharp contrast with the above rather simple painting, this one is fairly complex. First, the monochromy is totally missing – except some black spots some of which obviously suggest strong force applied to produce them using thick oily stain. At least one of the red strips was left to flow downward from a wide horizontal strip. It is an interesting task to find out the order he used to apply acrylic of different colors, some on top of others. Although this composition is quite complex, it is easy to note that he prefers asymetry in spite of symetry. For me it takes time to follow and appreciate details some of which get noted over time only.
Festival in Norwich Date: 1957 Movement: Lyrical Abstraction Theme: Abstract Technique: Oil on canvas.
Brutal force, right? Simple coloring, dominance of yellow and black – the two stains are best known as opposing each other in generating strong contrasts and interference. Interactions also come from tension of sizes like the large spots and thin lines in the case of black and red on the left side of the composition. The horizontal cutting of canvas provide good matching for the wideness of settings.
Still Life with Anemones Date: Not dated Movement: Lyrical Abstraction Theme: Still Life Technique: Other/Unknown.
I use this lovely small composition, likely from his early period, to provide evidence that he indeed commanded skill in realistic paintings too. It is an often repeated – even nowadays – critical note, that abstract painters failed to learn skills needed for making pictures over centuries. This stupid assumption is still alive even the fact that abstract style is happily survived more that a century so far, and it is very popular. Just like other styles, some like it others do not so – but life is like that in this respect too.
golyho (Sep 7, 2011)
I like her works. Lovely bright colors womenly designed compositions. Recall O’Keefe in some respect – but I might me wrong associating any woman paintings of colorful abstracts with Georgia. I try to convince you, however, that Desjardins cancertainly generate esthetic joy.
Desjardins, Claire Habanero Date: 2010 Movement: Abstract Expressionism Theme: Abstract Technique: Acrylic.
Fairly big letters she uses to identify herself. According to some, actions like that indicate strong ego – which is useful for selling works even good ones nowaday. This painting is good. I like the warm colors and the facture. The compositions reminds me to a kind of close up of flowers – this association explains why I have noted O’Keefe above. The „close up” approach explains why there is no central peripheral parts of the composition. It is obviously far from being monochrome, still any parts seems to bear the same importance as any others all over.
Shimmer Date: 2010 Movement: Abstract Expressionism Theme: Abstract Technique: Acrylic.
Here you are yet another being similar except using quite diferent coloring. Some varieties of blue dominate, combined with a lot of whites, greens and only a few spots of red or orange. The impression as a whole is fairly cool for me and falls farther away from flower close ups. Admittedly, there are plenty of light or deep blue flowers still this composition fails to suggest relationships with them. Obviously, importance of suggestions, meanings, or any kind of „explanation” is far away in abstract compositions, in contrast with others like family portraits or paintings which illustrate, depict some historical battles. Tastes are different, some prefers illustrative paintings while I am voting for abstracts. One more note: this compositions might be vertical in contrast with being reproduced here as horizontal. Why? Because the letters of the signiture are rotated here by 90 degrees.
That's Everything Date: 2011 Movement: Lyrical Abstraction Theme: Abstract Technique: Mixed technique.
Lovely isn’t it? Well balanced coloring, obvious central (main) component represented by the red oval. Some undulating lines break simplicity of big color spots. The little yellows and blues fail to reduce dominance of the red. Size in itself is not an explanation for that, since the whites as a total is apparently larger a bit than the size of combined reds. The neutral background fits quite well to the bright colors and provide supports for the assumption that the big red oval is the most important component, in spite of the fact that it is shifted to bottom and right.
Sprouts Date: 2010 Movement: Abstract Expressionism Theme: Abstract Technique: Acrylic.
For some unknown reasons, this composition fails to attract my mind and soul. Perhaps the large number of vertical lines having a bigger head each disturbs me, being a bit too vibrating. Suggesting vibration, on the other hand, may be the main excuse and aim of the painting. Otherwise the composition is all right, there are large nearly rectangular parts, warm coloring, no background-central imbalance. As I have mentioned before, tastes are different.
golyho (Sep 5, 2011)
On the other day I met again with the name of Hartung. I was reading on action painting a kind of Abstract Expressionism popular for some time. I have the priviledge to visit an exhibition of Hartung at the Guggenheim Museum, Manhattan, New York. It was a great experionce! Hartung was known for me some time but kind of works presented there were quite new, never found in books dealing with that significant artist. Admittedly, I have rather poor access to expensive artbooks – limited sharply by my financial resources – and available place on my bookshelfs.
Hartung Hans, TR 13 H 18 Date: 1982 Movement: Art Informel Theme: Abstract Technique: Acrylic.
It is great isn’it? The five vertical strips with soft borders radiate calmness while the black spots tell artistic stories on action and T1974-E44 Date: 1974 Movement: Art Informel Theme: Abstract Technique: Oil on canvas.
T1974-E44 Date: 1974 Movement: Art Informel Theme: Abstract Technique: Oil on canvas.
I remember well on that one from New York. It has been made by two techniques combined. First a layer of two blues, nearly monochrome was stained over the canvas, leaving no free unpainted parts.. Then came a high number of small yellow spots some at distances other joined near completely. Fantastic result, right?
T-52-32 Date: 1952 Movement: Art Informel Theme: Abstract Technique: Gouache.
This suggests for me some influence of Rothko. Rotated by 90 degrees and eliminating the narrow diagonal strips as well as the undulating lines, it would pass as an example of Rothko’s. However, the strips and line are there and provides sufficient evidences for considering Hartung as an independent matured artist working in his own style fairly early on his life at Paris.
Sans Titre Date: 1956 Movement: Art Informel Theme: Abstract Technique: Mixed technique.
I remember well on this painting since being reproduced a catalogue purchased at Guggenheim. This little book is among my best treasures. The oblique blacks with sharp points suggest great force. I wonder how he made them. He must have been using at least two brushes, one wide and another quite small to make the points. At least I would have been doing a reproducion that way. I do not remember whether or not mentioning that my way to „learn and understand” works by trials of copy them. I know that this hard work was used for long time in teaching artists including the great ones in China for hundreds of years or others painting ikons and belonging the Orthodocs Church.
P.1960.263 Date: 1960 Movement: Art Informel Theme: Abstract Technique: Crayon.
This last one is an example of his artworks which fails attracting me. I dislike the narrow lines. Due to the fact that it has been made by using crayons (pencils) it is likely a small artworks in contrast with his others having dimensions over 100 cm or so.
golyho (Aug 7, 2011)
Artworks of him suggest strong influence of Op-Art movement, especially artists like Victor Vasarely. Admittedly, he is an excellent source for influence, in fact Vasarely had openly advised to develop further his ideas and approaches.
Castellani, Enrico Superficie Argento Date: 1973 Movement: Art Now / Recent Theme: Abstract Technique: Acrylic.
Obviously, one considers this example as a well modified result of ideas taken originally by Vasarely. Why? because of the gradual decrease the intervals separating the twin dots and the gradual shifting of their positions along the horizontal axis.
Superficie bianca Date: 1969 Movement: Art Now / Recent Theme: Abstract Technique: Other/Unknown.
He seems to follow a line worked out among others by another Italian, Lucio Fontana. Fontana has not been (according to my knowledge) a follower of Vasarely, but designed works using dots slightly coming forward from the plane of paperboard.
Superficie bianca Date: 1971 Movement: Art Now / Recent Theme: Abstract Technique: Other/Unknown.
For me, this composition suggests strong influence by both Fontana and Vasarely. The latter one comes to my mind due to the undulation of the darker and lighter „dots” – made perhaps by a jet-brush (a tool jetting stain in a well-focused way to small areas).
Untitled Date: 1995 Movement: Art Now / Recent Theme: Abstract Technique: Other/Unknown.
Here is yet another fine result of combined influence of the above mentioned two great previous artists. Obviously they did not have time needed to work out all the huge number of possible „solutions” of the artistic problems found to be important by them. Therefore Castellani’s contribution should be appreciated.
Untitled Date: Not dated Movement: Art Now / Recent Theme: Abstract Technique: Oil on canvas.
Toward simplicity – as a tradition by now in abstract painting. I presumed at first that no staining has been involved. Further thinking results maintenance in part of this presumtion as far as the oblique row of dots concerned – allowing for a monochrome staining of the surface befor „punching” in and out the dots. At least the dots seem for me as coming forward and going backward on the plane of canvas alternatively.
golyho (Jul 27, 2011)
To my great pleasure I found an artist considered (only by myself of course) as a devoted
follower of Max Rothko and some other top ranked earlier artists. It is true, that Rothko used more often the blurring of adjacent fields, the sharp ones seen here would recall to Albers.
Geiger, Rupprecht Metapher Zahl 1 Date: 1986 Movement: Color Field Theme: Abstract Technique: Silk screen.
Evidently, he mixes works made by Rothko and some previous Color Field artists creatively. For example, Albers used to stain rectangles with shap edges, while Vasarely (among others) also modulated color within a single rectangle. Contrasts of the three colors make that composition interesting, full with tension.
Geiger, Rupprecht 444/66 Date: 1966 Movement: Color Field Theme: Abstract Technique: Oil on canvas.
In spite of the monochromic background used above, here color value of the pink background is modulated. I am using that sentence with care assuming that my screen might be unable to show up all the fine details of the original stains correctly. Once again, the color contrast is sharp. For my surprise, the presumed main motif (the redish-brown rectangle) runs exactly to the top edge of the canvas.
Variation Runde Farbe V (orange on yellow) Date: Not dated Movement: Color Field Theme: Abstract Technique: Silk screen.
This and the next (below) compositions are closely related. In respect of dot-modulation of colors, both feature the same idea, while in one case the color of the main, central, nearly oval motif is adjusted in contrast with the other, where the banckground color is modulated. -Combining rectangular and near circle forms are often used source of tension or calmness, depending on what one feels sitting next to these compositions. Vasarely has frequently used similar approach.
Rot auf Pink Date: Not dated Movement: Color Field Theme: Abstract Technique: Silk screen.
Blau - Schwarz Date: 1964 Movement: Color Field Theme: Abstract Technique: Silk screen.
Unfortunately I am unable at present to recall the name of an artist active earlier perhaps Clifford Steele(?) who produced similar works such as circles merging into the background with blurred borders. Blurrings here makes the composition softer, balancing sharpness coming from the actually choosen combination of colors. In my screen the lighter blue circle is fairly monochrome while the fields inner and outer seem similarly black.
golyho (Jul 27, 2011)
He is yet another artist who follows traditions in Minimal Art. Obviously, Minimal Art is not the best known and most widely cultivated stream of contemporary art, but the movement as such is still happy and alive. This note is important since simple existence of new artworks produced recently int hat field conteracts the widely cited prediction composed near one hundred years ago, assuming that Minimal Art means the end of painting, since further abstractions are impossibile. It may be true indeed, that the mean concept of that avenue goes to a closed end, however the avenue toward that end point gets wider and wider as talented artists discover further and further variants within the framework of that concept.
Fruhtrunk, Günter 2 Rot : 1 Rot Date: 1971 Movement: Op art Theme: Abstract Technique: Mixed technique.
This is an example, as you see, for the variants using horizontal strips of different thickness. As it is a kind of strict rules within a narrow field of Minimal Art, no sign of persepective, the layer is flat. On the other hand, there is an obvious rythmicity produced by the settings and locations of the strips. The widest one runs accross the canvas at approximately in the vertical centerpoint. Strips stained similarly occur upward as well as downward but all them are far thinner. Besides, we see two pink strips of apparently equal wideness, which run between adjacent thinner and darker ones. However the two sets of these triplets are separated from the central dark element by different light gray, nearly white strips. I hope my description provides a kind of guide for percepting what „to be seen” in Minimal Art compositions. Admittedly, sets of things to be percepted are fairly small compared for example by a set of realistic artworks or compositions by Leonardo, but they are still important and represent value.
3 Grün Date: 1969 Movement: Op art Theme: Abstract Technique: Acrylic.
Here is an example for vertically oriented strips. Again, the thickness varies but the colors remain nearly the same. As the title tells, we are supposed to see greens, but in that reproduction I percept variants of grey and green. One can not find traces of central-peripheral arrangement, the composition is homogeneous in that respect. Homogeneous but not monchromic!
Abstract Composition Date: Not dated Movement: Op art Theme: Abstract Technique: Silk screen.
Here the strips runs diagonally, but the sets change abruptly somewhere between the end points in respect of their wideness and coloring. This produces an effect considered an example of virtual rectangles defined by the optical illusion of lines demarkating them. No such lines exist, but our brain supposes them at the points where a white, black or green strip ends or wideness of a strip gets different. Since these abrupt changes occur along an imagined line with direct angle to the strips, our brain percepts existence as a „line” which determines the rectangle. After a while we percept virtual or realistic triangles and other simple geometrical forms on the composition too.
Étude no. 1 Date: 1963 Movement: Op art Theme: Abstract Technique: Mixed technique.
In this case virtual circles appear as defined by the same technique discussed above. There is however a single exception: the upper right segment of the upper circle is in part defined by a short curved strip instead of the simple change in coloring and wideness of the vertical strips. We percepts easily that the canvas is devided for two halfs by a virtual horizontal „line” and that the bottom circle is incomplete: its uppermost segment is missing.
Neuer Dreiklang #2 Date: 1971 Movement: Op art Theme: Abstract Technique: Silk screen.
Finally we see here a strong tension generated by a virtual curve running accross the right half of the canvas, defined again by abrupt changes of strips. We also note that the strips are neither horizontal-vertical nor exactly diagonal since they deviate from the 45 degree of a third direction used to suggest space in geometrical drawings or as it is on often followed rule in classical, geometrical perspective.
golyho (Jul 9, 2011)
It is a great pleasure indeed to comment a young talented artist who keeps the old and respected tradition of Hungarian Constructivism alive. Many previous masters including among others Kassák, Bortnyik, Moholy-Nagy worked both abroad and at home, inspired and influenced others both in their time and later. Some of the younger ones shifted from Classical Constructivism toward Minimal Art working with geometrical components set over a canvas to construct significant artworks. Magyari seems to go back to the more complex a bit less purely geometrical trend what I call Classical Constructivism. It is my fault if you do not accept that term, or do not consider it proper.
Magyari, John the Younger Constructivist Composition 3 Date: 2011 Movement: Constructivism Theme: Abstract Technique: Oil on fiberboard.
Strong relation to Kassák and influence of Kandinsky is evident for me. The compact composition floats, swims in an inhomogeneous space – but is has a clear dinamic orientation along the upward-downward direction, since the bottom part is heavier. Coloring is fairly bright and the geometry is sophisticated in terms of lacking of strict rules. The vertical, horizontal and diagonal axes are respected but the borderlines of the rectangles are not like made using a ruler. Spots of pigments stain some of the borderlines reducing the strength of the black lines and adding tension to the composition. The elements in themselves are far from being monochromes.
Constructivist Composition 1 Date: 2011 Movement: Constructivism Theme: Abstract Technique: Oil on fiberboard.
Here the strong, nearly exact rectangles are combined with soft forms stained mostly blue. There are circles too, which works like eyes or centers organizing space and immediately calling attention. Coloring is not bright, in spite of the fairly strong yellows. Softness is due to warm brownish-redish stains. Like above, the composition floats freely in a neutral background. Very slight depth behind the plane of the canvas is to be percepted. As a whole it is a remarkable construction radiating calmness.
Abstract Expressionist 5 Date: 2011 Movement: Abstract Expressionism Theme: Abstract Technique: Oil on fiberboard.
Here he seems to deviate a bit from the pure and restricted world of Constructivism. The rectangular forms have soft borders, and their parts are contaminated by sets of small components, which in themselves are quite irregular. The whitish arc induces very strong tension, therefore the composition as a whole is quite imbalanced – at least for me. I percept space too therefore the title „Abstract Expressionist” is quite justified.
Abstract Expressionist 4 Date: 2011 Movement: Abstract Expressionism Theme: Abstract Technique: Oil on fiberboard.
This one is even more distant from – or in the other hand it is closer to the Constructivism. The obvious discrepancy is due to the organization of the picture by two parts. There seems to be a composition mirrored in part by water upon which the main elements swims. The bright reds and yellows contrast with the deep blue balanced by softher lighter blue stains toward the edges of the canvas. The slight shift the bottom provides balanced strength, heaviness. There is a tension due to the fairly clean flatness of the main components and the apparent deep parts of the background. As a whole it is a remarkably complicated composition.
Flowers, Azalea Date: 2007 Movement: Art Now / Recent Theme: Still Life Technique: Oil on cardboard.
Just for contrast, I have picked this nice painting to show that Magyari produces remarkable artworks aside from the Abstract Movements. These flowers fail to recall O’Keefe, who used close ups of flowers and bright, even wild colors to bridge nature and abstract compositions. Both the rich forms and the lovely colors are to be appreciated.
I recommend strongly to see other paintings of him shown in this website.
golyho (Jul 9, 2011)
Max Bill is certainly among the influential sculptors of the last century. You perhaps would argue against that sentence since it would be difficult to name other first rate creative artists who followed him and made carvings or castings quite similar to his works dealing with for example regular circles. However, I consider influence by his strong preference of geometrical forms used for constructing artworks. He did not put on a base a triangle or spheres, in other word he was not a purist using the simplest geometrical forms. He added something more creatively, or selected examples of geometrical forms from a set containing less widely known variants like for example Möbius ribbons. By now one can find artists working for example in California (see websites on Abstracts Sculpture) who nursed close contacts with scientists like matematicians and biochemists describing forms by matematical equations and the artists create three dimensional examples of a formula or a molecular structure. Artworks like that resembles me closely to artworks made by Max Bill, and suggest that his ideas are still alive. Admittedly other nonfigurative (also called concrete) sculptors also used more or less geometrical structures and can therefore be considered as prededecessors.
Bill, Max Construction Date: 1937 Movement: Konkrete Kunst Theme: Abstract Technique: Sculpture.
I have the priviledge to see, walk around, and even touch this beautiful granit form at Washington DC, where this carving can be find in the garden of Hirshhorn Museum. Note please the date! At the time he carved this circles tools used nowaday widely like electric machines for high speed abrasion or cuttings were in part not yet invented or at least were not easily available therefore the very regular, highly polished circles being the most important components of this construction should be appreciated. Strong tensions, forces are generated by the way of mounting the stone, the combination of larger external and smaller internal forms being sections of spheres. That tension is conteracted in part by the soft instead of direct angles, mergings of joined components.
Endless Ribbon From A Ring I Date: 1947-1949 Movement: Konkrete Kunst Theme: Abstract Technique: Sculpture .
This form, visualization of endless ribbon is also exhibited in he Hirshhorn Museum – a place highly recommended to visit whenever one has an opportunity to do that at Washington DC. The Museum is not too big, but has an excellent selection of contemporary (well, contemporary during the last century) art. Smoothly curved and inverted in space of ribbons define complicated segments of space in a way of surfaces going inward and turning outward continuously. High polishing both helps apprecieting and accentuates the force in mirroring the external world changing as you walk around or change the light.
Rhythm in Space Date: 1962 Movement: Konkrete Kunst Theme: Abstract Technique: Sculpture.
I consider this form as an example of matured result of some longlasting experimantation with circled holes, curved ribbons, and soft mergings and connections. Simplicity of pure geometry is abandoned but not denied, that is used creatively being inspired by. Sunshine strokes softly the polished stone, making it almost alive. Designed to be exhibited in a place easy to walk around invites indeed to see and appreciate details coming from different views, and generates calmness. A calm power is percepted by the way of mounting being balanced delicately.
Magische Chromographie Date: 1944-1946 Movement: Konkrete Kunst Theme: Abstract Technique: Oil on canvas.
As it is evident, he had singificant talent in painting too. He remained being attracted by geometry, circular curves, clear simplicity, and softness. His curved lines change colors but not dierction exactly at the borders of rectangulars. His preference of endlessness comes alive again as many of the lines can in fact be considered as single continuous trace. There are, on the other hand several semicircles cut sharply too. The combination generates joy due to tracing of apparently simple lines.
Horizontal-Vertikal-Diagonal-Rhythmus Date: 1943 Movement: Konkrete Kunst Theme: Abstract Technique: Oil on canvas .
I picked this painting to show his creativity in using straight lines and rectangulars too whithout any curves. For me, strong resemblenca upon Mondrian is evident but elabortaed further too since he, in contrast with Mondrian, uses direction other the vertical and horizontal onlyan action with sharp contradiction of rules followed by him. It seems for me that there is a layer of colored rectangulars and horizontal-vertical lines like in cases of Mondrian’s works, except using color hues far from being examples of the basic colors (red, yellow, blue preferred exclusively by Mondrian). On top of this layer there is a set of wider, thicker lines angled at 45 degrees. This combination of simple but exactly followed rules generates tension adding some vibration as a presumed component of the whole, carefully designed construction.
golyho (Jun 24, 2011)
It has been a long time since my previous comments on someone who paints nudes. My own preference of that popular theme belongs to the realistic or even naturalistic style especially if there is a little erotic bias. Eroticism attracts many but leaves others neutral. Obviously, artworks with or without erotic bias, lovely nudes have long (or likely always) been commercial success, even in the world of religions, when Eve was often a good excuse topaint naked femal bodies. The opposite is also true, remember the well known outcry generated by Michelangelo with the plenty of nudes on the Last Judgement at Sixtus Chapell. Nudes have also been painted with somewhat distorted forms especially for example in surrealistic and expressionist artworks, including sculptures. It is also fairly often used approach, when parts of the woman body is painted or carved in torso. Fort my present comment I picked two artists who prefers distorted women bodies.
Nieuwenhuys, Jan Nudes Date: 1944 Movement: CoBrA Theme: Nude Technique: Gouache.
The first of the selection represents an example of strong distorsions and using parts of body to help and orient perception. Parts taken from several bodies put in strange positions all over make the composition fairly complex. This approach contains considerable abstraction and freedom to reorganize components of bodies. Plenty of simplified schematic components are present too. The result is interesting to tell the minimum and stimulates perception of fragments both as a kind of assemblies or as relatively independent details . For me, the erotic bias is strong. Heads of the three figures are to be appreciated also as good examples of strong surrealistic feature.
Nieuwenhuys, Jan Odalisk Date: 1945 Movement: CoBrA Theme: Nude Technique: Gouache.
Another painting by the same artist is far closer to the realistic approach once again with some erotic tint. The body shown here is less distorted but portions of legs fail to be proportional. I appreciate the strong bright red wich promotes the erotic bias. Otherwise the composition as a whole is quite simple.
Whiteley, Brett Washing the Salt Off Date: 1985 Movement: Surrealism Theme: Nude Technique: Oil on canvas.
This painting by another artis contains strong distorsions, eliminations and very simplified details. For example the head of the nude does not look to be present but only her hair indicates where to be looking for it. Surrealism seems to be combined by fairly abstract parts, especially the oversimplified depicting of sea. Similar combination of fairly realistic, or destorted, oversimplified components frequently occur in surrealistic compositions by other artists too.
Whiteley, Brett Woman in Bath Date: 1964 Movement: Surrealism Theme: Nude Technique: Mixed technique.
Another example of headless body. It might indicate a supposition of the artist that women attract men by their body instead of their mind. It is of course not true even if many share this assumption. It is rather easy to give up assotiation with female body and consider parts, fragments resembling bodies combined to generate a perception independent of pure reality.
Whiteley, Brett Woman in bath Date: 1963 Movement: Surrealism Theme: Nude Technique: Mixed technique .
Here the strange angle of wiev looks to be most important part of the composition. Once again, the head of the nude is oversimplified to take as missing, and the legs are examples of strong abstraction.
Whiteley, Brett Portrait of Wendy Date: 1984 Movement: Surrealism Theme: Nude Technique: Mixed technique
In contrast with the above shown works, this one is far more realistic. Strong relationship with Japenese style and paintings of Modigliani is quite obvious. Here the head is the most realistic part of the beautiful girl, in harmony with the title: Portrait. Distorsions are present including complete elimination of space, disproportional elongation of one foreararm and the trunk, while some other parts of Wendy’s body are shortened. She seems to be a tall slim woman with well developed full brests painted to radiate erotics.
golyho (Jun 17, 2011)
His works cover a wide range of movements present int he world of non-figurative sculpture. Accordingly, he denotes many of his objects as examples of three dimensional abstract structures. I recommend strongly to consult his works covered in considerable details in this website, and get the ones you consider the bests.
Rosati, James Torso Date: 1958 Movement: Abstract Expressionism Theme: Body Technique: Sculpture.
This beautiful marble represents well what is a borderline separating figurative from non quite figurative forms. Many of the latter ones are often mentioned as examples of organic sculptures which borrow and manipulate forms taken from living organisms. Some, like this one resembles closely to one of the most often carved forms of woman nudes – still differs sufficiently for considering as an example of relatively far from realistic compositions.
Undine Date: 1959-60 Movement: Abstract Expressionism Theme: Abstract Technique: Sculpture.
Another lovely marble which resembles me also to parts of woman body. I mean the curved soft forms, the beautiful circle and the proportions. The polished surface invites touching it sligtly just like skin of intimate parts of bodies. Inviting a touch, a soft stroke with fingertips is an important part of correct perception of marble carvings. At least for me, since I am carving myself too and have learned how a form can also be percepted by touching and manipulating stone. Polished surface of course feels differently from rough ones , but slight strokes generate sensations far beyond that.
Triple Arc I Date: 1982-84 Movement: Constructivism Theme: Abstract Technique: Sculpture.
This work shows clearly how relatively soft curved forms can be combined with strong angled ones with sharp edges. As made from metal, considerable freedom in composition is possible. It seems to be a quite large composition put in a place where either close consideration, including touching or distant faster wievs are equally possible and likely. While walking nearby a good impression is certainly generated in our mind. Sitting at close vicinity or standing next to it for a while uncover beauty of slight changes depending of light, angles or strength of it. Daylight induces different sensations from the ones felt risetime or at sunset.
Untitled Date: 1968-1969 Movement: Constructivism Theme: Abstract Technique: Sculpture.
Soft forms and arcs are completely missing. Force, even brutal force is suggested. In contrast the bottom left support borrows some lightness and delicate balance. The higly polished metal surface is also counteracts brutal force due to the sharp edges.
Duo Date: 1977-1986 Movement: Constructivism Theme: Abstract Technique: Sculpture.
An example of how relatively simple individual forms can he combine to obtain a very complicated structure. At least I consider this composition as a complicated one. Balances, proportions supports abrupt separation of individual forms all need attention. The revard is feeling of beauty of something quite different from what I have shown above as example of soft forms resembling women. As I have suggested before, close learning of his artworks is certainly worth the time devoted for that action.