VERMEER Jan

Vermeer was one of the greatest of the seventeenth-country Dutch painters and he surpassed all others in his portrayal of domestic interiors. The poetry of his vision and the brilliant splendor of the light he captures evoke the work of his fellow countryman Jan van Eyck.

Very little  is known [...]]]>

VERMEER Jan

Vermeer was one of the greatest of the seventeenth-country Dutch painters and he surpassed all others in his portrayal of domestic interiors. The poetry of his vision and the brilliant splendor of the light he captures evoke the work of his fellow countryman Jan van Eyck.

Very little  is known of Vermeer’s life. His calm and peaceful paintings derive from his own meditation and analysis of the world around him. He died in debt at the age of 43, leaving a widow and 11 children. His paintings were almost completely forgotten until the mid nineteenth century.

Source of content : The Art Book

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WARHOL  Andy

Warhol, a painter, graphic artist and film-maker, was a cult figure during the 1960s. He remained, however, an intensely private man, saying: ‘If you want to know everything about me, just look at the surface of my paintings, it’s all there, there’s nothing more.’

 Source of content : The [...]]]>

WARHOL  Andy

Warhol, a painter, graphic artist and film-maker, was a cult figure during the 1960s. He remained, however, an intensely private man, saying: ‘If you want to know everything about me, just look at the surface of my paintings, it’s all there, there’s nothing more.’

 Source of content : The Art Book

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Kahlo Frida

 As in many of her pictures, it is a kind of self-portrait, “What the Water Gave Me” painting, with Kahlo’s own legs painted from the bather’s viewpoint, showing  her deformed foot with its cracked big toe. Her injuries, as the result of a serious road accident at the age of 15, [...]]]>

Kahlo Frida

 As in many of her pictures, it is a kind of self-portrait, “What the Water Gave Me” painting, with Kahlo’s own legs painted from the bather’s viewpoint, showing  her deformed foot with its cracked big toe. Her injuries, as the result of a serious road accident at the age of 15, destroyed her hopes of becoming a doctor.

At one time a lover of Leon Trotsky, she later married the painter Diego Rivera; their marriage was turbulent. Kahlo has become something of a cult figure partly because from the mid-1940s she suffered from spinal problems and, bedridden, continued to paint, often in terrible pain, until her death.

Source of content : The Art Book

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Renoir Pierre Auguste 

At the time the Moulin de la Galette was painted, Renoir was working very closely with Claude Monet. They spent much time painting outdoors, capturing the fleeting effects of sunlight as it scatters across a landscape. With his ‘rainbow palette’, Renoir painted over 6,000 canvases of women, children, flowers [...]]]>

Renoir Pierre Auguste 

At the time the Moulin de la Galette was painted, Renoir was working very closely with Claude Monet. They spent much time painting outdoors, capturing the fleeting effects of sunlight as it scatters across a landscape. With his ‘rainbow palette’, Renoir painted over 6,000 canvases of women, children, flowers and fields.

Source of content : The Art Book

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 Klee, Paul

From 1921 to 1931 he was a brilliant teacher at the Bauhaus school of design, publishing many writings on his theory of art. Two years later, the Nazis exiled him from Germany, when over one hundred of his works were removed from German galleries as ‘degenerate’.

Source of content : The Art Book

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 Klee, Paul

From 1921 to 1931 he was a brilliant teacher at the Bauhaus school of design, publishing many writings on his theory of art. Two years later, the Nazis exiled him from Germany, when over one hundred of his works were removed from German galleries as ‘degenerate’.

Source of content : The Art Book

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Picasso, Pablo was the inventor of Cubism, executed and immense body of work through his long and much publicized life. Born in Spain, Picasso moved to Paris in 1901 amd spent the rest of his life in France. He is considered the greatest artist of the twentieth century.

Source of content : The Art Book

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Picasso, Pablo was the inventor of Cubism, executed and immense body of work through his long and much publicized life. Born in Spain, Picasso moved to Paris in 1901 amd spent the rest of his life in France. He is considered the greatest artist of the twentieth century.

Source of content : The Art Book

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  Roy Lichtenstein, the artist whose classic paintings of comic strips were a defining factor in the Pop art movement that exploded in the 1960s, died on Monday, Sept. 29, 1997, at New York University Medical Center, where he had been hospitalized for several weeks. He was 73. The cause of death [...]]]>

  Roy Lichtenstein, the artist whose classic paintings of comic strips were a defining factor in the Pop art movement that exploded in the 1960s, died on Monday, Sept. 29, 1997, at New York University Medical Center, where he had been hospitalized for several weeks. He was 73. The cause of death was pneumonia, according to Aryn Lieberman, spokeswoman for the Leo Castelli Gallery, which has represented Lichtenstein since 1962.  Together with Claes Oldenburg, Edward Ruscha and the late Andy Warhol, Lichtenstein ranked among the most important American artists to explore the vernacular culture of mass-produced consumer goods and popular urban life.   ”Roy had a way of translating popular icons into a lasting art form,” said Stephanie Barron, vice president and senior curator of 20th century art at the Los Angeles County Museum of Art, where a survey of Lichtenstein’s prints was shown in 1995.  ”He was not counterculture; he celebrated culture.” Soft-spoken, shy but erudite and witty, Lichtenstein was widely regarded as a pleasure to be around.  “He was the most generous, warm-hearted man,” said Constance Glenn, director of the University Art Museum at California State University, Long Beach, where a recent show of Pop art includes more than a dozen of his works.   “Though his art remains of his time, he was very much an art historian. He made art about art — like Delacroix making art after Ingres.”  Lichtenstein’s artistic breakthrough came unusually late in his life. He was 38 when he painted Look Mickey (1961), his first picture to employ a comic strip as subject matter. For the previous 15 years, Lichtenstein had taught at Ohio State University, the State University of New York at Oswego and, finally, at Rutgers University.  His work was then based on long established styles and subjects favored by such European Modernists as Pablo Picasso and Paul Klee, as well as on kitschy icons of 19th-century American painting such as Emanuel Leutze’s Washington Crossing the Delaware (1851).   While Abstract Expressionist painting was making American art the international standard in the 1950s, Lichtenstein was trying to develop a personal artistic style for his work, albeit without much success. Look Mickey changed all that. Instead of a personal style, identified by the unique expression of the artist’s hand, Lichtenstein went after a brazenly anonymous, machine-made look, adapted from industrial techniques of mass production. The half-tone screens of Ben Day dots used in newspaper printing became his personal trademark — hard, flat, repetitive and unexpressive.   His cartoon subjects were initially dismissed by hostile critics as jokey and empty-headed, but in fact were a shrewd and incisive commentary on the Abstract Expressionist painting that dominated the era.  Look Mickey uses blunt, red-yellow-blue primaries to fashion a slyly hilarious riff on Abstract Expressionism. While Mickey Mouse looks on with bemusement at a fishing pier, a wild-eyed Donald Duck raves hysterically about the giant fish he thinks he’s caught on the other end of his tugging line, shouting, “Look Mickey, I’ve hooked a big one!!” In fact, the whopper is inside Donald’s own coattails, which he has unwittingly hooked behind his back.   The painting was a devastating satire on a reigning doctrine of Expressionist art, which asserted that the self can know only its own experiences, its own states of being. In using a comic strip to undermine Abstract Expressionist art, Lichtenstein accomplished several subversive goals at once. He helped to topple the status quo.   The privilege accorded to abstract art was undercut by his celebration of representational images. The “big, American themes” said to be found in Jackson Pollock’s and Willem de Kooning’s sweeping abstract pictures were replaced by the even bigger, even more American theme of popular culture. A famous magazine article had dubbed the Abstract Expressionist painters “The Irascibles,” but who could be more quick-tempered a character than good old Donald Duck? Lichtenstein’s work of the early 1960s contains a virtual catalog of ruling cliches about Modern art. A trio of paintings now in the collection of Los Angeles’ Museum of Contemporary Art are emblematic: Meat, Strong Hand (The Grip) and Desk Calendar (all 1962) use commercial advertising styles to depict a supermarket rump roast, a muscle-building implement and an appointment book. Together, they record the “meaty, muscular, autobiographical” content said to be contained in great Abstract Expressionist painting.

Drowning Girl showed a brunette being deluged beneath a torrent of fluid color, a witty rejoinder to De Kooning’s famously brushy paintings of women. In 1965 and 1966, he painted a series of big canvases marked with one, two, or three enormous gestural brush strokes, in which every drip and splatter appeared to have been carefully rendered with the precision of a machine. Lichtenstein was a native New Yorker, born Oct. 28, 1923, on the Upper East Side of Manhattan and raised on the Upper West Side. His father, Milton, was a real estate broker; his mother, Beatrice Werner, a homemaker.  

At 16 he took a summer school class at the Art Students League, with the American Realist painter Reginald Marsh. Marsh was known for caricatured scenes of city life, and he also worked for several newspapers. Urban stylization and mass media would later turn up as central features of Lichtenstein’s art. Lichtenstein enrolled at Ohio State University in 1940, but World War II interrupted his studies.

After military service in Europe he returned to Columbus, completing his MFA in 1949. Another decade passed before he fell into a milieu that would galvanize the direction of his art. At Rutgers University in New Brunswick, N.J., he met Allan Kaprow and other artists whose audience participation performances came to be called Happenings.

 After the 1960s heyday of Pop, Lichtenstein continued to paint in his meticulous Ben Day style, embarking first on a remarkable series of paintings of mirrors.

In recent years Lichtenstein had begun to expand his purview into Asian painting, executing a series of pictures based on Chinese scrolls. In 1949 Lichtenstein married Isabel Wilson; they divorced in 1965. He is survived by his wife, Dorothy Herzka, whom he married in 1968, and his sons David and Mitchell, from his first marriage.

Source of content : Leninimports.Com

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Books :

Roy Lichtenstein

Whaam! The Art and Life of Roy Lichtenstein

Roy Lichtenstein: Prints 1956-1997

Roy Lichtenstein: Interiors

Salvador Felipe Jacinto Dali I Domenech was born at 8:45 on the morning of May 11, 1904 in the small agricultural town of Figueres, Spain. Figueres is located in the foothills of the Pyrenees, only sixteen miles from the French border in the principality of Catalonia. The son of a prosperous notary, Dali spent [...]]]>

Salvador Felipe Jacinto Dali I Domenech was born at 8:45 on the morning of May 11, 1904 in the small agricultural town of Figueres, Spain. Figueres is located in the foothills of the Pyrenees, only sixteen miles from the French border in the principality of Catalonia. The son of a prosperous notary, Dali spent his boyhood in Figueres and at the family’s summer home in the coastal fishing village of Cadaques where his parents built his first studio. As an adult, he made his home with his wife Gala in nearby Port Lligat. Many of his paintings reflect his love of this area of Spain. The young Dali attended the San Fernando Academy of Fine Arts in Madrid. Early recognition of Dali’s talent came with his first one-man show in Barcelona in 1925. He became internationally known when three of his paintings, including The Basket of Bread (now in the Museum’s collection), were shown in the third annual Carnegie International Exhibition in Pittsburgh in 1928. The following year, Dali held his first one-man show in Paris. He also joined the surrealists, led by former Dadaist Andre Breton. That year, Dali met Gala Eluard when she visited him in Cadaques with her husband, poet Paul Eluard. She became Dali’s lover, muse, business manager, and chief inspiration.

Dali soon became a leader of the Surrealist Movement. His painting, The Persistance of Memory, with the soft or melting watches is still one of the best-known surrealist works. But as the war approached, the apolitical Dali clashed with the Surrealists and was “expelled” from the surrealist group during a “trial” in 1934. He did however, exhibit works in international surrealist exhibitions throughout the decade but by 1940, Dali was moving into a new type of painting with a preoccupation with science and religion. Dali and Gala escaped from Europe during World War II, spending 1940-48 in the United States. These were very important years for the artist. The Museum of Modern Art in New York gave Dali his first major retrospective exhibit in 1941. This was followed in 1942 by the publication of Dali’s autobiography, The Secret Life of Salvador Dali. As Dali moved away from Surrealism and into his classic period, he began his series of 19 large canvases, many concerning scientific, historical or religious themes. Among the best known of these works are The Hallucinogenic Toreador, and The Discovery of America by Christopher Columbus in the museum’s collection, and The Sacrament of the Last Supper in the collection of the National Gallery in Washington, D.C. In 1974, Dali opened the Teatro Museo in Figueres, Spain. This was followed by retrospectives in Paris and London at the end of the decade. After the death of his wife, Gala in 1982, Dali’s health began to fail. It deteriorated further after he was burned in a fire in his home in Pubol in 1984. Two years later, a pace-maker was implanted. Much of this part of his life was spent in seclusion, first in Pubol and later in his apartments at Torre Galatea, adjacent to the Teatro Museo. Salvador Dali died on January 23, 1989 in Figueres from heart failure with respiratory complications. As an artist, Salvador Dali was not limited to a particular style or media. The body of his work, from early impressionist paintings through his transitional surrealist works, and into his classical period, reveals a constantly growing and evolving artist. Dali worked in all media, leaving behind a wealth of oils, watercolors, drawings, graphics, and sculptures, films, photographs, performance pieces, jewels and objects of all descriptions. As important, he left for posterity the permission to explore all aspects of one’s own life and to give them artistic expression. Whether working from pure inspiration or on a commissioned illustration, Dali’s matchless insight and symbolic complexity are apparent. Above all, Dali was a superb draftsman. His excellence as a creative artist will always set a standard for the art of the twentieth century.

Source of content : Salvadordalimuseum.Org

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