Thursday, March 23, 2023

Snow Field Afternoon

Snow Field Afternoon

painted plein air in a field behind my home in Shapleigh, Maine, March 12, 2023, 7" x 5" (w x h), Daniel Smith, Schmincke Horadam, and Winsor & Newton watercolors, selected for light fastness and permanence, and Uniball waterproof fade proof ink on 140 lb. Fabriano Artistico cold press rough 100% cotton extra white watercolor paper, framed.

The plein air setup...

Wednesday, March 22, 2023

Late Winter Opening

Late Winter Opening

in a back field behind my home painted plein air March 12, 2023, 7" x 5" (w x h), Daniel Smith, Schmincke Horadam, and Winsor & Newton watercolors, selected for light fastness and permanence, and Uniball waterproof fade proof ink on 140 lb. Fabriano Artistico cold press rough 100% cotton extra white watercolor paper, framed.

Painted plein air March 12, 2023

Monday, March 20, 2023

Snow Pear Minneola Bank

Snow Pear Minneola Bank

Comice pear and Minneola on a snow bank behind my home March 6, 2023, painted March 10, 2023, 10" x 8" (w x h), Daniel Smith, Schmincke Horadam, and Winsor & Newton watercolors, selected for light fastness and permanence, and Uniball waterproof fade proof ink on 140 lb. Fabriano Artistico cold press rough 100% cotton extra white watercolor paper, framed.

The Art of Green and Orange

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The Art of
Green and Orange

Pears / Poires
Pierre-Auguste Renoir (1841-1919), French
Oil on canvas, 12" x 9" (w x h), circa 1890
Barnes Foundation, Philadelphia, PA

Source: Still Life in Painting from Antiquity to the Present Time by C. Sterling
"Nurtured on the traditions of eighteenth-century French painting, Renoir ... carried on the serene simplicity of Chardin (a great French painter). Pale shadows, light as a breath of air, faintly ripple across the perishable jewel of a ripe fruit. Renoir reconciles extreme discretion with extreme richness, and his full-bodied density is made up, it would seem, of colored air. This is a lyrical idiom hitherto unknown in still life, even in those of Chardin. Between these objects and us there floats a luminous haze through which we distinguish them, tenderly united in a subdued shimmer of light."

Source: Wiki, edited
In 1890, likely the year Renoir painted this, Renoir married Aline Victorine Charigot, a dressmaker twenty years his junior, who, along with a number of the artist's friends, had served as a model for Luncheon of the Boating Party in 1881. In 1885 they had their first of three sons. After marrying Renoir painted many scenes of his wife and daily family life including their children and their nurse, his wife's cousin Gabrielle Renard.

Child with Lamp
Pierre Bonnard (1867-1947), French
Lithograph printed in pink, green, brick red,
blue, and orange on light gray chine,
18" x 13" (w x h), 1897, 1897

Source: AIC Museum notes edited
Bonnard was sometimes called the Japanese Nabi, because he used the asymmetrical composition, elevated viewpoint, and bold colors of Japanese prints in his own work. Like Vuillard, Bonnard used children and his own family as favorite models for his early interiors. Attention centers on the lamp, Bonnard's symbolist interest in ordinary objects.

Orange Green
Ellsworth Kelly (1923-2015), American
One from a series of ten lithographs,
30" x 42" (w x h), 1970
MoMA, Museum of Modern Art, New York, NY

Source: Wiki edited
Kelly's background in the military has been suggested as a source of the seriousness of his works. While serving time in the army, Kelly was exposed to and influenced by the camouflage with which his specific battalion worked. This taught him about the use of form and shadow, as well as the construction and deconstruction of the visible. It was fundamental to his early education as an artist. Ralph Coburn, a friend of Kelly's from Boston, introduced him to the technique of automatic drawing while visiting in Paris. Kelly embraced this technique of making an image without looking at the sheet of paper. These techniques helped Kelly in loosening his drawing style and broadened his acceptance of what he believed to be art. His introduction to Surrealism and Neo-Plasticism (Dutch origin "Nieuwe Beelding" /new image, abstract art that had been purified by applying the most elementary principles through plainly rational means, and practiced by Piet Mondrian) caused him to test the abstraction of geometric forms.

Halsingborg Suede (Swedish) Poster
Gunnar Christenson (1895-1997). Swedish
Painting for poster, 25" x 29" (w x h), circa 1930
The town of Halsingborg was renamed to
Helsingbord in the 1970s.

Source: Come to Sweden Publishing edited
Gunnar Christenson studied at the Technical School in Stockholm 1914-1919 and at the Royal Academy of Fine Arts 1920-1921. During the 1920s Christenson traveled on study trips around Europe, and in the late 1920s he worked as a drawing teacher at the school Helsingborgs Läroverk. From the buildings top floor you have a nice view of Kärnan, a medieval tower that once was part of a larger fortress, its ancient, burnt-orange brick structure looming imposingly over the rest of the seaside village. This was probably where he drew this poster over Kärnan and the landscape up towards Mölle.

Christenson later on combined his teaching with a successful artistic career. He had several exhibitions and is represented in museums.

Oranges on a Branch
Donald Sultan, (1951- ), American
Tar, spackle, and oil on tile over Masonite,
97" x 98" (w x h), 1992
Detroit Institute of Arts, Detroit, MI

Source: DIA museum notes
The boldly silhouetted oranges bursting with vivid color are in direct contrast to the thick black surface. The sense of drama in Sultan's works comes from his early interest in the theater, which he combines with his inspiration from other art movements, such as Abstract Expressionism, Color Field painting, and minimalism. Sultan abstracts, simplifies, and stylizes this representation of painted oranges against a background made of tar and oil. His unorthodox use of these industrial materials symbolizes American industry, reinforced by his incorporation of vinyl tiles taken from office and factory floors. Looking at art from the past for inspiration, Sultan struck upon the traditional still life for his subject matter, with his choice of oranges as a twist on his trademark lemons, originally inspired by a painting by Édouard Manet that he saw in a retrospective at the Metropolitan Museum of Art.

Life already Prevailed Yesterday /
Elämä voitti jo eilen

Olli Lyytikäinen (1949-1987), Finnish
Crayon, 16" x 10" (w x h), 1973
Finnish National Gallery

Source: Kiasma Magazine and Ateneum in Helsinki
Olli Lyytikäinen (1949-1987) was a Finnish artist. In 1967 at 18 years old Olli and a friend took a boat to London. "We didn't have a penny when we arrived in London." Olli did some drawings which h sold to make ends meet." He went on to illustrate and paint in Finland. Many key Finnish galleries and museums, such as Ateneum art museum in Helsinki featured his work. In 1979 a devastating fire in his studio destroyed 500-4000 works (depending on the method of counting). In 1986 He was one of three Finnish representatives at the XLII Venice Biennale. He died the next year at home at 38-years-old. The record price for this artist at auction is $56,185 USD for Venetsialainen Variaatio, sold at Stockholms Auction House in 2012.

Green/2 Orange X Painting
Robert Mangold (1937- ), American
Acrylic and black pencil on canvas,
100" x 96" (w x h), 1983
Art Institute of Chicago, Chicago, IL

Source: AIC Museum Notes
Robert Mangold is an American Minimalist painter best known for painted canvases that incorporate drawn line, exalting simplified means and structure. Over the course of the last 50 years, he has employed a variety of geometric forms—circles, ellipses, squares, rectangles, trapezoids—as the support for his pared-down compositions. From 1980 to 1986, the artist created a series of paintings based on the letter X and the plus sign. Green/2 Orange X Painting is composed of three conjoined canvases of unequal size and three distinct colors—two oranges and a green. Drawn lines of unequal length mark the axis of the cross, replicating the overall shape within the plane and unifying the composition. Here the physical presence of the canvas edge becomes the central formal motif; the structural skeleton of painting becomes the subject of the work.

Untitled (Head with Orange and Green)
Sideo Fromboluti (1920-2014), American
Pastel and charcoal on paper, 21" x 16", 1990
MoMA, Museum of Modern Art, New York, NY

Source: NY Times Obituary and A Shared Life in art, Provincetown Gallery Catalogue edited:
Sideo Fromboluti was born in Hershey, PA of Italian immigrants in 1920. He was the first of his family to attend college having won the only scholarship offered by his high school to the Tyler College of Art. He earned a BFA and Masters degree.

Sideo and Nora Speyer met as art students at the Tyler School of Art, Temple University, Philadelphia. They were married in 1945. From the beginning of their lifetime married life, Nora and Sideo painted in the same studio and influenced each other's aesthetics. The couple moved to New York City in the late 1940s and they built a summer home and studio on Higgins Pond in Wellfleet, MA. In winter Sideo worked in an urban environment, his paintings and drawings leaning towards the figurative and capturing a subtle psychological dimension in his sitters.

He counted as his friends the artists who were major figures of the Abstract Expressionist movement. He had numerous solo shows, one at the Carnegie Museum of Art in 1998. He was represented by the Darthea Speyer Gallery in Paris, France for many years. He was a founding member of the Landmark Gallery in NYC and the Longpoint Gallery in Provincetown, MA.

Friday, March 10, 2023

Lemons Snow Shadowed Vortex

Lemons Snow Shadowed Vortex

with Meyer lemons dropped into a snow field next to a snowbank behind my home painted March 9, 2023, 14" x 11" (w x h), Daniel Smith, Schmincke Horadam, and Winsor & Newton watercolors, selected for light fastness and permanence, on 140 lb. Fabriano Artistico cold press rough 100% cotton extra white watercolor paper, framed.

Tuesday, March 7, 2023

Granny Smith's Blues

Granny Smith's Blues

set on fresh snow behind my home in the late afternoon for long shadows on March 5, 2023, painted March 5, 2023, 10" x 8" (w x h), Daniel Smith, Schmincke Horadam, and Winsor & Newton watercolors, selected for light fastness and permanence on 140 lb. Fabriano Artistico cold press rough 100% cotton extra white watercolor paper, framed.

The Art of Blue and Green Essay

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The Art of Blue and Green
An Essay on How 8 Artists Paint It

Two Islands, Sunny Day
Stephen Pace (1919-2010), American
Oil on canvas, 36" x 30" (w x h), 2004
Dowling Walsh Art Gallery, Rockland, Maine
For sale: $30,000 USD

Source: Wiki
Stephen Pace was resident of Manhattan and Stonington, Maine During the course of his long and productive career, he made important contributions to Abstract Expressionism. Pace began his formal training at the 17-years-old. He continued to hone his skills while serving abroad in England and France during World War II by painting views of local landscapes. Upon his return, he studied with Hans Hofmann, who had an influence on Pace's work in the 1950s. In 1960 Pace returned to painting in a style characterized by simplified forms and imaginative colors; he most often painted his immediate surroundings, depicting outdoor scenes, such as lobstermen and of his wife while she was gardening, as well as interiors and nudes done in his studio.

Blue Green
Ellsworth Kelly (1923-2015), American
Lithograph, one from a series of ten,
edition of 75, 38" x 37" (w x h), 1970
MoMA, Museum of Modern Art, New York, New York

Source: Wiki edited
In 1947, while Ellsworth Kelly was studying at the School of the Museum of Fine Arts, Boston, down the street I was born. In the mid-1960s he took up printmaking in and focused on it. From 1970 on he collaborated primarily with Gemini G.E.L. His initial series of 28 transfer lithographs, entitled Suite of Plant Lithographs, marked the beginning of a body of work that would grow to 72 prints and countless drawings of foliage. Before his Lithography period his focus was painting and after it sculpture. The highest price for a work of his, the nine foot high Red Curve VII, is $9,800,000 USD. See it at Christies HERE.

The Silver Veil and the Golden Gate
Childe Hassam (1859-1935), American
Oil on canvas, 32" x 30" (w x h), 1914
Brauer Museum of Art,
Valparaiso University, Valparaiso, Indiana
Brauer Museum of Art

Source: Wiki
Hassam was especially prolific and energetic in the period from 1910 to 1920, causing one critic to comment, "Think of the appalling number of Hassam pictures there will be in the world by the time the man is seventy years old!" Hassam truly produced thousands of works in nearly every medium during his life. His friend, Weir, might paint six canvases in a season, Hassam would paint forty.

Source: ArtNet News
In February 2023 the Brauer Museum of Art was challenged for its plan to sell three art works valued at $20,000,000 USD, including this Childe Hassam (valued at $3,500,000 USD), to fund freshman dormitories improvements.

Sea Movement–Green and Blue /
No 2 Mark Island / Light House

John Marin (1870-1953), American
Watercolor with wiping, and fabricated charcoal,
over graphite, on thick, slightly textured,
off-white wove paper, hinged to wood-pulp board,
faced with cream paper, gilt with silver leaf,
21" x 17" (w x h), 1923
The Art Institute of Chicago, Chicago, Illinois

Source: John Marin, Part 1 a Stylistic Analysis, Sheldon Reich, University of Arizona Press, 1970
Marin wrote to Alfred Stieglitz from Stonington, Maine on August 14, 1923. "He asserted his link to reality by insisting that no matter how far an artist changes the surface appearance of his picture from its ostensible subject, it has to be rooted in that subject in some deep, meaningful way. Marin was reassuring himself that no matter what anyone else could say or write, he was basically a realist, a man who looked to nature for the source and meaning of his art."

One my personal paintings, coincidentally also using green and blue, was of the same view as John Marin's, but seventy-five years later is online on my blog HERE.

Blue and Green
Victor de Vasarely (1908-1997), Hungarian French
Color serigraph on heavy white wove paper,
22" x 24" (w x h)
The Art Institute of Chicago, Chicago, Illinois

Source: Wiki
Victor Vasarely, born in Hungary in 1908, was a Hungarian-French artist, who is widely accepted as a grandfather and leader of the Op art movement. Over the three decades, 1930s to 1960s, Vasarely developed his style of geometric abstract art, working in various materials but using a minimal number of forms and colors. There are two museums in Hungary devoted to his art.

James Edward Davis (1901-1974), American
Graphite and pastel, 9" x 5" (w x h), 1944
Gift of the artist, Class of 1923
Princeton University Art Museum

Source: Princeton and various

James Edward Davis, born in born Clarksburg, West Virginia, was a painter, photographer, and filmmaker, focused on abstract art. He was noted for his experimental abstract films involving color, light, and movement. He graduated from Princeton University in 1923, and studied with Andre Lhote in Paris.
In 1974 he died in Princeton, New Jersey. West Virginia University holds much of his archives, including his writings about his fellow artists and friends Frank Lloyd Wright and John Marin, and Davis's collaboration with Leo Merker while filming "Pertaining to Chicago", among others. His art can be seen online at Princeton HERE or at the American Art Collaborative HERE. The West Virginia archives are HERE.

Homage to the Square, P2, F33, I1
Josef Albers (1888-1976) German American
Screenprint, edition of 1000, 12" x 12" (w x h), 1972
$3,500 at 1stDibs

Source: 1stDibs
"Homage to the Square - Portfolio 2, Folder 33, Image 1" from the portfolio "Formulation: Articulation" was created by Josef Albers in 1972. This series consists of 127 original silkscreens that are a definitive survey of the artist's most important color and shape theories.

Source: Wiki edited
Albers is considered to be one of the most influential teachers of visual art in the twentieth century. "Every perception of color is an illusion...we do not see colors as they really are. In our perception they alter one another." Josef Albers, circa 1949, when he started his first Homage to the Square paintings.

In 1933 when he arrived at Black Mountain College when a student asked him what he was going to teach, Albers said: "To open eyes."

It Was Blue and Green
Georgia O'Keeffe (1887-1986), American
Oil on linen, 40" x 30" (w x h), 1960
Whitney Museum of American Art, New York, New York

Source: Wiki edited
The year Georgia O'Keeffe painted the art above, 1960, the Worcester Art Museum held a retrospective of the 73-year-old's work. In 1972, O'Keeffe lost much of her eyesight due to macular degeneration, leaving her with only peripheral vision. She stopped oil painting without assistance in 1972. But in the 1970s she made a series of works in watercolor.

Monday, February 27, 2023

Window to Amaryllis III

Window to Amaryllis III

flowering in my living room February 23, 2023, 12" x 9" (w x h), Daniel Smith, Schmincke Horadam, and Winsor & Newton watercolors, selected for light fastness and permanence, and Uniball waterproof fade proof ink on 140 lb. Fabriano Artistico cold press rough 100% cotton extra white watercolor paper, framed.

Window to Amaryllis III Tidied Up
Bruce McMillan (1947- ), American
Watercolor and Digital, 2023

Tidy Abstract Art Visual Thoughts

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Tidy Abstract Art Visual Thoughts

Tidy Art with
Blue Green Black Red White

Window to Amaryllis III
before being tidied up.
My Painting
Tidied Up in Abstract Thought
Bruce McMillan (1947- ), American
Watercolor and Digital, 2023

Blue Green Black Red
Ellsworth Kelly (1923-2015), American
Painted aluminum on wall,
Each panel: 15" x 120" (w x h),
Art: 120" x 111" (w x h), 1989
Ellsworth Kelly Foundation,
Matthew Marks Gallery, New York, New York

Blue, Black, Red, Green
Ellsworth Kelly (1923-2015), American
Lithograph in colors, 89" x 25" (w x h),

Not so Tidy O'Keeffe
Joan Mitchell (1925-1992), American
Oil on canvas, 45" x 58" (w x h), 1962
Solomon R. Guggenheim Foundation,
New York, New York

Tidy in Its Own Way O'Keeffe
Red Hills with Pedernal, White Clouds
Georgia O'Keeffe (1887-1986), American
Oil on canvas, 30" x 20" (w x h), 1936
Christies 2016 auction sold $4,533,000 USD

Tidy Hopper
Blue Green Black Red
Ellsworth Kelly (1923-2015), American
Lithograph in colors, on Arches Cover paper,
#11 of 100 prints, 20 proofs, 20" x 22" (w x h), 1971
Christie's 2017 auction sold $8,750 USD

Not so Tidy Hopper
Cape Cod Morning
Edward Hopper (), American
Oil on canvas, 40" x 34" (w x h), 1950
Smithsonian American Art Museum, Washington, D.C.

Nicely Tidy in Maine (Tide unknown)
The Lobster Boat
Stephen S. Pace (1918-2010), American
Oil on Canvas, 36" x 28" (w x h), 1978
Clarke Gallery, Newburyport, Massachusetts

Sunday, February 26, 2023

Window to Amaryllis II

Window to Amaryllis II

flowering in my living room February 23, 2023, 5" x 7" (w x h), Daniel Smith, Schmincke Horadam, and Winsor & Newton watercolors, selected for light fastness and permanence, and Uniball waterproof fade proof ink on 140 lb. Fabriano Artistico cold press rough 100% cotton extra white watercolor paper, framed.

Saturday, February 25, 2023

Window to Amaryllis

Window to Amaryllis

flowering in my Shapleigh, Maine, living room February 23, 2023, 10" x 8" (w x h), Daniel Smith, Schmincke Horadam, and Winsor & Newton watercolors, selected for light fastness and permanence, and Uniball waterproof fade proof ink on 140 lb. Fabriano Artistico cold press rough 100% cotton extra white watercolor paper, framed.

Saturday, February 18, 2023

Snow Shadows Fort Ridge II

Snow Shadows Fort Ridge II

in the back fields behind my home, painted plein air in snow February 11, 2023, 13.5" x 10" (w x h), Daniel Smith, Schmincke Horadam, and Winsor & Newton watercolors, selected for light fastness and permanence on 140 lb. Fabriano Artistico cold press rough 100% cotton extra white watercolor paper, framed.

The plein air set up with the sun setting behind me, temperatures dropping and the watercolors in my palette forming freezing slush, and so that was the time to say finished.

Tuesday, February 14, 2023

Snow Shadows Fort Ridge I

Snow Shadows Fort Ridge I

in the back fields behind my home, painted plein air in snow February 11, 2023, 10" x 8" (w x h), Daniel Smith, Schmincke Horadam, and Winsor & Newton watercolors, selected for light fastness and permanence, and Uniball waterproof fade proof ink on 140 lb. Fabriano Artistico cold press rough 100% cotton extra white watercolor paper, framed.

Blue and White and Stripes

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and White and Stripes

in Art

How artists compose these elements.

Lake Superior
Lawren Harris (1885-1970), Canadian
Oil on canvas, 50" x 44" (w x h), circa 1923
The Thomson Collection,
Art Gallery of Ontario, Canada

Source Wiki edited:
In May 1920, Harris, J. E. H. MacDonald, Franklin Carmichael, A. Y. Jackson, Frank Johnston, Arthur Lismer, and Frederick Varley, formed the noted Group of Seven. In the fall of 1921, Harris ventured to Lake Superior's North Shore, where he'd return annually for the next seven years. While his urban and Algoma paintings of the late 1910s and early 1920s were characterized by rich, bright colors, and decorative compositional motifs, the discovery of Lake Superior as a source of subject material meant the depiction of what Jackson called a "sublime order". Harris conveyed the spiritual side to the scene through a more austere, simplified style, with a limited palette.

In 1924, a sketching trip with A.Y. Jackson to Jasper National Park in the Canadian Rockies marked the beginning of Harris' mountain subjects, which he continued to explore with annual sketching trips until 1928, exploring areas around Banff National Park, Yoho National Park and Mount Robson Provincial Park.

In 1930, Harris went on his last extended sketching trip, traveling to Greenland, the Canadian Arctic and Labrador aboard the Royal Canadian Mounted Police supply ship and ice breaker, the SS. Beothic, for two months, completing over 50 sketches. The Arctic canvases that he developed from the oil panels marked the end of his landscape period.

Still Life with Blue and White Tablecloth
Louisa Matthiasdottir (1917-2000) Icelandic American
Oil on canvas, 52" x 40" (w x h), 1994
Reynolds Gallery,
Yale University Art Gallery, New Haven, Connecticut

Source Wiki edited:
Louisa Matthiasdottir grew up in Reykjavik's noted Höfði house, a private residence at that time. It's now best known as the location for the 1986 Reykjavík Summit meeting of President Ronald Reagan of the United States and General Secretary Mikhail Gorbachev of the Soviet Union.

She showed artistic ability at an early age, and studied first in Denmark and then in Paris. Her early paintings, dating from the late 1930s, established her as a leading figure in the Icelandic avant-garde community. In these paintings her subjects are painted with a broad brush, emphasizing geometric form.

Portrait of Woman
with Blue and White Striped Blouse

William H. Johnson (1901-1970), American
Tempera on paperboard, 22" x 28" (w x h), circa 1940-42
Smithsonian American Art Museum, Washington, D.C.

Source Wiki edited:
Born in Florence, South Carolina, he became a student at the National Academy of Design in New York City. He later lived and worked in France, where he was exposed to modernism. After Johnson married Danish textile artist Holcha Krake, the couple lived for some time in Scandinavia. There he was influenced by the strong folk art tradition. The couple moved to the United States in 1938. Johnson eventually found work as a teacher at the Harlem Community Art Center, through the Federal Art Project.

Johnson's style evolved from realism to expressionism to a powerful folk style, for which he is best known. A substantial collection of his paintings, watercolors, and prints is held by the Smithsonian American Art Museum, which has organized and circulated major exhibitions of his works.

Sam Tchakalian (1929-2004) Chinese American
Monotype, 18" x 12" (w x h), 1987

Source Moderism edited:
Sam Tchakalian's art has been exhibited in galleries and museums internationally. Sam Tchakalian, a painter, printmaker, and teacher, was born in Shanghai, China in 1929. His family relocated to California in 1947 and, after serving in the U.S. Army, Tchakalian enrolled in San Francisco City College, where he received his AA degree in 1950, his BA in 1952, and finally his MFA in 1958. His oil paintings created with a palette knife are complicated reveals of layers of color. They are the signposts of Northern California abstract gestural painting. He taught at California College of Arts and Crafts, Oakland, the College of San Mateo, UC Davis, UC Berkeley, and for 35 years at the San Francisco Art Institute.

Kenneth Baker in an exhibition review in 1991 wrote: "For many years Tchakalian has made abstract paintings consisting of broad horizontal bands applied in expansive, undemonstrative, gestures, But Tchakalian is much more a materialist than color field painters like Helen Frankenthaler or Olitski... Part of the art of Tchakalian's work is in leaving every canvas looking as fresh as if he had finished it at one go."

Peinture 162 x 130 cm, 9 juillet 1961 /
Painting 162 x 130 cm, July 9, 1961

Pierre Soulages (1919-2022), French
Oil on canvas, 52" x 61" (w x h), 1961
Christies 2020 Paris auction
sold: $5,790,000 USD

Source Christies edited:
Pierre Soulages said, "I do not depict, I paint. I do not represent, I present." Against a bone-white ground, broad strokes of black and Prussian blue build a right-angled structure of bold, rhythmic power. Horizontal beams span the canvas like bird's wings. Pitch-dark bars of black hang to the left, bringing the work into imposing tension. With his scraped scraping technique, Soulages pulls back the still-wet blue and black pigment with drags of a homemade spatula, revealing bright gleams and halos of light. The drama of the painting, which stands as tall as a person, is present.

Study for Treatise on the Veil
Cy Twombly (1928-2011), American
Drawing paper, transparent adhesive tape,
wax crayon, pencil, colored pencil, and ink,
39" x 27" (w x h), 1970
The Menil Collection, Houston

Source: Gagosian and Wiki edited:
For Treatise on the Veil (1970) Twombly had in mind a particular piece of musique by composer Pierre Henry from the early 1950s, which amplified the sound of a cloth sheet being torn apart, and relates to the idea of the veil.

Edwin Parker "Cy" Twombly Jr. (1928-2011) was an American painter, sculptor and photographer. Twombly is said to have influenced younger artists including Jean-Michel Basquiat. His best-known works are large-scale, freely-scribbled, calligraphic and graffiti-like works on solid fields of mostly gray, tan, or off-white colors. His highest work sales price was at a Christie's auction in 2014, $69,600,000 USD.

A 2015 article about and including the huge Treatise on the Veil painting and its twelve studies when they were on exhibit at the Morgan Library and Museum, New York, on Gagosian is HERE.

White lines (vertical) on Ultramarine
Tony Tuckson
Diptych: styrene-based house paint,
polyvinyl acetate and pigments on hardboard,
96" x 84" (8' x 7') (w x h), 1970-73
Art Gallery of New South Wales, Sydney, Australia

Source Wiki:
John Anthony Tuckson (1921-1973) born in Egypt, was an Australia Abstract Expressionist artist, an art gallery director and promoter of native Aboriginal Australian art, and a WWII Spitfire pilot. After major Australian Exhibitions several of his paintings are on permanent display at the National Gallery of Australia.

Woman in Striped Dress
Édouard Manet (1832-1883), French
Oil on canvas, 33" x 69" (w x h), circa 1877-1880
Solomon R. Guggenheim Museum, New York, New York

Source Guggenheim notes:
Manet's endeavor to capture the flavor of contemporary society extended to portraits of barmaids, street musicians, rag pickers, and other standard Parisian types that were favorite subjects of popular illustrated literature. Since the subject of Woman in Striped Dress is unidentified, conjecture that she might be the French actress Suzanne Reichenberg remains purely speculative. It's tempting to view this portrait as Manet's rendering of one such type: the fashionable Parisian bourgeois woman, complete with Japanese fan.

Thursday, February 9, 2023

Minneola Space

Minneola Space

as a snow life in my snowy yard on January 28, 2023, painted February 5, 2023, 10" x 8" (w x h), Daniel Smith, Schmincke Horadam, and Winsor & Newton watercolors,  selected for light fastness and permanence, and wax resist, on 140 lb. Fabriano Artistico cold press rough 100% cotton extra white watercolor paper, framed.

Orange Circling in Your Space

From Minneola to
Orange Circling in Your Space


1) Joan Miró
2) Alexander Calder
3) Andy Warhol
4) Bauhaus
5) Etel Adnan
6) Kenneth Noland
7) Arthur Dove
8) Joseph Albers

* Orange and Reddish Orange

The Red Sun
Joan Miró (1893-1983), Spanish
Oil on canvas, 1950

The striking red sun is a symbol found in much of Miró's art, a more detailed version was painted two years previously in 1948. Miró (1893-1983) liked to reduce detail to a minimum, while still allowing each object to be identifiable. The large bright circle dominates the composition, stretching to two thirds of the width and height of the painting.

Derriere Le Miroir #201 / Behind the Mirror #201
Alexander Calder (1898-1976), American
Lithograph, 11" x 15" (w x h), 1973

Source Wiki edited:
This lithograph is my the well-known sculptor, Alexander Calder, the third in a generation of noted Philadelphian sculptors. The Philadelphia Museum of Art offers a view of works by three generations of Alexander Calders. From the second floor window on the east side of the Great Stair Hall there is behind the viewer Calder's own Ghost mobile, ahead on the street is the Swann Memorial Fountain by his father, A. Stirling Calder, and beyond that is the statue of William Penn atop City Hall by Calder's grandfather, Alexander Milne Calder.

Andy Warhol (1928-1987), American
Screenprint in a unique color combination on wove paper,
34" x 34" (w x h), #43 of 470, 1972
from the total edition of 632 unique impressions,
one of 472 impressions used by architects for
the Hotel Marquette, Minneapolis
Sotheby's 2022 auction estimate, $80,000 - $120,000 USD

Source Wiki edited:
Warhol had a retrospective exhibition at the Whitney Museum of American Art in 1971. Compared to the success and scandal of Warhol's work in the 1960s, the 1970s were a much quieter decade, as he became more entrepreneurial. He produced screen prints for a hotel chain, one seen above. In 1975, he published The Philosophy of Andy Warhol. An idea expressed in the book: "Making money is art, and working is art and good business is the best art."

Bauhaus, 1919
Bauhaus Exhibition Poster, Orange Circle

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The Bauhaus School was founded in 1919 by architect Walter Gropius (1883-1969) in Weimar, Germany. It was grounded in the idea of creating comprehensive artwork in which all the arts would eventually be brought together. The Bauhaus style later became one of the most influential currents in modern design, modernist architecture, and architectural education. The Bauhaus movement had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. Staff at the Bauhaus included prominent artists such as Paul Klee, Wassily Kandinsky, and László Moholy-Nagy at various points. The Nazis disbanded the school in 1933.

Planéte 37
Etel Adnan (1925-2021), Lebanese-American
Oil on canvas, 10" x 13" (w x h), 2020

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The painting above was painted in 2020 when Etel Adnan was 95-years-old. In 2003, Adnan was named "arguably the most celebrated and accomplished Arab American author writing today" by the academic journal MELUS: Multi-Ethnic Literature of the United States. Besides her literary output, Adnan made visual works in a variety of media, such as oil paintings, films and tapestries, which have been exhibited at galleries across the world.
In 2017, Adnan's work was included in "Making Space: Women Artists and Postwar Abstraction," a group exhibition organized by MoMA, which brought together prominent artists including Ruth Asawa, Gertrudes Altschul, Anni Albers, Magdalena Abakanowicz, Lygia Clark, and Lygia Pape, among others. In 2018, MASS MoCA hosted a retrospective of the artist, titled "A yellow sun A green sun a yellow sun A red sun a blue sun", including a selection of paintings in oil and ink, as well as a reading room of her written works. The exhibition explored how the experience of reading poetry differs from the experience of looking at a painting. She died at the age of 96 in 2022.

Kenneth Noland (1924-2010), American
Oil on canvas, 76" x 76" (w x h), 1960

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Noland, one of the best know color field painters, first began making and exhibiting his iconic Circle series, square canvases featuring concentric circles in various saturated colors, during the late 1950s. His work attracted international attention in 1964, when it was included in Greenberg's Post-Painterly Abstraction exhibition at the Los Angeles County Museum of Art, and his paintings also appeared in the Venice Biennale. He lived his last years in Port Clyde, Maine.

Red Sun
Arthur G. Dove (1880-1946), American
Oil on canvas, 28" x 20" (w x h), 1935
The Phillips Collection, Washington, D.C.

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Red Sun, painted in 1935 during Arthur Dove's five-year stay in Geneva, New York, is a visual representation of the moment at sunset that hovers between light and dark. It accompanies Morning Sun, completed the same year. The sun is a powerful force in the landscape, this time as a large red-orange orb with a spiraling line of force that hovers over the hills and patterned fields. Its vibrant red radiates, conveying the sun's intensity at the end of the day. Red Sun, like its companion painting, attests to Dove's increasingly rich color and awareness of the interplay of heat and light of landscape at his home in Geneva, New York.

Homage to the Square: Confident
Josef Albers (1888-1976), German-American
Oil on Masonite, 24" x 24" (w x h), 1954
SFMOMA, San Francisco Museum of Modern Art
Gift of Anni Albers and the Josef Albers Foundation

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Josef Albers, a German-born artist and educator, was the first living artist to be given a solo show at MoMA and at the Metropolitan Museum of Art in New York. He taught at the Bauhaus and Black Mountain College, headed Yale University's department of design, and is considered one of the most influential teachers of the visual arts in the twentieth century.

Albers is best remembered for his work as an abstract painter and theorist. He favored a very disciplined approach to composition, especially in the hundreds of paintings and prints that make up the series Homage to the Square. In this rigorous series, begun in 1949, Albers explored chromatic interactions with nested squares. Usually painting on Masonite, he used a palette knife with oil colors and often recorded the colors he used on the back of his works. Each painting consists of either three or four squares of solid planes of color nested within one another, in one of four different arrangements and in square formats ranging from 16" x 16" to 48" x 48" (w x h).