Bernardi simonetta (7 Ergebnisse)

Hardback. Zustand: Good. ?I?ve always been crazy about Soutine ? all of his paintings,? said the Dutch-American abstract expressionist Willem de Kooning (1904?1997) in 1977. How much de Kooning?s approach was due to the influence of Lithuanian artist Chaim Soutine(1893?1943) is examined in this exhibition catalogue, in which the two artists are dramatically juxtaposed.This book accompanies an exhibition organized by the Musée de l?Orangerie, Paris, and The Barnes Foundation, Philadelphia, dedicated to the affinities between the work of Chaim Soutine and Willem de Kooning. It was Dr Alfred Barnes who had made Soutine?s career by buying the bulk of the unknown artist?s available work in Paris in 1923. The exhibition and accompanying publication will show how the work of Soutine had a decisive influence on the development of de Kooning?s art, especially following Soutine?s posthumous retrospective held at The Museum of Modern Art in 1950.The expressive force of Soutine?s painting, coupled with his image as an ?accursed? (maudit) artist struggling with the vicissitudes and excesses of bohemian life in Paris during the interwar years, exerted a particular influence on a new generation of post-war painters in the United States. In 1977 de Kooning emphatically declared: ?I think I would choose Soutine [as my favourite artist] . I?ve always been crazy about Soutine ? all of his paintings? Of all the Abstract Expressionists, de Kooning was the only one who continued to praise Soutine throughout his career and to credit him with an influence on his work. De Kooning very likely first discovered Soutine?s work before the Second World War in the New York galleries. Indeed, his figure paintings of the 1940s with their distortion and sense of compression already shared characteristics with Soutine?s figures painted of two decades earlier. A significant turning point in de Kooning?s work, evident in his celebrated series of Women paintings of the early 1950s, coincides with his in-depth study of the artistic world of Soutine at both The Modern?s retrospective and his visit to the Barnes Foundation with his wife Elaine de Kooning in June 1952. It was during these years that the Dutch-American artist matured his own personal form of expressionism, which, with its visceral brushstrokes and heavy impasto, lies somewhere between figuration and abstraction.…

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FIRST EDITION 4to. hardback with illustrated laminated covers. 166pp., profusely illustrated in colour. A clean copy with no previous owners' markings or inscriptions. A VERY GOOD COPY. (Shelf 8) ISBN: 9781911300885 PLEASE NOTE: Heavy Book (1.2 kg+) Postage rates vary according to destination, weight and speed. For an accurate overseas quote PLEASE either call or email us before ordering. [AbeBooks shipping quote is based on items weighing up to 1 kilo only]. Buyer is responsible for any additional duties, taxes, or fees required by recipient's country.** Pictures available upon request.** Visit our homepage for our shop opening hours. Over 20,000 books in stock - come and browse. PayPal, credit and most debit cards welcome. Books posted worldwide. For any queries please contact us direct. …

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Zustand: Used: Very Good. Cartonné, comme neuf OUTRE des coins enfoncés.

Softcover. Zustand: Sehr gut. 1. Auflage. W : 232 pages - Mieux que tout autre artiste de sa génération, de Kooning a su déceler la tension entre les deux pôles apparemment opposés de l'uvre de Soutine : une recherche de structure doublée d'un rapport passionné à l'histoire de l'art, et une tendance prononcée à l'informel. L'uvre de Soutine devient alors une référence permanente pour l'artiste américain. De Kooning, qui cherche à dégager sa peinture de l'antagonisme art figuratif / art abstrait en élaborant une 'troisième voie' originale, trouve dans l'art de Soutine une légitimation de sa propre pratique. L'exposition mettra en dialogue les univers singuliers de ces deux artistes au travers d'une cinquantaine d'uvres articulées autour de thématiques essentielles : la tension entre la figure et l'informe, la peinture de la "chair", la pratique picturale "gestuelle" des deux artistes.…