Posts tagged art

Louis Valtat (1869-1952) Le Port, signed ‘L. Valtat’ (lower right) oil on canvas. Painted in 1907

Auguste Rodin, Balzac, étude type A. - “According to his reminiscences: “[Rodin] told me that the Balzac was cast from his original sketch for the statue, but the government officials had decided that Balzac was too naked for the nursemaids and children who frequented the gardens and it was refused. He then made the figure that was accepted by simply throwing a dressing-gown about Balzac so that nothing now shows of him, or rather is uncovered, but his head. Mine was the only bronze that he made from this sketch, he told me… He placed a low valuation on the bronze as he seemed to be thoroughly disgusted with the prudery of the officials” — A. Gallatin, The Pursuit of Happiness, The Abstract and Brief Chronicles of the
Time, New York, 1950, pp. 27-28

Never mind the Frank Stella’s.

An Allegory of Tulipomania by Jan Breughel II (Antwerp 1601-1678) - This exceptional newly discovered Allegory of Tulipomania can be added to a group of so called singeries painted by Jan Breughel II. These satires, which refer to the economic folly of the previously valuable plants depict speculators as brainless monkeys in contemporary upper-class dresses. Three other paintings by Jan Breughel are known which also refer to the Tulipomania that seized the Netherlands in the first half of the 17th century.

Symphony For A Big City: Stenberg Brothers (Vladmir, 1899-1982 Georgi, 1900-1933) lithograph in colours, 1928 - Poster portrays a day in Berlin via kaleidoscopic visual impressions but without any lineal narrative content. Although a German film, the director, Walter Ruttmann, showed knowledge of Soviet montage theory. Ruttmann’s own description of the film suggests that his motives were predominantly aesthetic: ‘Since I began in the cinema, I had the idea of making something out of life, of creating a symphonic film out of the millions of energies that comprise the life of a big city.’ The film gained international praise and is now regarded as a unique ‘time-capsule’ of the city of Berlin in the mid to late 1920’s before Nazi influence. The Stenberg Brothers designed this poster for the Russian release of the film in 1928.

TONY OURSLER (b. 1957) Untitled, 2005. signed ‘Tony Oursler (lower right), dated ‘2005’ (lower left) collage and carbon on paper.

Marlen Keller - llustration for NOVEMBRE magazine issue 7.

“The artist as true individual is structured not by the environment but by environment in the active sense, and in this Kline achieves a decisive but momentary identity. It is not a question of social environment, but what replaces it. Forsaking the idea that one’s relationship to the world remains constant, changes in the immediate requirements of the environment beget adjustments to situations rather than achievements of solutions to them. Thus, Kline’s is an art and identity based in the circumstances of…,the situation of…, the configuration of…, the constitution of…, and the structure of…The situation of what, the configuration of what, and the constitution of what makes sense, as does a question, only in reference to the self.”

- (S. C. Foster, “Franz Kline: Art and the Structure of Identity,” Franz Kline: Art and the Structure of Identity, Barcelona, 1994, p. 37).

Romano Di Massa (1889-1985) Poster For Circuito Di Milano a lithograph in colours, 1924, printed by Flli.

André Kertész (1894-1985), Martinique, 1972. Gelatin silver print,

Blue Ridge Way, North Carolina and Virginia, Paul Caponigro, 1965. Gelatin silver print, printed later, signed in pencil on the mount and the overmat.

Paul Caponigro (born 1932) Stream, Redding, Connecticut, 1968. Gelatin Silver Print.

Leonardo, Donatello, Michelangelo di Lodovico Buonarroti Simoni and Rafael. Very clever, kudos to you if this is credited to you. Those really aren’t weapons by the way, it’s a ruse, they hold paintbrushes.

Ivan Navarro, Shortcut, 2005. triptych: aluminum doors, mirrors, neon variable, each 86 x 39 1/2 x 7 in. (218.4 x 100.3 x 17.8 cm.) overall 86 x 130 x 7 in. (218.4 x 330.2 x 17.8 cm.) This work is number 2 from an edition of 3 plus 1 artist’s proof.

Glenn Ligon, Malcolm X, Sun, Frederick Douglass, Boy with Bubbles #2, 2001, flashé paint and silkscreen ink on paper. 24 3/8 x 17 1/4 in. (61.9 x 43.8 cm.) Signed, titled and dated “Glenn Ligon 2001, Malcolm X, Sun, Frederick Douglass, Boy with Bubbles #2” on the reverse.