Libros de Artistas contemporáneos, página 116 de 381

Queste pagine dicono del luogo mentale ove mi e parso che le esperienze narrate trovino casa: altrove rispetto ad ogni strada individuata da molti, e percorsa da costoro assieme, in piu o meno stretta e agguerrita coesione; lontano da ogni gruppo, dotato o meno di una bandiera ideologica, o strategica, sempre cosi utile nellarte del XX secolo, a veicolare verso il successo, e il riscontro critico, le singole esperienze. Qui daltro si vuol dire: di quei tragitti creativi che hanno segnato la vicenda della pittura italiana del secolo scorso imprimendovi limpronta della loro qualita, ma che con quella vicenda puo dirsi che ebbero infine solo tenui rapporti: non in quanto quei rapporti non furono da essi mai cercati, ma perche quegli uomini trovarono infine la loro verita nellappartatezza di un pensiero, e di un fare, macerati soltanto in solitudine. Esiste certamente, percio, un frangente dellesistenza di Morandi vissuto accanto allesperienza metafisica, e poi accanto ai Valori Plastici di Mario Broglio; esiste un de Pisis che contiamo fra gli italiens de Paris; esiste un Pirandello prossimo per un attimo a Mafai e al tonalismo romano, come esiste un Licini tentato nella primissima sua stagione dalla sirena futurista, poi dalla vicinanza alla coine astrattista del Milione: ma nessuno di essi ha infine trovato in quelle comunanze la propria maggiore maturita. Hanno pagato, ciascuno, quel loro isolamento: Licini con il primo serio riconoscimento venuto solo lanno della morte; Pirandello con il sostegno, a lungo e soltanto, di una piccola critica di impatto poco piu che regionale; de Pisis con il dileggio di tanti; Morandi con il vituperio, venutogli in epoche diverse da fronti lontanissimi, dun mancato coraggio, e impegno, della sua pittura. E con infinite incomprensioni: dal neo-impressionismo attribuito, come irredimibile retaggio di un tempo trascorso, a de Pisis; alla isolanita (quale?) supposta per Pirandello. Infine: non ebbero chi li seguisse, se non pallidi imitatori. Nemmeno Morandi, di cui pure il suo interprete piu appassionato, Arcangeli, volle scorgere la familiarita con un nuovo naturalismo: ma errando.F.D.A.

Sofonisba AnguissolaDie erste Malerin der NeuzeitZu den bedeutendsten Malerinnen des 16. und 17. Jahrhunderts gehorte die italienische Kunstlerin Sofonisba Anguissola (um 1531/15321625), nach anderer Schreibweise auch Anguisciola. Ihre Werke fanden bereits zu ihren Lebzeiten den Gefallen von groen Meistern und reichen Adligen. Dank ihres Talents konnte Sofonisba als Zeichenlehrerin am spanischen Konigshof nicht nur ihren eigenen Lebensunterhalt, sondern auch den ihrer Eltern verdienen. Man bezeichnet sie als erste Malerin der Neuzeit.Sofonisba Anguissola kam laut Online-Lexikon Wikipedia um 1531/1532 als altestes von sieben Kindern des Amilcare Anguissola und seiner Ehefrau Bianca Ponzoni in Cremona (Oberitalien) zur Welt. Die von vielen Autoren auf 1527/1528 datierte Geburt beruht auf der falschen Aussage des flamischen Malers Anthonys van Dyck (15991641), der Sofonisba 1624 ein Jahr vor ihrem Tod kennen lernte und als 96-jahrig, blind, aber von lebendigem Verstand bezeichnete.Sowohl der Vater als auch die Mutter von Sofonisba gehorten zu aus dem Handelsburgertum stammenden adeligen Familien der Stadt Cremona. Sofonisbas funf Schwestern hieen Elena (nach 1532 bis nach 1584), Lucia (zwischen 1537 und 1542 bis vor 1566), Minerva (zwischen 1539 und 1541 bis vor 1566), Anna Maria (um 1555/1556 bis um 1611) und Europa (um 1566 bis vor 1578 tatig). Ihr jungster Bruder trug den Vornamen Asdrubale. Die Eltern lieen ihren Tochtern eine humanistisch gepragte Bildung sowie eine Ausbildung zukommen, die damals nur fur mannliche Familienmitglieder ublich war.

Frederic Amat és un dels més destacats creadors del panorama artístic nacional contemporani."Frederic Amat_Zoòtrop" presenta una selecció de projectes d'intervenció en espais públics i privats, tant

Jackson Pollock's Mural, created early in his career in 1943, is a vast panorama spanning a 6-metre-long canvas - the largest painting he ever made. Mural marked a watershed for Pollock: a presentiment of the epic scale, complexity, energy and ambition of the work ahead. David Anfam considers the manifold influences on Pollock that led to this landmark achievement - including the context of the American West, his hitherto little-known relationship with Clyfford Still and the importance of wartime action photography. He also traces the explosive magnetism Mural exerted over the emergent Abstract Expressionists and its legacy for painters and sculptors as diverse as Mark Rothko, Robert Motherwell, David Smith, Richard Serra and Brice Marden. Indeed, the work's wider impact on post-war American art is comparable to that of Picasso's Demoiselles d'Avignon on European modernism in the first half of the twentieth century.

Johannes Vermeer (1632-1675) has been one of the most widely admired European painters since his so-called rediscovery in the second half of the nineteenth century. Until quite recently, the Romantic roots of writing on the Sphinx of Delft have encouraged the image of him as an isolated genius; the artists private life and religion, his supposed use of a camera obscura, and the fact that his teacher has not been identified have all contributed to an air of mystery. As this new monograph demonstrates, Vermeers life is actually well documented and his work may be more appropriately understood by placing the painter in the context of the Delft school as a whole and of Delft society. The fact that one local patron acquired about twenty pictures by the artist (only thirty-six are known today) must have been significant for Vermeers subtleties of meaning and refinements of technique and style. In the end, however, the most historical approach to "Vermeer" still leaves us with a master whose rare sensibility and extraordinary powers of observation may be described but not explained.

Madrid. TF. Artes Gráficas. Fundación Mapfre. 2009. 4º mayor, 402pp-3h. Cientos de falsas láminas aparte fotograbadas a color dentro de paginación, fotograbados en negro y color al texto. Holandesa tela del editor, cartone estampado en seco con cromo adherido, buen papel semisatinado. Perfecto estado, nuevo y cuidada edicion, con embalaje original retractilado. Traduccion al ingles sobre otro tipo de papel al final. Max Ernst, Bruhl, Alemania, 1891-1976. Figura fundamental tanto en el movimiento dada como en el surrealismo. Descuento aplicado xx aniversario

Catálogo de la exposición "Piedad y terror en Picasso. El camino a Guernica." en el Museo Nacional Centro de Arte Reina Sofia. Con motivo de los 80 años que cumple el cuadro desde su creación y 25 desde su llegada a Museo Reina sofia, se realiza esta exposición que acoge más de 170 obras del pintor malagueño tanto del fondo de la Colección como de otras instituciones.

Retrospectiva de la carrera pictórica de uno de los principales pintores retratistas españoles de la actualidad.

Catálogo de la Exposición

Vital Mantra reúne las obras más representativas realizadas por el artista abstracto Àlex de Fluvià, a lo largo de veinte años de creación en Barcelona, Nueva York, El Cairo, Tokio y Dubái.

Catálogo de la exposicion realizada en el Koldo Mitxelena Kulturenea entre enero y marzo de 2017 sobre la obra de Javier Aramburu

Frederic Amat es uno de lo más destacados creadores del panorama artístico nacional contemporáneo."Frederic Amat_Zoótropo" presenta una selección de proyectos de intervención en espacios públicos y privados, tanto naturales como urbanos, a menudo vinculados a la arquitectura, y ofrece una excelente oportunidad para poder comprender el original imaginario vital y artistico del autor.

Edgar Degas (1834-1917) was one of the outstanding draughtsmen of the 19th century and drawing was not only a central tenet of his art but also essential to his existence. Through an examination of the artists drawings and pastels, Christopher Lloyd reveals the development of Degas' style as well the story of his life, including his complicated relationship with the Impressionists. Following a broadly chronological approach, the author discusses the various subject areas, not only the images of dancers (which form over half of Degas' total oeuvre) but also of nudes and milliners, and the less well-known racehorse and landscape drawings. He covers his whole career, from when Degas was copying the Old Masters to learn his craft to when he ceased work in 1912 because of failing eyesight, setting him within the artistic context of the period. Lloyd's extensive research, which includes consulting the artists detailed notebooks, has resulted in a comprehensive exposition with, at its heart, some 250 pencil, black-chalk, pen-and-ink, and charcoal drawings and pastels of timeless appeal.