Libros de Artistas contemporáneos, página 26 de 376

Starker than Velázquez and more ascetic than El Greco, Francisco Zurbarán (1598-1664) is easily among the finest of seventeenth-century Spanish painters. Apprenticed in Seville, he quickly gravitated toward the use of chiaroscuro, possibly having seen paintings by Caravaggio there: he was later to become known as the Spanish Caravaggio. But Zurbarans temperament, as it is realized in his painting, appears more melancholy, and therefore less foreboding, than Caravaggios, and his religious subjects are almost exclusively Christian. He developed a characteristic image repertoire around monasticism and martyrs and made a speciality of the Carthusians, whose white robes he took evident pleasure in depicting. His best-known work may be his 1631 Apotheosis of Saint Thomas Aquinas, now housed in the Seville Museum. It was around this time that Zurbarans star reached its peak, as he was appointed court painter to Philip IV. Later, toward the end of his life, Zurbarans harsh chiaroscuro style fell from favor, but his reputation was restored in the twentieth century, in part through the concerns of Cubism and its attraction to precedents for an emphatic plasticity. In this monograph, illustrated with 114 color plates, Santiago Alcolea, a scholar of seventeenth-century Spanish art and the author of previous books on Velazquez and El Greco, provides us with an overview of Zurbarans artistic career, dividing it into four stylistic phases and reproposing his relevance for our times.

Drawing on exhaustive research from interviews and unpublished archival material, John Richardson has produced the long-awaited third volume of the definitive biography, full of original, groundbreaking new insights into Picasso's life and work. His lively and incisive analysis of the work meshes seamlessly with the rich and detailed narrative of this complex and sensual life. "The Triumphant Years" reveals Picasso at the height of his powers, producing not only the costumes and sets for such Diaghilev Ballets Russes productions as "Parade" and "Tricorne" but some of his most important sculpture and paintings. These are tumultuous years, Picasso torn between marital respectability with Olga, the Russian ballerina who was his first wife, and the erotic passion of his mistress, Marie-Therese.Rome and Naples would inspire the classicism in Picasso's work of the early twenties and Richardson reveals how the mercurial, witty Cocteau introduced him to the aristocratic and artistic world of Paris, including the de Noailles art patrons who backed the surrealist films of Bunuel and Dali. Picasso was amused by Tristan Tzara and the Dadaists but resisted the advances of Andre Breton and the Surrealists. Sara and Gerald Murphy, whom he met in the south of France, would introduce him to Hemingway and Fitzgerald. With "The Triumphant Years", Richardson has written a masterful and compelling biography full of valuable and intriguing research about the most important artist of the twentieth century.

Gustav Klimt`s art is thoroughly fin de siecle. It expresses the apocalyptic atmosphere of Vienna`s upper-middle-class society a society devoted to the cultivation of aesthetic awareness and the cult of pleasure. The ecstatic joy which Klimt (18621918) and his contemporaries found or hoped to find in beauty was constantly overshadowed by death, and death therefore plays an important role in Klimt`s art. Klimt`s fame, however, rests on his reputation as one of the greatest erotic painters and graphic artists of his times. Particularly his drawings, which have been widely admired for their artistic excellence, are dominated by the erotic portrayal of women. Klimt saw the world "in female form." Author Gottfried Fliedl also discusses the Secession movement and Klimt`s role within this important group of artists.

Eduardo Arroyo (Madrid, 1937) ha realizado su obra dentro de una corriente de figuración crítica y literaria de una enorme originalidad. Tras una inicial vocación literaria, que no abandonaría con el paso del tiempo y le llevo a formarse como periodista, se traslado a Paris en busca del clima de libertad que no encontraba en España.

Fellow painter Walter Erben spent countless hours conversing with his colleague Joan Miró (1893-1983) at his house in Mallorca in preparation for this book. Over the course of these talks, Miró gave Erben many interesting and invaluable insights into his art, as well as his own interpretations of his most significant works. Thus was born this Miro retrospective which explores, through texts and images, the life`s work of one of the 20th century's most influential painters.

This book grew out of an exhibition that was organized by the Tony Shafrazi Gallery, New York, in 2005. With the show, Shafrazi paid homage to a seminal display of Warhol's portraits that took place at the Whitney Museum of American Art, New York, in 1979-80. Titled 'Andy Warhol: Portraits of the 1970s,' the Whitney exhibition presented for the first time a large array of the commissioned portraits that the artist began in the early 1970s as a way to offset the cost of multiplying activities at the Factory. Shafrazi's exhibition included many of the portraits shown in the original Whitney exhibition as well as others. This volume takes Shafrazi's exhibition even further, nearly doubling the number of works shown.Art historians and critics have long neglected this body of Warhol's work, preferring to discuss and study the more iconic Lizzes and Marilyns or Campbell's Soup Cans of the 1960s. Many of the portraits in this book have rarely been seen before. For example, the book will include, in addition to the famous portraits of Jackie, Marlon Brando, or Dennis Hopper, images that Warhol made of actors Bill Murray and Meryl Streep, of fellow artists Donald Judd, Cy Twombly, and Joseph Kosuth, of royal family members such as Princess Diana and Princess Caroline, and of lesser-known socialites and art patrons. This book includes an essay by Robert Rosenblum, who also contributed to the Whitney's original exhibition catalogue, a text by renowned art historian and Warhol expert Carter Ratcliff, and an introduction by Tony Shafrazi.

Juan Muñoz uno de los escultores más destacados de su generación (Madrid, 1953-Ibiza, 2001). Este es el primer volumen dedicado exclusivamente a su obra escrita. En él se incluyen ensayos sobre historia del arte contemporaneo, obras de ficcion, para radio y poesia.

Les formes de caminar són infinites, com a infinites són les metàfores que el camí hi ha enllumenat al llarg dels segles. Dir que l´ofici de columnista és una forma de caminar és a dir que, a la fi,

En los primeros 25 años de la Muestra de Arte Joven hemos disfrutado de obras de gran calidad y originalidad. Estas cualidades no sorprenden porque Aragón es cuna de grandes y valientes artistas. Desde la primera convocatoria, las ediciones de la Muestra de Arte Joven se han ido superando en número de participantes y en calidad. Son cientos los artistas que han mostrado en este escaparate sus obras, fiel reflejo de la evolución de los formatos artísticos y de las inquietudes de los jóvenes aragoneses.

Nacido en Mérida en 1947, pero instalado en Palazuelos de Eresma (Segovia) desde hace tres décadas, Mon Montoya es uno de los artistas españoles contemporáneos que con más rigor, coherencia y firmeza ha reivindicado la practica pictorica. Cultivador de un expresionismo signico muy personal en el que se advierte el influjo de, entre otros, Paul Klee, Joan Miro, Antoni Tapies, Jean Dubuffet o las lecciones del Expresionismo abstracto norteamericano, Montoya ha evolucionado notablemente desde unos inicios vinculados a la nueva figuracion de los años ochenta que se caracterizaban por la ironia, el abigarramiento de formas y volumenes y el gusto por lo grotesco. Desde su temprana colaboracion con su amigo el pintor Rafael R. Baixeras, Montoya ha seguido un camino insobornablemente personal cuyas etapas responden a una busqueda coherente, dictada una y otra vez por impulsos y exigencias interiores, para la que ha encontrado un correlato sugestivo en escrituras poeticas fuertes como las de Garcia Lorca, Rilke, Antonio Gamoneda y Anibal Nuñez. Su obra reciente, que ahora se da a conocer bajo el titulo de El arbol del rescate, es fruto de un proceso de depuracion y entrañamiento que, apoyado en el automatismo, se manifiesta en una abstraccion saturada de signos que cargan de contenido psiquico el lienzo. Surge asi una pintura que ha sido calificada por sus criticos mas cercanos de escritura liquida o paisaje escrito, regida por una concepcion ritmica del espacio y la exploracion serial de motivos y signos recurrentes. Este catalogo recoge el ensayo de Miguel Copon La precision de la ceniza asi como fragmentos de los principales textos sobre el artista y su obra. Firman, entre otros, Fernando Castro, Maria Garcia Yelo,