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Article

Justine Hopkins

(b London, Feb 20, 1921; d London, Nov 16, 1975).

English sculptor, painter, printmaker and writer . He left school at 14 to begin his painting career. After spending time in France, Ayrton returned to England in 1939, finding success in stage design and art criticism. His writings in The Spectator (1946–8) were important in the acceptance of Neo-Romanticism. From 1946 he travelled widely in Italy, admiring the Quattrocento painters, especially Piero della Francesca. At Cumae he began the preoccupation with Greek mythology that continued throughout his life; he visited Greece regularly from 1957. After 1955 sculptures became his preferred medium, although drawing remained essential and he produced etchings and lithographs. However, his many bronzes of the Minotaur, Daedalus and Icarus (e.g. Icarus III, 1960; London, Old Change Court) remain his best-known images. The Arkville Maze (1968), built of brick and masonry, contains two lifesize bronze sculptures and still stands in the estate of Armand Erpf in the Catskill Mountains, New York (see Hopkins, p. 402)....

Article

Matthew Gale

(b Vólos, Greece, July 10, 1888; d Rome, Nov 20, 1978).

Italian painter, writer, theatre designer, sculptor and printmaker. De Chirico was one of the originators of Pittura Metafisica. His paintings are characterized by a visionary, poetic use of imagery, in which themes such as nostalgia, enigma and myth are explored. He was an important source of inspiration for artists throughout Europe in the inter-war years and again for a new generation of painters in the 1980s. His abrupt stylistic changes, however, have obscured the continuity of his approach, which was rooted in the philosophy of Friedrich Nietzsche, and this has often led to controversy.

His parents came from the Italian diaspora within the Ottoman empire. He was very close to his brother, Andrea (who later adopted the pseudonym Alberto Savinio). As children they identified themselves with the heavenly twins, Castor and Pollux, while their closest associates became the Argonauts (a reference to Giorgio’s birthplace, Vólos, from which, in Greek legend, the Argonauts departed to retrieve the Golden Fleece). The brothers’ inherited Greek culture was a consistently rich source of inspiration. Their father, Evaristo de Chirico, was an engineer engaged in supervising the construction of the railway in Thessaly. He encouraged his sons’ artistic talents, engaging drawing tutors for Giorgio and sending him to study with the Swiss painter ...

Article

Jean E. Feinberg

(b Cincinnati, OH, June 6, 1935).

American painter, sculptor, printmaker, illustrator, performance artist, stage designer and poet. He studied art at the Cincinnati Arts Academy (1951–3) and later at the Boston Museum School and Ohio University (1954–7). In 1957 he married Nancy Minto and the following year they moved to New York. Dine’s first involvement with the art world was in his Happenings of 1959–60. These historic theatrical events, for example The Smiling Workman (performed at the Judson Gallery, New York, 1959), took place in chaotic, makeshift environments built by the artist–performer. During the same period he created his first assemblages, which incorporated found materials. Simultaneously he developed the method by which he produced his best known work—paintings, drawings, prints and sculptures that depict and expressively interpret common images and objects.

Clothing and domestic objects featured prominently in Dine’s paintings of the 1960s, with a range of favoured motifs including ties, shoes and bathroom items such as basins, showers and toothbrushes (e.g. ...

Article

Sophie Howarth

(b Córdoba, 1955; d Córdoba, Nov 2, 1993).

Spanish draughtsman, painter, sculptor, installation artist, performance artist and writer. In both his art and writing Espaliú, who studied at the Escuela de Bellas Artes in Seville, was influenced by the existentialist philosophy of the French writer Jean Genet (1910–86). His works of the mid-1980s included drawings of masks and faces and a series of hollow leather sculptures known as Saints. Later, Espaliú’s works all related to his identity and experience as a homosexual and, eventually, to his HIV-positive status; he was to die of AIDS-related illnesses while still in his late thirties, and a strong sense of his frailty and imminent mortality marks his mature work. Several sculptures from 1992 involved steel cages used as metaphors for both confinement and protection. These include Untitled (1992; Seville, La Máquina Española, see 1994 London exh. cat.), an installation made originally for the Hospital de la Venerable Orden III in Madrid. As illness made Espaliú weaker and more dependent on others, he embarked on a project entitled ...

Article

Horacio Safons

(b Buenos Aires, Jan 14, 1915; d Barcelona, Oct 14, 1965).

Argentine painter, sculptor, performance artist, conceptual artist, poet and illustrator. After studying in Buenos Aires at the Escuela Nacional de Bellas Artes and with Cecilia Marcovich and Tomás Maldonado, he quickly established a reputation for his scandalous views, attracting extreme disapproval and equally strong support. After delivering a lecture at the Juan Cristóbal bookshop, Buenos Aires, entitled ‘Alberto Greco y los pájaros’ he was briefly imprisoned for his ‘Communism and subversive acts’. On his release in the same year he travelled to Paris on a French government grant, selling drawings and watercolours in the cafés and studying painting with Fernand Léger and printmaking with Johnny Friedlaender. Between 1956 and 1958 he lived in São Paulo, where he became aware of Art informel; he painted in this style in the late 1950s and early 1960s (Glusberg, pp. 284–5).

As early as 1959, when he had returned from São Paulo to Buenos Aires, Greco had expressed his corrosive vision of society through the form of his work. In his shows he exhibited tree trunks and rags for cleaning window gratings or floors. He moved again to Paris in ...

Article

S. Kontha

(b Budapest, April 17, 1904; d Budapest, Jan 26, 1986).

Hungarian painter, illustrator, mosaicist, tapestry designer, stage designer, poster designer, printmaker, sculptor, teacher and administrator. From 1922 to 1929 he studied at the Hungarian Academy of Fine Arts (Magyar Kepzőmüvészeti Főiskolá) in Budapest under Gyula Rudnay (1878–1957) and János Vaszary (1867–1939). In the mid-1920s he became acquainted with Béla Uitz’s General Ludd series (1923; Budapest, N.G.) and in Venice he saw the work of such Russian avant-garde artists as Rodchenko and El Lissitzky and such Italian Futurists as Severini. In 1926 in Paris he studied the works of Léger, Braque, Picasso and others in the collection of Léonce Rosenberg. He was also influenced by the art of Brancusi and Joseph Csáky, as well as André Breton’s Manifeste du surréalisme (Paris, 1924). From the outset, Hincz’s work revealed a number of different objectives. Although he experimented with abstraction, the reference to the figure is always present in one form or another. His profound interest in humanity and its social interaction was based on, and motivated by, this interest in the figure. His early paintings are expressionist in mood and are composed of flattened forms in a shallow space in a manner reminiscent of Cubo–Futurist art. Elements of Purism and Surrealism are also present. After World War II he became increasingly preoccupied with realism, political agitprop art and the problems inherent in creating new symbols; a study trip to Korea, China and Vietnam in ...

Article

Ulrike Lehmann

(b Nice, April 28, 1928; d Paris, June 6, 1962).

French painter, sculptor, performance artist and writer.

He was the son of the Dutch-born painter Fred Klein (b 1898), whose work was representational, and Marie Raymond (b 1908), who developed a reputation in the 1950s as an abstract artist, and whose abstraction was influential on the development of her son’s work. Although he had had no formal art training, he was already making his first serious attempts at painting by 1946 and showing his interest in the absoluteness of colour by formulating his first theories about monochrome. In 1946 he befriended Arman, with whom he was later to be associated in the Nouveau Réalisme movement, and the writer Claude Pascal, whom he met at a judo class. Together they developed their interest in esoteric writing and East Asian religions. Klein became a student of the Rosicrucian Fellowship in 1946 and was influenced both by its mystical philosophy and by judo. In ...

Article

Midori Yamamura

(b Matsumoto City, Nagano Prefect., March 22, 1929).

Japanese painter, sculptor, poet, writer, printmaker, installation, and performance artist, active also in the USA.

Growing up under Japan’s World War II totalitarian regime, Kusama believed art could help her nurture a more humane worldview. She began taking private art lessons at the age of 13. Between 1952 and 1955, she had six solo exhibitions. In 1955 Kusama wrote to artists Kenneth Callahan and Georgia O’Keeffe in the United States and Callahan helped organize her first United States solo exhibition in Seattle (1957).

After Seattle, Kusama moved to New York in 1958, where she launched her career alongside the second generation Abstract Expressionists. In 1959 she developed a series of paintings called Infinity Nets; large horizontal works featuring obsessively repeated small arcs. At solo exhibitions in New York (1959, Brata Gallery; 1961, Stephen Radich Gallery), she only showed white, wall-sized works from the series. Appearing void from a distance, her huge paintings forced viewers to come closer, disallowing their objectification, while permitting each viewer an intimate experience. These works made a strong impression on the New York scene, with Frank Stella and a future Minimalist Donald Judd buying her works....

Article

Deborah Cullen

[MoMA] (New York)

The Museum of Modern Art (MoMA) was founded in 1929 by patrons Lillie P(lummer) Bliss, Cornelius J. Sullivan and Rockefeller family §(1) to establish an institution devoted to modern art. Over the next ten years the Museum moved three times and in 1939 settled in the Early Modern style building (1938–9) designed by Philip S. Goodwin and Edward Durell Stone that it still occupies at 11 West 53 Street. Subsequent renovations and expansions occurred in the 1950s and 1960s by Philip Johnson, in 1984 by Cesar Pelli and in 2002–4 by Yoshirō Taniguchi (b 1937). MoMA QNS, the temporary headquarters during this project, was subsequently used to provide art storage. In 2000, MoMA and the contemporary art space, P.S.1, Long Island City, Queens, announced their affiliation. Recent projects are shown at P.S.1 in Queens in a renovated public school building.

According to founding director, Alfred H(amilton) Barr...

Article

Andreas Franzke

[Winkler, Ralf]

(b Dresden, Oct 5, 1939).

German painter, draughtsman, sculptor, film maker, writer and musician. Having painted from the age of ten, in 1955 he made repeated applications to study at the academies in Dresden and East Berlin but was turned down. He served a one-year apprenticeship as a draughtsman in 1956 before working at a number of different jobs. As early as 1960 he began to paint stick figures and a range of standardized signs, extending this schematic language from 1963 with ideas derived from mathematics, cybernetics and theoretical physics. In such works as Large World Picture (poster paint on fibreboard, 1.72×2.6 m, 1965; Ludwig priv. col., on loan to Basle, Mus. Gegenwartskst), this simplified range of figures and forms, painted in such a way as to convey a spontaneous energy and intensity, is also used to present political and social concerns.

Penck formulated the basis of his mature style while living in East Berlin from ...

Article

Piero Pacini

(b Modena, June 20, 1894; d Rome, June 17, 1956).

Italian painter, decorative artist, stage designer, architect, sculptor and writer. He studied at Lucca, Turin and Rome, where he briefly attended the Accademia di Belle Arti, and his work earned the appreciation of his teacher Duilio Cambellotti (b 1876). In 1912 he joined the studio of Giacomo Balla and belonged to a Futurist art collective through which he met the leaders of the movement. In April and May 1914 he exhibited with other Futurists at the Galleria Sprovieri in Rome and, shortly afterwards, in Prague. Figure+Window (1914; Rome, priv. col.; see Menna, 1967, fig.) exemplifies the experiments he was carrying out at the time. He was particularly interested in the use of combinations of different materials and in theoretical speculation, writing in 1915 the manifestos Scenografia e coreografia futurista, Scultura dei colori e totale and Architettura futurista.

Prampolini met Tristan Tzara in Rome in 1916 and took part in the international ...

Article

Helen A. Harrison

[Grossberg, Yitzroch Loiza]

(b New York, Aug 17, 1923; d Southampton, NY, Aug 14, 2002).

American painter, sculptor, printmaker, poet and Musician. He was a jazz saxophonist before he was encouraged to take up painting by two artist friends, Jane Freilicher and Nell Blaine (b 1922), who shared his enthusiasm for jazz. After brief service in the US Army Air Corps during World War II (1942–3), he studied with Hans Hofmann from 1947–8 in New York and Provincetown, MA. He painted for a short period under the influence of the Abstract Expressionists but, after seeing Pierre Bonnard’s retrospective exhibition at the Museum of Modern Art in 1948, he began to apply his facility for drawing to figurative subjects extracted from the intimate circumstances of his family life and everyday surroundings. The first such pictures, for example Interior, Woman at a Table (c. 1948; New York, Pat Cooper priv. col., see Harrison, p. 29), were stylistically very close to Bonnard’s work, but in such works as ...

Article

Celia Rabinovitch

(b Basle, July 20, 1900; d Sugar Loaf, NY, Jan 2, 1962).

American painter, printmaker, sculptor, stage designer and writer of Swiss birth. He studied at the Ecole des Beaux-Arts in Geneva (1920) and at the Accademia di Belle Arti in Florence (1927). From this training he drew upon two dominant influences, combining a predilection for the illusionistic deep space and the clear vibrant colour of the Italian tradition with the fantastic narratives explored by earlier Swiss artists such as Johann Heinrich Füseli, Ferdinand Hodler, Urs Graf and Niklaus Manuel Deutsch.

In 1929 Seligmann moved to Paris, where he remained until 1938 and where he became associated with Surrealists. While in Paris he also became a member of Abstraction–Création and an acquaintance of Le Corbusier as well as Hans Arp, whose example led him to explore deliberately ambiguous biomorphic imagery. Although he did not formally join the Surrealist movement until 1937, he participated in Surrealist exhibitions throughout the 1930s and made use of organic and fantastic forms, often fusing natural with artificial elements. His paintings and etchings of this period, distinguished by their high degree of finish, make striking use of masks and of dancing figures constructed of abstract forms. Their sense of play, secrecy and concealment recalls the animism of the fairy tale and the Gothic tradition of northern Europe. The element of drama, tension and struggle in the dance is particularly apparent in his depiction of multiple figures. He worked in white tempera on a reddish ground, glazing over that layer with transparent colour and black outline. The highlights were added at the end in keeping with a traditional systematic approach to the illusionistic depiction of space....

Article

Whitney Chadwick

revised by Amy Lyford

(b Galesburg, IL, Aug 25, 1910; d New York, NY, Jan 31, 2012).

American painter, sculptor, illustrator, stage designer, and writer. She studied at the school of the Art Institute of Chicago in 1932 before moving to New York, where she saw the exhibition Fantastic Art, Dada, Surrealism (1936–7; New York, MOMA) and was inspired to become a painter. After meeting Max Ernst in 1942 she became part of the group of exiled Surrealists living in New York during World War II; see Children’s Games (1942) and Eine Kleine Nachtmusik (1943). Her first one-woman exhibition took place at the Julien Levy Gallery in 1944.

One of Tanning’s first Surrealist paintings was the self-portrait, Birthday (1942; Philadelphia, PA, Mus. A.), influenced by the illusionistic Surrealism of René Magritte and Max Ernst that she had seen at the MOMA exhibition. To support herself in the 1940s, she worked as an advertising illustrator for Macy’s, and some of her paintings express an affinity with the conventions of fashion advertising (see ...