tristesse engraved march 2012
contents page 3-14: joseph zaritsky page 15-19: abraham mignon page 20-24: osias beert page 25-29: johann wilhelm preyer page 30-34: balthasar van der ast page 35-39: georg flegel page 40-45: alex steinweiss page 46-64: lucienne day page 65-71: etienne morel page 72-79: stef mitchell page 80-90: wilma vissers page 91-98: gebrauchsgraphik page 99-105: antonin hudecek page 106-117: corita kent page 118-130: sandra juto page 131-132: by an unknown photographer page 133-143: an archive # 6
j joseph zaritsky
Zaritsky was born in 1891 in Ukraine, then part of the Russian Empire. He lived in Amsterdam, Paris and Brussels, but mostly he lived in Jerusalem. He studied at the art academy in Kiev before emigrating to Mandate Palestine in 1923. In 1929, he relocated from Jerusalem to Tel Aviv, where he became involved in the city's cultural life while documenting its scenes in his paintings.[1] Between the years 1944–47 lived in Zikhron Ya'akov. In 1948, he was Chairman of the Association of Painters and Scuptors. For over 20 years he worked in watercolours, which he first exhibited at an exhibition jointly with the sculptor Avraham Milkov, at the Tower of David in Jerusalem in 1923, making a notable impact and evoking great interest.[2] After his arrival in Palestine in 1923, it did not take long for Yossef Zaritsky to become one of the country's leading artists and critics, earning acclaim for his singular interpretation of the watercolors of Paul Cezanne and the Russian symbolist Vroubel. Between 1932–33 he opened a studio in the cellar of his home in Rehov Mapu, Tel Aviv. Standard bearer of the Universalists in their conflict with the Orientalists, he led the "New Horizons" group which grew out of the confrontation. In this perspective, his watercolors were seen as a milestone on the road to modernism. His watercolor portraits and still lifes of the late 1920s and the 1930s reflect the influence of the French Intimists, and sometimes of Matisse. From the mid-1930s to the mid-1940s he concentrated on one facet of the urban landscape, exploring the problems of painting in hundreds of watercolors of Tel Aviv rooftops, seen from his own roof and studio window. Gradually flatness and abstraction took over, marking these works as a milestone both in Zaritsky's development and, because of their high quality, in the art of the country. Watercolor, popular among Eretz Israel artists both as the cheapest and the most suitable medium for conveying the transparency and light of the country, was the medium preferred by Zaritsky and many artists he influenced. Among his students were Abramovic, Krize, Aroch, and Holzmann. The Kibbutz Yehiam series of oils and watercolors that Zaritsky created when he was teaching there in 1947–1949 constitute a central chapter in his work. Here, we find the first example in Israel of lyrical abstraction, with its solid and amorphous structure, unity of color, material, and form, its restrained Expressionism, and its light coloration. The high quality of the paintings, and the depth of their expression of human experience, all mark these works as a milestone in Israeli art. In the early 1950s Zaritsky's paintings became more abstract and their subjects harder to decipher. From 1970 until his death in 1985, he lived in kibbutz Tzova, on the outskirts of Jerusalem.
abstract 1960’s
abstract 1970
untitled
flowers on the windowsill
flowers on the windowsill
interior
landscape through the window 1948
landscape through the window 1940
landscape of tsuba 1970
landscape of tsuba
m abraham mignon mignon was born at Frankfurt. His father, a merchant, placed him under the care of the stilllife painter Jacob Marrel, when he was only seven years old. Marrel specialized in flower painting, and found him to be his best pupil. He accompanied Mignon when he moved to the Netherlands about 1660 to work under Jan Davidszoon de Heem at Utrecht. In 1675 he settled there permanently and married the daughter of the painter Cornelis Willaerts (granddaughter of Adam Willaerts).
b osias beert Osias Beert (Antwerp, c. 1580 – 1624) was a Flemish Baroque painter who specialized in flower and "breakfast"-type still lifes. He joined the city's Guild of St. Luke in 1608, and trained Frans van der Borch, Frans IJkens, Paulus Pontius and Jan Willemssen. Beerts's floral paintings, often showing a vase of flowers in a shallow niche, are similar to the works of Ambrosius Bosschaert. His breakfast pieces, frequently known by their Dutch name ontbijtjes ("little breakfasts"), are seen from a high angle with forced perspective, as was common in both Flemish and Dutch still life painting in the early years of the seventeenth century.
p johann wilhelm preyer johann Wilhelm Preyer, a distinguished exponent of the D端sseldorf School of painting, was one of the few of that school to specialise in still lifes. From 1822 Preyer studied at the renowned D端sseldorf Academy, at first under Peter von Cornelius and later under Wilhelm von Schadow until 1931. Johann showed work at Berlin Academy exhibitions from 1830 and went to the Netherlands in 1935. Preyer went to Munich in 1837, accompanied by his brother Gustav and his friends Johann Peter Hasenclever and Theodor Janssen. There Johann Wilhelm Preyer did several of his best still lifes and was so successful that King Ludwig I of Bavaria bought one of his paintings. From Munich Johann Wilhelm Preyer and his two friends travelled frequently to Italy and Switzerland. In 1848 Preyer founded the "Malkasten" Artists' Association in D端sseldorf, where he stayed for the rest of his life
a balthasar van der ast balthasar van der Ast (1593/94–1657) was a Dutch Golden Age painter who specialized in still lifes of flowers and fruit, as well as painting a number of remarkable shell still lifes; he is considered to be a pioneer in the genre of shell painting. His still lifes often contain insects and lizards.
f georg flegel Flegel was born in Olm端tz (Olomouc), Moravia. Around 1580 he moved to Vienna, where he became an assistant to Lucas van Valckenborch I, a painter and draughtsman. Flegel and his employer later moved to Frankfurt, which at the time was an important art-dealing city. As an assistant, he inserted items such as fruit, flowers, and table utensils into Valckenborch's works. In a period of about 30 years (c. 1600-1630), he produced 110 watercolor pictures, mostly still life images which often depicted tables set for meals and covered with food, flowers, and the occasional animal. Among his students were his own two sons, Friedrich (1596/1597-1616) and Jacob (probably Leonhard, 1602-1623), as well as the artist Jacob Marrel.
s alex steinweiss
Alex Steinweiss, art director for Columbia Records during the 1940s, revolutionized the way records were packaged and marketed. His genre-defining work in the visual expression of music transformed both the design and the music industries. Steinweiss was born in 1917 into a music-loving home in Brooklyn, New York. In 1930, Steinweiss entered Abraham Lincoln High School. His skills in art brought him to the attention of the visual arts teacher Leon Friend. Friend encouraged the talents of a select group of students known as the “Art Squad� that included, among others, Gene Federico, Seymour Chwast, and William Taubin. They designed school publications, posters and signs, and were encouraged to submit their work to as many publications and competitions as possible. Steinweiss's work was showcased in PM Magazine when he was just 17. Steinweiss won a scholarship to Parsons School of Design in 1934, became an assistant to the newly arrived Austrian designer Joseph Binder in 1937 and, in 1939, at the age of 23, he became the first art director of the recently formed Columbia Records. At this time, 78-r.p.m. shellac-coated records were packaged as sets of three or four records in separate sleeves bound between plain pasteboard covers. They were stamped only with the title of the work and the name of the recording artist and displayed on shelves with just the spines showing. Steinweiss recognized an opportunity to use the packaging in more creative ways to reflect the music it contained and to improve sales. He went on to design upward of 850 album covers. His first cover was for a 1939 collection of songs by Rodgers and Hart. A theater marquee with the composers' names spelled out in lights pivots on the central red axis of the encased record. His references were the French and German posters he had seen in Friend's class, but in the covers that he went on to design he developed a unique signature style that used geometric patterns, folk art symbolism, and a curly hand-drawn lettering (that became copyrighted as Steinweiss Scrawl). During WWII Steinweiss took a job with the U.S. Navy designing cautionary posters and displays. He continued to work for Columbia Records by night, and after the war, as a consultant. By the early 1950s Steinweiss had added to his list of clients National Distillery, Schenley Distributors, White Laboratories, PRINT and Fortune. In 1974 Steinweiss and his wife moved to Sarasota, Florida, where he continued to paint and design posters for community and cultural events. He passed away on July 17, 2011.
d lucienne day Désirée Lucienne Day RDI (née Conradi; 5 January 1917 – 30 January 2010) was a British textile designer. Inspired by abstract art, she pioneered the use of bright, optimistic, abstract patterns in post-war England, and was eventually celebrated worldwide. Born in Coulsdon, Surrey, England, Day was daughter of an English mother and a Belgian father who worked as an insurance broker. She attended convent school in Worthing, and at 17 enrolled in the Croydon School of Art, where she discovered a love of printed textiles. Later she attended the Royal College of Art, where she was a top student. Through her career, Day won many awards, including the International Design Award of the American Institute of Decorators in 1952, and the Gran Premio prize at the Milan Triennale in 1954. In 1962, she was made a Royal Designer for Industry (RDI), an award which honours designers who have achieved "sustained excellence in aesthetic and efficient design for industry." She was the fifth woman to be made an RDI. Day's work combined organic shapes with bright patterns inspired by contemporary abstract painters such as Wassily Kandinsky and Joan Miró. She believed that good design should be affordable, and in 2003 told the Scotsman newspaper that she had been "very interested in modern painting although I didn’t want to be a painter. I put my inspiration from painting into my textiles, partly, because I suppose I was very practical. I still am. I wanted the work I was doing to be seen by people and be used by people. They had been starved of interesting things for their homes in the war years, either textiles or furniture." Her breakthrough print was 'Calyx', a brightly coloured textile that she created for the Festival of Britain in 1951. She originated hundreds of colourful abstract prints for industry clients such as Heal's.
In the 1970s, Day ceased to design mass production fabrics, turning instead to creating what she called “mosaics”: large tapestries made of thousands of pieces of Thai and Indian silk. They currently hang in the Victoria and Albert Museum, the Queen Elizabeth II Conference Centre, and the coffee shop of a John Lewis store in Kingston upon Thames. Through a career spanning more than five decades, she stood out not just because she was a highly successful working woman during a time in which many women didn't work, but also due to her creative partnership with her husband, furniture designer Robin Day. For 50 years they worked, together but independently, in a shared studio, and their house grew to be considered the epitome of 1950s sophistication. The development of their styles can be traced in Lesley Jackson's book Robin and Lucienne Day: Pioneers in Modern Design, published in 2001. An exhibition of Lucienne Day's textiles and Robin Day's furniture, "Robin and Lucienne Day: Design and the Modern Interior", will be held in Spring 2011 at Pallant House Gallery in Chichester — the city where the Days retired in 2000, in order to be closer to their Sussex cottage, where Day spent much of her time in the garden.
m etienne morel
m stef mitchell Sledmere Blueprints Walking up and down the central staircase in the small and stately Sledmere House in Yorkshire, the internal and external relationships between the house and the wide open spaces of the surrounding landscape of which sky is a focal point. were explored. A series of  eclipses have been observed and developed into a group of prints taking this architectural feature back to a blue print. http://possessedbyprocess.blogspot.com/ http://www.stefmitchell.com/
v wilma vissers ‘every day’ This is a choice of drawings that I have been creating in the last three years in a Moleskine sketchbook. The rhythm of the day, what has happened to me and the mood that I am in, can be read directly from these drawings. Crazy ideas and fantasies find their way into these “everyday drawings”. I take the pencil in my hand without goal and go along with it. Looking back over this period you could state that it is a sequence of recurring images and motives. You could compare it with an alphabet in which certain letters keep reappearing and manifesting themselves in a slightly different form Wilma Vissers www.wilmavissers.com
g gebrauchsgraphik
h antonin hudecek bohemian painter. he studied at the academy of fine arts, prague, in 1887–91 under maximilián pirner, in munich in 1891–3 under anton azbé and otto seitz (1846–1912) and again in prague until 1894 under václav brozík. he spent some time studying in italy (1902 and 1909) and had numerous one-man exhibitions from 1900 onwards. his early work concentrated on the figure, inspired by lyrical plein-air painting, and for a while he was influenced by art nouveau and symbolism (e.g. spring fairy-tale , 1898; prague, n.g.). having come into contact with the school of julius marák in 1897, hudecek devoted himself to landscapes, producing a large group of paintings of the village of okor. the works of this period approach the lyricism of the glasgow school (exhibited prague, 1903) and the sensuous impressionism of his friend antonín slavícek. hudecek gradually renounced melancholy, symbolic colour harmonies and refined techniques, using his brush with greater flourish and accenting light with more striking colours (e.g. cottages by the water , 1906; cheb, gal. f.a.). the end of this period coincides with hudecek’s experience of siracusa and capri and his use of marine motives with reminiscences of art nouveau decorativism and symbolism.
k corita kent Corita Kent (November 20, 1918 – September 18, 1986), aka Sister Mary Corita Kent, was born Frances Elizabeth Kent in Fort Dodge, Iowa.[1] Kent was an artist and an educator who worked in Los Angeles and Boston. She worked almost exclusively with silkscreen and serigraphy, helping to establish it as a fine art medium. Her artwork, with its messages of love and peace, was particularly popular during the social upheavals of the 1960s and 1970s.[2] Kent designed the 1985 annual "love" stamp.[3] After high school, Kent entered the Roman Catholic order of Sisters of the Immaculate Heart of Mary in Los Angeles. She took classes at Otis (now Otis College of Art and Design) and Chouinard Art Institute and earned her BA from Immaculate Heart College in 1941. [4] She earned her MA at the University of Southern California in Art History in 1951.[5] Between 1938 and 1968 Kent lived and worked in the Immaculate Heart Community.[6] She taught in the Immaculate Heart College and was the chairman of its art department. She left the order in 1968 and moved to Boston, where she devoted herself to making art. She died of cancer in 1986. She was friends with Alfred Hitchcock, John Cage, Saul Bass, Buckminster Fuller and Charles and Ray Eames.[citation needed] Kent created several hundred serigraph designs, for posters, book covers, and murals. Her work includes the 1985 Love Stamp and Rainbow Swash (1971), the 150-foot (46 m)-high natural gas tank in the Dorchester neighborhood of Boston.
j sandra juto http://www.sandrajuto.com/
by an unknown photographer
ď Ź
street scene date and location unknown
ď ş exploring an archive # 6 autochromes
children charles c zoller 1918
foolish house, ontario, beach park 1910 charles c zoller
glass dish with classical figures, ceramic bowl and vase of flowers 1915 h wormleighton
orchid 1907 charles c zoller
orchid 1907 charles c zoller
pink lillies 1915 c e wheelock
plant with blue-violet flowers 1915 c e wheelock
reflective pond with trees and bridge 1910 mrs b f russell
still life with fruit bowl, flowers & books 1910 w.s.ellis
syzanthus butterfly orchid 1909 charles c zoller
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