Nยบ6 EN / FEB 2014
FREE MONTHLY MAGAZINE
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©Los Angeles County Museum of Art, gift of Lucille Ellis Simon and her family in honour of the 25th anniversary of the museum. • © Estate Erick Heckel / 2013 ProLitteris, Zurich.Serge Sabarsky Collection, Courtesy Neue Galerie New York. • ©Kunst- und Museumsverein Wuppertal. • © 2013 ProLitteris, Zurich - Merzbacher Foundation • © The Museum of Modern Art, New York, acquired 1939. • ©Kunsthaus Zürich • ©San Francisco Museum of Modern Art, gift of the Women’s Board and Friends of the Museum • © Succession H. Matisse, Paris / 2013 ProLitteris, Zurich. Tate, bequest Lord Amulree, 1984 • ©Von der Heydt-Museum Wuppertal • © 2013 ProLitteris, Zurich. Brücke-Museum, Berlin • © Kees van Dongen Estate / 2013 ProLitteris Zurich. The Museum of Modern Art, New York, gift of Mr. and Mrs. Peter A. Rübel, 1955 • ©Ascona, Fondazione Marianne Werefkin, Museo Comunale d’Arte Moderna Miguel Angel Moya • © Courtesy Miguel Angel Moya Philadelphia Museum of Art • ©Philadelphia Museum of Art, 125th Anniversary Acquisition. Purchased with funds contributed by C. K. Williams, II, 1999. © Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn . Philadelphia Museum of Art, 125º Aniverário de Aquisição. Comprado com fundos de C. K. Williams, II, 1999. © Sociedade de Direitos de Autor, Nova Iorque / VG Bild-Kunst,Bona. • • ©Philadelphia Museum of Art, Purchased with the Edith H. Bell Fund, the Edward and Althea Budd Fund, gifts (by exchange) of Mr. and Mrs. William P. Wood and Bernard Davis, and bequest (by exchange) of Miss Anna Warren Ingersoll, 1989. © Artists Rights Society (ARS), New York / ADAGP, Paris - Philadelphia Museum of Art, Adquirido pelo Fundo de Edith H. Bell, Fundos de Edward e Althea Budd, doação (por troca) de Mr. e Mrs. William P. Wood e Bernard Davis, e legado (por troca) de Miss Anna Warren Ingersoll, 1989. © Sociedade de Direitos de Autor Nova Iorque / ADAGP, Paris. • • ©Philadelphia Museum of Art, Gift of the Friends of the Philadelphia Museum of Art, 1971. © Man Ray Trust / Artists Rights Society (ARS), New York / ADAGP, Paris - Philadelphia Museum of Art, Doação dos Amigos do Philadelphia Museum of Art, 1971. © Man Ray Trust / © Sociedade de Direitos de Autor, Nova Iorque / ADAGP, Paris. • • ©Philadelphia Museum of Art, The Louise and Walter Arensberg Collection, 1950. © Artists Rights Society (ARS), New York / SIAE, Rome - Philadelphia Museum of Art, Colecção de Louise and Walter Arensberg, 1950. © Sociedade de Direitos de Autor, Nova Iorque / SIAE, Roma. • • ©Philadelphia Museum of Art, A. E. Gallatin Collection, 1952. © Artists Rights Society (ARS), New York / ADAGP, Paris Philadelphia Museum of Art, Colecção de A. E. Gallatin, 1952. © Sociedade de Direitos de Autor, Nova Iorque / ADAGP, Paris. • • ©Philadelphia Museum of Art, The Louise and Walter Arensberg Collection, 1950. © Salvador Dali, Gala-Salvador Dali Foundation / Artists Rights Society (ARS), New York. • Philadelphia Museum of Art, Colecção de Louise and Walter Arensberg, 1950. © Salvador Dali, Fundação Gala-Salvador Dali / © Sociedade de Direitos de Autor, Nova Iorque The Hammer Museum • © Collection UCLA Grunwald Center for the Graphic Arts. Hammer Museum.Photograph by Brian Forrest/ Colecção UCLA Centro Grunwald para as Artes Gráficas. Hammer Museum Photography de Brian Forrest.
Line & Stylish, Art Magazine ERC Registration Nr – 126385 Owner: José Eduardo de Almeida e Silva Publisher: José Eduardo de Almeida e Silva NIF: 179208586 Periodicity: Monthly Editorial Address: Urbanização do Lidador Rua 17, nr 106 4470-709 – Oporto - Portugal Contact: +351 926 493 792 Director in Chief: Eduardo Silva Vice-director: Isabel Gore Editor in Chief: Eduardo Silva Editorial Staff: José Eduardo Silva Isabel Pereira Coutinho Luís Peixoto Art and Web Director: Luís Peixoto Photography: Camden Arts Centre • © Courtesy Camden Arts Center - Silke Otto-Knapp Carolina Serpa Marques • © Courtesy Carolina Serpa Marques Edgar Noe Mendoza Mancillas • © Courtesy Edgar Noe Mendoza Mancillas. Eloy Morales • © Courtesy Eloy Morales Fondation Beyeler • © The Museum of Modern Art, New York, Gift of Mrs. Werner E. Josten in memory of her husband, 1964 .Photo: © 2013. Digital image, The Museum of Modern Art, New York / Scala, Florence. • ©Musée d’Orsay, Paris • Photo: © RMN-Grand Palais (Musée d’Orsay) / Hervé Lewandowski. • ©Dian Woodner Collection, New York .Photo: Lynton Gardiner/ Colecção ©Dian Woodner Collection, New York .Photo: Lynton Gardiner • ©Millicent Rogers Collection.Photo: Davis A. Gaffga Odilon Redon. • ©Kröller-Müller Museum, Otterlo. Photo: Collection KröllerMüller Museum, Otterlo. • ©The Metropolitan Museum of Art, New York, Bequest of Alexander M. Bing, 1959 • Photo: bpk / The Metropolitan Museum of Art. • ©Fujikawa Galleries, Tokyo Odilon Redon. • ©The Museum of Modern Art, New York, Gift of the Ian Woodner Family Collection, 2000 • Photo: © 2013. Digital image, The Museum of Modern Art, New York / Scala, Florence Odilon Redon. • ©Collection of Jean Bonna, Geneva.Photo: Patrick Goetelen, Geneva. Ismael Fuentes • © Courtesy Ismael Fuentes Javier Vazquez • © Courtesy Javier Vazquez Juan Gallego Garrido • © Courtesy Juan Gallego Garrido Juan Manuel Fernandez Pinedo • © Courtesy Juan Manuel Fernandez Pinedo Kunsthaus Zürich • ©The Metropolitan Museum of Art, New York, bequest Stephen C. Clark, 1960. • ©Museum Folkwang, Essen
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The main subject of our February issue takes the reader to the new artistic expressions in Spain, made by Spanish Artists born after 1970. With that, and once again, we want to show the world the leading role of the Spanish Art. In fact, it is the frontline of the new avantgarde that characterizes the first decades of the 21st century, where the figurative acquires again all its importance. This can be easily seen in the seven chosen artists; Eloy Morales, with his magnificent hipper realism, being his face the main matter. The same can be found in Ismael Fuentes’paintings showing the trivial things of everyday life, or Javier Vazquez using the new mediums to depict the young generation’s parties. With Juan Gallego, a similar preoccupation can be seen mainly the confrontation between the realism and the abstract given by the backgrounds. Juan Manuel Fernandez Pinedo develops all the forgotten techniques of the landscape to please the viewer with superbes foregrounds of trees and branches, playing with the color, shape and light. Something that we find in the photorealism, showed by Miguel Angel Moya through his urbanscapes. At last, we are introduced to Miguel Coronado’s paintings where it can be easily found the poetry of Impressionism, here rewritten in the contemporary way without losing their magic. Much more could be written and showed about the new figurative trends developed by the Spanish artists, but we truly believe that the selection presented by Line and Stylish it’s more than enough, to give a panoramic view about an historical moment where Spain, once again takes the lead. The Artist of Month is not by chance someone who isn’t Spanish, but who lives in Spain for a long time and has a similar position in the development of the new trends that we have spoken above. We are talking about Edgar Noe Mendoza Mancillas whose art has an inner poetry that doesn’t need any words.
José Eduardo Silva Director Geral Capa: Luis Peixoto 3
ÍNDEX 6.
CAMDEN ARTS CENTER
42.
Silke Otto Knapp
16.
KUNSTHAUS ‘From Matisse to Der Blaue
Expressionism in Germ
FONDATION BEYELER
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FROM SPAIN W
Odilon Redon
30. EDGAR NOE MENDOZA MANCILLAS Artist of the Month
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126. PHILADELPHIA MU
The surrealists: Works f
S ZÜRICH Reiter/ The Blue Rider’.
136.
CAROLINA SERPA MARQUES
142.
THE HAMMER MUSEUM
many and France’
WITH LOVE
USEUM OF ART
Tea And Morphine
158.
FEBRUARY HIGHLIGHTS
from the collection
info@lineandstylish.com +351 926 493 792 5
Camden Arts Centre
Silke Otto-Knapp 17 January – 30 March 2014
In January Camden Arts Centre presents an exhibition of new work by German artist Silke Otto-Knapp (b.1970). Otto-Knapp is best known for her large scale canvases depicting scenes inspired by stage performance and landscape. Otto-Knapp tackles the tradition of romantic landscape painting through the constraints of stage design, to question issues of decorative surface, spatial depth and pictorial construction. Rendered almost entirely in black and silver pigments creating a stage-lit effect, the monochrome compositions of this new body of work address the visual contrivances in performance and landscape with a particular focus on lighting. The moonlit stage in Stage (North & South) 2012 and Stage (Moonlit) 2011 takes inspiration from Anna Halprin’s stage built into the forest at her mountain home north of San Francisco. These compositions bring nature and artifice into direct communion as the trees themselves act as a frame for the space of the stage and issues of reality and artifice are confused.
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Silke Otto-Knapp
Trees and Moon, 2013
Watercolor on canvas, 130 x 100 cm 7
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Silke Otto-Knapp
Stage(North and South), 2012
Watercolor on linen, 130 x 150 cm
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Silke Otto-Knapp
Stage (moonlit), 2011
Watercolor and gouache on canvas, 140 x 160 cm
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Silke Otto-Knapp
Tableau 1 (braiding), 2011
Watercolor and gouache on canvas, 130 x 150 cm
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Silke Otto-Knapp
Wintertrees, 2012
Watercolor on linien, 130 x 100 cm 14
The paintings depict their subject matter softly, with emphasis on tone and atmosphere. This delicate rendering of unapologetically romantic and fantastical scenarios (moonlit forests, romantic landscapes or ballet performances) could be seen as a post-feminist proposition. Watercolour, which has been assigned a minority status in the art historical tradition, is here elevated to the grand scale of oil painting. Silke Otto-Knapp was born in Osnabr端ck, Germany in 1970. She trained at the University of Hildesheim and at Chelsea College of Art and Design, London. She has exhibited widely internationally. Otto-Knapp moved to London in 1995 but has not had a solo exhibition in a London institution since her 2005 Art Now presentation at Tate Modern. This new exhibition will present a new departure in her work since her show at Modern Art Oxford in 2009. She now lives and works between LA and London.
Camden Arts Centre Arkwright Road London NW3 6DG 15
Odilon Redon February 2 to May 18 2014 FONDATION BEYELER The French painter Odilon Redon (born in 1840 in Bordeaux, died in 1916 in Paris), renowned as a sumptuous colorist, is one of the most amazing artists of emerging Modernism. Marking the threshold between the 19th and the 20th centuries, the art of this leading protagonist of French Symbolism shows the interplay between tradition and innovation. The ambivalent, enigmatic oeuvre of this poet of color is characterized by caesurae and contrasts, evolving from the palette of blacks found in his early charcoal drawings and lithographs to the explosive colorfulness of his later pastels and oil paintings. His works alternate between eeriness and serenity: bizarre monsters appear alongside heavenly creatures in a blend of dream and nightmare, nature and imagination. Redon was born into the upper middle class but his childhood was far from happy. His parents entrusted him to the care of his uncle at the family vineyard Peyrelebade, where he grew up excluded and lonely. The artist, a quiet, contemplative man, was also deeply fascinated by literature and music. Fame came to him only late in his career.
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Odilon Redon
Papillons, around 1910 Butterflies
Oil on canvas, 73.9 x 54.9 cm The Museum of Modern Art, New York, Gift of Mrs. Werner E. Josten in memory of her husband, 1964 Photo: Š 2013. Digital image, The Museum of Modern Art, New York / Scala, Florence 17
Odilon Redon
Le Char d’Apollon, around 1910 The Chariot of Apollo
Oil and pastel on canvas, 91.5 x 77 cm Musée d’Orsay, Paris Photo: © RMN-Grand Palais (Musée d’Orsay) / Hervé Lewandowski 18
Odilon Redon
La Barque, around 1902 Boat
Pastel and charcoal on paper, 61 x 50.8 cm The Museum of Modern Art, New York, Gift of the Ian Woodner Family Collection, 2000 Photo: Š 2013. Digital image, The Museum of Modern Art, New York / Scala, Florence Odilon Redon 19
By means of famous but also rarely shown paintings, pastels, drawings and lithographs, the exhibition will present all the major themes and therefore all the groundbreaking ideas and innovations in Redon’s oeuvre, which was very diverse in respect of both its subject matter and its technique. The works will be lent by eminent private collections as well as by museums inside and outside Switzerland, for example the Museum of Modern Art in New York and the Rijksmuseum in Amsterdam. With a total of nine masterpieces, the Musée d’Orsay will lend a particularly large number of works for the exhibition. Conceived as a wide-ranging but highly selective presentation of the quintessence of Redon’s art, the show will focus on his avant-garde dimension and hence on his importance as a precursor of Modernism. Like Cézanne and Van Gogh, Redon can be considered one of the founder figures of modern art. His oeuvre prefigures various movements that left a significant mark on 20th century art: for example, Fauvism, Cubism and Surrealism as well as Abstraction. He is therefore linked to the Beyeler Collection for, while not represented in it, he was a reference point for many of the artists that are, including Pierre Bonnard, Henri Matisse, Pablo Picasso, Wassily Kandinsky, Piet Mondrian, Max Ernst and even Barnett Newman and Mark Rothko. Within a loose chronology, the exhibition will be organized on the basis of groups of works that illustrate the main areas Redon was interested in and his links to Modernism. In the context of his early “black works”, those links include mysterious, dreamlike presentations of faces and eyes, fascinating hybrids of plants, human beings and animals as well as cosmic apparitions.
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Odilon Redon
La Mort de Bouddha, around 1899 The Death of Buddha Pastel on paper, 49 x 39.5 cm Millicent Rogers Collection Photo: Davis A. Gaffga Odilon Redon 21
Odilon Redon
Martyr ou Tête de martyr sur une coupe ou Saint Jean, 1877 Martyr or Head of a Martyr in a Bowl or Saint John Charcoal on paper, 36.6 x 36.3 cm Kröller-Müller Museum, Otterlo Photo: Collection Kröller-Müller Museum, Otterlo 22
Odilon Redon
Le Cyclope, around 1914 The Cyclops
Oil on cardboard on wood, 65.8 x 52.7 cm Kröller-Müller Museum, Otterlo Photo: Collection Kröller-Müller Museum, Otterlo 23
“Art is a flower which opens freely outside of all rules…”, the remarkable blossoming of colors in Redon’s oeuvre begins with nocturnal scenes and the motif of closed eyes that embody the transition from darkness to light culminating in mythological subjects like Apollo’s chariot or Pandora. Spiritual pictures with Buddhist and Christian themes are just as central a component of his oeuvre as are his meditative pictures of boats. Redon’s underwater and aerial visions are a manifestation not only of his rejection of Impressionism, but also of the interaction between microscopic observation of nature and free imagination that characterized him. His enchanting floral compositions include representations of idealized women like Ophelia and Beatrice who, shown against a backdrop of flowers, have a mysterious relationship to the world of plants. With his famous bouquets of flowers, Redon, the poet and visionary of colour, transforms his blossoms’ abundant splendor into a veritable homage to pure painting. The large-format, decorative wall panels he painted at the beginning of the 20th century for the Burgundian chateau of his patron, Baron de Domecy, already demonstrate very early forms of abstract painting. The exhibition has been conceived and is being curated by Raphaël Bouvier, Curator at the Fondation Beyeler.
Fondation Beyeler Baselstrasse 77, CH-4125 Riehen, Switzerland 24
Odilon Redon
Yeux clos, 1894 Closed Eyes
Oil on cardboard, 44.5 x 36.5 cm Fujikawa Galleries, Tokyo Odilon Redon 25
Odilon
OphĂŠlie, Oph
Pastel on paper on card Dian Woodner Col Photo: Lynto 26
n Redon
1900–05 helia
dboard, 50.5 x 67.3 cm llection, New York on Gardiner 27
Odilon Redon
Pandore, around 1914 Pandora
Oil on canvas, 143.5 x 62.2 cm The Metropolitan Museum of Art, New York, Bequest of Alexander M. Bing, 1959 Photo: bpk / The Metropolitan Museum of Art 28
Odilon Redon
Le Printemps, 1883 Spring
Charcoal, chalk and pastel on paper, 53.3 x 37.1 cm Collection of Jean Bonna, Geneva Photo: Patrick Goetelen, Geneva 29
ARTIST OF THE MONTH EDGAR NOE MENDOZA MANCILLAS Mexican Artist born in 1967, Durango, Mexico. His painting is represented on the collection of MEAM Museo Europeo de Arte Moderno in Barcelona and in private collections in Murcia, Madrid and México. Edgar is one of the painters represented at Santiago Echeberria Gallery, Madrid. He has participated in Art Fairs such as ART Madrid and in conquests of Las Artes y los Artistas Foundation, having received an honor mention in 2008 with is work “La merienda”. Some selected collective exhibitions at MEAM - Museo Europeo de Arte Moderno, MUA - Museo Universitario de Alicante , as well as solo exhibitions in Godoy World Art Gallery, Madrid ,in 2007. Presently lives and works in Alicante, Spain http://pinturaedgarmendoza.jimdo.com/ http://edgarnoemendoza.blogspot.com.es/ http://edgarmendoza67.jimdo.com/
Edgar Noe Mendoza Mancillas © Courtesy Edgar Noe Mendoza Mancillas 30
Edgar Noe Mendoza Mancillas
“Hielo” (Ice) - 2010
Oil on canvas, 114 x 41 cm. © Courtesy Edgar Noe Mendoza Mancillas 31
Edgar Noe Men
“ Fenotipo
Oil on canvas © Courtesy Edgar Noe 32
ndoza Mancillas
I “ – 2012
s,140 x 86 cm. e Mendoza Mancillas 33
Edgar Noe Mendoza Mancillas
“Corriente Alterna” (Alternating Current) - 2010 Oil on canvas, 200 x 200cm. © Courtesy Edgar Noe Mendoza Mancillas 34
Edgar Noe Mendoza Mancillas
“Lumen” - 2012
Oil on board, 89 x 75cm. © Courtesy Edgar Noe Mendoza Mancillas 35
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Edgar Noe Mendoza Mancillas
“Dos Pilares II” (Two Pillars)- 2009
Oil on canvas,73 x 50 cm. © Courtesy Edgar Noe Mendoza Mancillas 37
Edgar Noe Mendoza Mancillas
“Entomófaga” (Entomology)- 2009
Oil on canvas,60 x 60 cm. © Courtesy Edgar Noe Mendoza Mancillas 38
Edgar Noe Mendoza Mancillas
“Mutante “ - 2013
Oil on canvas,162 x 114 cm. © Courtesy Edgar Noe Mendoza Mancillas 39
Edgar Noe Men
“Piedra de La Locura” (S
Oil on canvas, © Courtesy Edgar Noe
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ndoza Mancillas
Stone of Madness)- 2012
150 X 150 cm. e Mendoza Mancillas
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‘From Matisse to Der Blaue Reiter’ Expressionism in Germany and France From 7 February to 11 May 2014
The Kunsthaus Zürich will be staging ‘From Matisse to the Blue Rider. Expressionism in Germany and France’. Schmidt-Rottluff, Kirchner, Pechstein and others come face to face with more than 100 works by Cézanne, Gauguin, Matisse and Delaunay to correct the widespread view that Expressionism was a uniquely German invention. After the Kunsthaus, this enlightening and colourful exhibition moves on to the US and Canada.
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Paul CĂŠzanne Grosses Pommes about 1891/92
Oil on canvas, 44.8 x 58.7 cm The Metropolitan Museum of Art, New York, bequest Stephen C. Clark, 1960 43
Robert D Les FenĂŞtres sur la ville (1er partie
Oil on canvas Museum Folk
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Delaunay e, 1ers contrastes simultanĂŠs), 1912
s, 53 x 207 cm kwang, Essen
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Today, ‘Expressionism’ is commonly viewed as a German movement – yet in fact it originally emerged at the start of the 20th century from the enthusiastic engagement of German artists with Classical Modernism in France, even as contemporary French art had already established a presence in Germany. ‘Van Gogh struck modern art like a bolt of lightning,’ was how one German observer of the scene described the painter’s impact on German artists – at a time when they were simultaneously receptive for the art of Seurat, Signac and the Post-Impressionists. Then followed Cézanne, Gauguin and Matisse. The response by the artists of ‘Die Brücke’ and ‘Der Blaue Reiter’ (Blue Rider) to French Post-Impressionism and the ‘Fauves’ was an explosion of colour. Collectors in Germany also eagerly acquired and exhibited French art, while museum directors with an eye to the future were purchasing it for their own collections.
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Paul Gauguin Le Gardien de porcs, 1888
Oil on canvas, 73.03 x 93.03 cm Los Angeles County Museum of Art, gift of Lucille Ellis Simon and her family in honor of the 25th anniversary of the museum 47
ONLY SHOWING IN EUROPE This exhibition sets the record straight. It demonstrates that Expressionism is a movement shaped by the spirit of cosmopolitanism and productive international exchange. It presents the findings of recent research into the 107 masterpieces by 38 artists on display, documenting a history of reception that has hitherto been little studied by scholars. The curator of the exhibition’s sole showing in Europe is Cathérine Hug. Together with the Kunsthaus Zürich, Timothy O. Benson, curator at the Robert Gore Rifkind Center for German Expressionist Studies, has succeeded in bringing together paintings and graphic works that featured in major exhibitions and collections of the time, or were studied in detail by German artists in Paris. They are juxtaposed with ‘counterparts’ in which the impact of the works that provided the initial inspiration can clearly be seen. 48
Erich Heckel Mädchen mit Puppe, 1910
Oil on canvas, 65 x 70 cm Serge Sabarsky Collection, Courtesy Neue Galerie New York © Estate Erick Heckel / 2013 ProLitteris, Zurich 49
Alexej Jawlensky M채dchen mit Pfingstrosen, 1909
Oil on cardboard, 101 x 75 cm Kunst- und Museumsverein Wuppertal 50
Wassily Kandinsky Fragment zu Komposition II, 1910 Oil on cardboard, 57 x 47.5 cm Merzbacher Foundation Š 2013 ProLitteris, Zurich 51
THE BERLIN SECESSION, SONDERBUND AND OTHER INFLUENCES Unlike Impressionism and Divisionism, with their focus on the world around us, this is an art that gives formal expression to the inner feelings and psychological states of its creators, in a language that is both powerful and laden with energy. The relatively coarse brushwork reflects the fears, but also the hopes, which imbued that extraordinarily productive and eventful period before the First World War. The strong influence on the art scene of associations such as the Berlin Secession and the Sonderbund in Cologne, as well as gallery owners, art dealers and collectors such as Paul Cassirer, Harry Graf Kessler and Karl Osthaus, is absolutely essential in order to understand this chapter of art history and the perception of art works from the various expressionist movements. Visionary museum directors populated their collections with masterpieces of Impressionism, Post-Impressionism and Fauvism, arousing widespread public interest. 52
Ernst Ludwig Kirchner Strasse, Berlin, 1913
Oil on canvas, 120.6 x 91.1 cm The Museum of Modern Art, New York, acquired 1939 53
August Macke Landschaft mit K端hen und Kamel, 1914 Oil on canvas, 47 x 54 cm Kunsthaus Z端rich 54
Paula Modersohn-Becker Sitzender M채dchenakt mit Blumenvasen, ca 1907 Oil on canvas, 89 x 109 cm Von der Heydt-Museum Wuppertal 55
A VIVID PRESENTATION OF SCHOLARLY RESEARCH As well as a tour through European art history from Paris to Berlin, the exhibition reflects the findings of new research into FrancoGerman relations in the early years of the 20th century, opening up striking perspectives and new interpretations of Expressionism with remarkable alacrity. The Kunsthaus Zürich is dividing the works up into thematic and formal groups: van Gogh, Paris, Fauves, Berlin, Cubism, ‘Die Brücke’, ‘Der Blaue Reiter’. Visitors can expect an all-encompassing sensory experience marked by surprising confrontations. The expressive power of the works and their relationships to each other is immediately apparent and easy to comprehend. A section including historical materials – printed matter such as source texts, archival records, photographs and press reviews – further underscores the exhibition’s contribution to scholarship. 56
Franz Marc Steiniger Weg (Gebirge/Landschaft), 1911
Oil on canvas, 130.8 x 101 cm San Francisco Museum of Modern Art, gift of the Women’s Board and Friends of the Museum 57
Henri Matisse Intérieur d’atelier, ca 1903-1904
Oil on canvas, 55 x 46 cm Tate, bequest Lord Amulree, 1984 © Succession H. Matisse, Paris / 2013 ProLitteris, Zurich. 58
Kees van Dongen Modjesko, chanteur soprano, 1908
Oil on canvas, 100 x 81.3 cm The Museum of Modern Art, New York, gift of Mr. and Mrs. Peter A. Rübel, 1955 © Kees van Dongen Estate / 2013 ProLitteris Zurich 59
LOANS FROM THE WORLD’S LEADING MUSEUMS The 77 paintings and 30 graphic works by 38 artists are drawn from public and private collections in Europe and overseas. The most celebrated include the Musée d’Orsay, Tate, the Metropolitan Museum, New York, the National Gallery of Art Washington, the National Gallery in Berlin, the Folkwang Museum and the Merzbacher Kunststiftung. From Zurich, the exhibition travels to the Los Angeles County Museum of Art (LACMA) and the Musée des Beaux-Arts in Montréal.
Kunsthaus Zürich Heimplatz, 1 Zürich 60
Marianne Werefkin Der rote Baum, 1910
Tempera on paper on cardboard, 75.5 x 56.5 cm Ascona, Fondazione Marianne Werefkin, Museo Comunale d’Arte Moderna 61
Karl Schmidt-Rottluff Deichdurchbruch, 1910
Oil on canvas, 76 x 84 cm Brücke-Museum, Berlin © 2013 ProLitteris, Zurich 62
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Since the beginning of our magazine, we have been talking about the subtle revolution which is felt all over the Fine Arts Universe; the 20th Century ruling conceptualism is slowly dethroned by most noticeable ways to create and communicate Art. Although the present brings us a more comprehensive artistic expression – because it will pick figurative elements – the true foundation of this new wave is the reinterpretation of the old masters and the masters of the last two centuries who persisted in using an artistic language able to communicate ideas to the average viewer, even when all these ideas were extremely strange, as happened with the Surrealists. Spain is one of the traditional centers for the development of new artistic trends, reason that drove our attention to this country and to the artists who embody this change. Obviously we did not have time or space to cover all the Spanish artists involved, so we had to create a selection able to show the new reality that seems to have reached the Fine Art world. Our selection started by choosing only artists born after 1970, who work as professionals, presenting original artistic proposals. After a reasonable time we had the opportunity of having the seven artists featured here in our February Issue. Seven artists, seven ways to face art, seven ways to produce visual poetry, seven ways to make art…. From Spain with Love. José Eduardo Silva 65
ELOY MORALES (1973), Madrid, Spain. “I am interested to work with reality, reflect it in my paintings. I try to adhere to the line where reality coexists in natural form with my inner world. Important for me to pass through paintings my vision of things. I believe in the immense power of the images and their infinite possibilities” - Eloy Morales www.eloymorales.es
Translated by: L &S
ELOY MORALES
“Paint in my head 5”, 2012. Oil on panel , 160x160 cm. Courtesy: Eloy Morales
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ELOY MORALES
“Megan with googly eyes”, 2013. Oil on board, 60x40 cm Courtesy: Eloy Morales
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ELOY MORALES
“Paint in my head 9”- 2013. Oil on canvas, 160x160 cm Courtesy: Eloy Morales
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ELOY MORALES
“Francisco with butterflies”, 2013 Oil on canvas, 160x160 cm Courtesy: Eloy Morales
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ISMAEL FUENTES (1981) Valencia, Spain. Works in Madrid and Valencia He studied Fine Arts at San Carlos Fine Arts Faculty of Valencia. He obtained several prizes and his work is in numerous Spanish institutions, including the Polytechnic University of Valencia (BP Portrait Award), European Museum of Modern Art (Barcelona) and private collections. In 2009 his work “Woman ironing� was selected at the BP Portrait Award (National Gallery of Art). He has also worked in the Spanish audiovisual industry and he is so interested in both painting and digital art. www.ismaelfuentes.com
Translated by: L &S
ISMAEL FUENTES Courtesy: Ismael Fuentes
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ISMAEL FUENTES
“Untitled”, 2013 Oil on panel , 38,5 x 30 cm Courtesy: Ismael Fuentes
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ISMAEL FUENTES
“Act II”, 2012
Oil on panel , 100 x 100 cm Courtesy: Ismael Fuentes
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ISMAEL FUENTES
“Woman ironing (my mother)”, 2009 Oil on panel , 114 x 100 cm Courtesy: Ismael Fuentes
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ISMAEL FUENTES
“Untitled, 2013 Oil on panel , 38,5 x 30 cm Courtesy: Ismael Fuentes
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JAVIER VAZQUEZ (1984) Albacete, Spain. Lives and works in Madrid This work’s plotline is an evolution in the research of how mass media affects young society in a world which becomes more and more globalised by the day. A world where we are constantly bombarded by stereotyped images that shape a fashion and a way of life. This has followed an intimate link with the world of Dance music, as well as Rap and the images that these styles channel: male‐chauvinism, vanity, money, fame… success. Nowadays, the evolution of this research is focused on the essence of young society, not anymore a way of life or a criticism, but something purer: feelings, emotions. A cry out of joy, a look… Tries to introduce us into a space through a forest of planes, and to make us part of a stage brimming with life and strength. This evolution has lead to considering new concepts and languages, to link contemporary areas to painting, as well as the vinyl on which we work and the channeling of images, departing from a computer screenprint on a YouTube video, or a screen capture in a mobile phone: the idea of basing on a video to keep the essence of movement, to evoke the music, the heat of the people, the shouting. In order not to be a mere image, but to be part of a moment, be part of what is happening, adapting contemporary media to the panting language . My discourse is in constant evolution, I speak about what I know and what I live, I do not try to look after great questions, but to use the media I know without following any academicism, dogma or constraint, to stage my society, where I move around, the one I know every day and every night. This is my life and it is today. www.javier-vazquez.com
Translation by: L&S 80
JAVIER VAZQUEZ Courtesy: Javier Vazquez
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JAVIER V
“And
Esculura en silicona, resina / Sculpture , resin and poly Courtesy : Jav
82
VAZQUEZ
drea�
a y espuma de poliuretano yurethane foam Sculpture vier Vazquez
83
JAVIER V
“I’ts getting late at Ultra Miami. (U
Mixed board and ac Courtesy : Jav
84
VAZQUEZ
UMF aftermovie ScreenShot).” 2013
crylic , 191 x 120 cm vier Vazquez
85
JAVIER V
“Steve Aoki cake throw (U
121 x 158 cm Courtesy : Jav
86
VAZQUEZ
Ultra Miami ScreenShot.)”
m and vídeo. vier Vazquez
87
JUAN GALLEGO GARRIDO (1972), Madrid, Spain STATEMENT “In my two first series of paintings UNCERTAINTY PRINCIPLE and MEMENTO MORI, I was concerned with issues regarding the painting itself and its capabilities as a medium of representation. A very special aim for me was to explore the boundaries between realism and abstraction. How you could achieve the later using the strategies and technical approaches of the first. One year ago I just began to work in a new series of paintings entitled LA MARCA ESPAÑA, inspired by the economic and politic situation of Spain. These paintings are a major change in my work from a technical point of view, but even more at a conceptual level in which as I have decided to take a much more political approach. For many years I thought painting wasn´t an especially good medium to talk about current news. Specially because it is a pretty slow process (at least in my case) which is in contrast with the speed and fast rate of change of the breaking news that we all are constantly bombarded with. But through all this crisis years I have changed my mind and I now consider that also plastic artists have to raise our voices to talk and expose all the corruption and flaws of our theoretically democratic systems. Using images that are applicable to the current issues but that also are able to transcend them and resonate with the viewer in a more profound and long lasting way” - Juan Gallego www.juangallegopintura.jimdo.com
Translated by: L&S 88
Spain.
Education -PhD in Fine Arts, First Cum Laude. November 2004, Complutense University of Madrid,
Teaching Experience -Associate Professor, 2004-2013, Fine Arts Department, CES Felipe II University. Aranjuez, Madrid, Spain. Courses taught: Painting Techniques and Materials, Applications of Trompe l´oeil, Painting Procedures EXHIBITIONS
Solo Exhibitions -Memento Mori, Fernando Pradilla Gallery, Madrid, Spain. April 2009 -Uncertainty Principle, Fernando Pradilla Gallery, Madrid, Spain. December, January 2005 Two person Exhibitions -In/animados, Moret Art Gallery, (one on one exhibition project with the artist María Treviño). La Coruña,Spain. Nov 9-Dec 14, 2012 Group Exhibitions -Fashion Victims, Espacio Abierto Gallery, nov 2011, Madrid, Spain -Agua. Santiago Echeberría Gallery, may-june 2011, Madrid, Spain - ART MADRID FAIR 2011. Pabellón de Cristal, feb 15-20, Madrid, Spain. -Color. Galería Santiago Echeberría, 15 dec -30 jan, 2011, Madrid, Spain. -Pequeños Caprichos. Santiago Echeberría Gallery, Oct 2010, Madrid, Spain -Entornos. Santiago Echeberría Gallery, Apr 15-May 15, 2010, Madrid, Spain - ART MADRID FAIR 2009. Pabellón de Cristal, Feb15-19,Madrid, Spain. -KIAF (Korean International Art Fair)2008. Sept 19-23, Seoul, South Korea - ART MADRID FAIR 2008. Pabellón de Cristal, Feb 15-19, Madrid, Spain. - Bogota Art Fair ARTBO 2007. Oct 18-22, Bogotá, Colombia -4 Pintores Españoles Contemporáneos. El Museo Gallery, March 2007 Bogotá, Colombia - ART MADRID FAIR 2007. Pabellón de Cristal, Feb 15-19, Madrid, Spain. -ARCO 2007 en Fernando Pradilla. Fernando Pradilla Gallery, Feb 2007, Madrid, Spain -Pensar de Pintura. Exhibition Hall, Universidad Complutense de Madrid. Nov 2006-Jan 2007. Madrid, Spain -ARCO 06 (Madrid Contemporary Art Fair), Feb 2006, Madrid, Spain -ARCO 2006 at Fernando Pradilla. Fernando Pradilla Gallery, jan 25-feb 8, Madrid, Spain -ARCO 05 (Madrid Contemporary Art Fair), Feb 2005, Madrid, Spain -ARCO 04 (Madrid Contemporary Art Fair), Feb 2004, Madrid, Spain -ARCO at Fernando Pradilla, Fernando Pradilla Gallery, Feb 14- March 14, 2004, Madrid, Spain. -SIN FRONTERAS. Fernando Pradilla Gallery, Sep 2003, Madrid, Spain -Colectiva de Verano. Horrach Moya Gallery. July, August 2002. Palma de Mallorca, Spain. -ARTEXPO 2002 (Barcelona Art Fair). May 2002, Barcelona, Spain -HABITUALES y SILENCIOSOS, Gema Lazcano Gallery, Jan-Feb 2002. Madrid, Spain 89
JUAN GALLEG
“Green
Oil on canvas Courtesy: Juan G
90
GO GARRIDO
Sprouts�
s, 160x60cm. Gallego Garrido
91
JUAN GALLEG
“Quantu
Oil on canvas, - diptyc Courtesy: Juan G
92
GO GARRIDO
um foam�
ch -100x100cm (each). Gallego Garrido
93
94
JUAN GALLEGO GARRIDO
“Pressroom”
Oil on canvas, 150x150cm Courtesy: Juan Gallego Garrido
95
JUAN GALLEG
“Mement
Oil on canvas Courtesy: Juan G
96
GO GARRIDO
to Mori�
s, 260x195cm Gallego Garrido
97
JUAN MANUEL FERNANDEZ PINEDO (1978), Madrid, Spain
Between 1993 and 1995 he frequents “Artes y Oficios” School. Scoolarship from the Foundation Arauco 1996-1998 and at the First International Meeting of Contemporary Arts “City of Chinchon.” Attends the “X Landscape Course” at Priego de Córdoba, led by Antonio Zarco. Attends the “I and IV Research Plastic Course “ directed by Antonio Zarco. Translated by: L&S
JUAN MANUEL FERNANDEZ PINEDO Photo Sangre 1 Courtesy: Juan Manuel Fernandez Pinedo
98
Solo Exhibitions 2010 - Galería Santiago Echeberría (Madrid) "Piedralaves al natural". 2008 - Galeria Kreisler (Madrid)Sala Pares (Barcelona). 2007 - Galeria Nolde (Madrid).2005 - Galería Nolde (Madrid), Galeria Estela Docal (Santander), Galeria Silos (Cadiz). 2004 - Galería Espacio 36 (Zamora), Galería Thais (Murcia),Galería Montcada (Barcelona).Galería Rafael (Valladolid).2003 - Galería Kreisler (Madrid),Galeria Artelancia (Lean), Galería Aitor Urdangarin (Vitoria). 2002 - Galería Estela Docal (Santander),Galería Rafael (Valladolid) Some Selected Group Exhibitions 2010 - "INERCIA" Embajada española en Exposión Internacional de Shangai. 2008 - Tucker Gallery (Chicago). 2005 - Feria "ARTESEVILLA" Galería Mudo Aguilar (Cádiz). 2004 - "Jardín" Galería Nolde (Madrid), "Acercamientos Pictoricos" Galería Maravia (Cardaba).2003 - Feria "ARTESANTANDER" Galería Reyes Católicos (Salamanca),Feria "DEARTE" Galería Kreisler (Madrid).2002 - Itinerante fundación Rafael Boti ,"Distintos realidades" Galería Estela Docal (Santander),Galería Nolde (Madrid),Galería Thais (Murcia),"Expresiones y Contrastes" Galería Kreisler (Madrid).2001- Colectivas de Navidad Nolde y Estela Docal. 2000 - Galería Nolde (Madrid).1999 - Galería Maña Rovira (Madrid), Galería Nolde (Madrid).1998 - "Doce Pintores después de Priego" Adolfo Lozano Sidro.1997- Premiados y Seleccionados "64 salón de otoño" Selected Awards 2008- BMW ‘s Prize with na Honor Medal.Prize "Fundación Villalar" de artes plásticas de Castilla y Leon. Premio ALD Automovile 75 Salón de Otoño. 2007 - Medalla de Honor Premio BMW- Premio "SIGNO" de artes plásticas de Parla. 2006 – 1st Prize "Virgen de las viñas", 2º Prize certamen de pintura "Antonio López".Premio adquisición certamen de artes plásticas de Alicante,2005 Medalla de Honor Premio BMW. 1º premio certamen nacional "Villa de Parla".1º premio certamen de al Armada.2004 -Premio Adquisición certamen "Virgen de las viñas" Ciudad Real.1° Premio C.C.Esquina del Bernabeu.1° Premio Navas del Marques. 1° Premio Certamen "Rio Urbiena".1° Premio Horche-2° Premio San Rafael-Premio Acuarela certamen "Tres Cantos"-2° Premio Ciudad de Alcaudete-2° Premio Certamen "La Axerquia" Cardaba.2003- 1º Premio "Manuel Viola" S L Escoda.3° Premio Ciudad de Alcaudete.1° Premio Ciudad de Toledo.2° Premio Quintanar de la Orden.3° Premio "Lopez Villaseñor".2002- 1° Premio V Certamen "Aitor Urdangarin" Vitoria. Premio adquisición II Certamen fundación Wellington. 2001 - 1° Premio Vi Certamen Creadores" Salamanca.1° Premio Guadarrama 3° Premio Castellar.3° Premio IV Certamen "Aitor Urdangarin" Vitoria.Premio adquisición Iº Certamen fundación Wellington.2000 - 1° Premio "Boadilla del Monté" .1998 1° Premio III Certamen "Ciudad de Chichón".1° Premio "José Cubero Yiyo"-Mención de Honor Certamen "Ejercito del Aire".1999 - 1 ° Premio IX Certamen "Tema Jardines".1° Premio Ciudad de Tardecillas-Premio Cámara de Comercio VII Certamen de Ávila.Premio Artista Revelación IX Certamen "Parque del Retiro".1° Premio Colmenar Viejo.Premio Beca fundación Arauco.1996 Premio del ayuntamiento Colmenar Viejo.1995 - 1° Premio Dueñas.1994 -1° Premio Ciudad de Pinto.1992 - 3° Premio Ciudad de Pinto. Works Represented in Museums and Collections Ayuntamiento de San Lorenzo del Escorial.Fundación Arauco.Museo Adolfo Lozano Sidro.Fundación Hotel Wellington.U.R.S.S.A. Alava.Fundación Gaceta Regional Salamanca-Ayuntamiento de C.Real 99
JUAN MANUEL FER
“Prima
Oil on canvas Courtesy: Juan Manu
100
RNANDEZ PINEDO
avera�
s, 146x114cm uel Fernandez Pinedo
101
JUAN MANUEL FER
“Blo
Oil on canvas Courtesy: Juan Manu
102
RNANDEZ PINEDO
ok”
s,220x180cm uel Fernandez Pinedo
103
JUAN MANUEL FER
“De Mallorca Pied
Oil on canvas Courtesy: Juan Manu
104
RNANDEZ PINEDO
dralaves y Susana�
s, 220x180cm uel Fernandez Pinedo
105
106
JUAN MANUEL FERNANDEZ PINEDO
“Cipreses 1”
Oil on canvas,116x89cm Courtesy: Juan Manuel Fernandez Pinedo
107
MIGUEL ANGEL MOYA Born in 1970, Valencia, Spain He begins his Fine Arts degree at the Facultad PolitĂŠcnica de Valencia in the late 80s, giving up two years later, disappointed by the kind of teaching at the faculty. By the same time he meets the realistic painter Francisco Ugeda, in which workshop he learns the technical fundamentals of painting. In parallel studies he takes the violin degree, finishing the advanced degree in this instrument. He combines painting with his work as a musician in orchestras and chamber groups for years, but leaving the violin in 2002 to fully focus on his career as a painter. His painting is characterized by a realistic language that does not waive to matter or gesture. After an initial period marked by musical themes, he interests in Jungian psychology and alchemy, giving rise to a series of works with a symbolic charge, sometimes obvious and others more subtle, as in his series of Indoor Scenes. He performs various exhibitions in Spain and the United States, highlighting his solo exhibition in Madrid (Santiago EcheberrĂa Gallery) and New York (Ok Harris Gallery). www.miguelangelmoya.com
MIGUEL ANGEL MOYA
Photo:Courtesy Miguel Angel Moya
108
Solo and Group Exhibitions since 2004: 2004 Groups exhibitions “Realismo 2004” and “Madrid”, Galería Castello 120, Madrid. Group exhibition “XIX Premio BMW”, Casa de Vacas, Madrid. 2005- Group exhibitions “Realismo 2005”, and “Madrid”, Galeria Castello 120,Madrid.Group exhibition, Galería Maika Sanchez, Valencia. 2006 - Group exhibition “Realismo 2006”, Galeria Castello 120, Madrid. Group exhibition “XXI Premio BMW”, Casa de Vacas, Madrid. 2007 Group exhibition “Realismo 2007”, Galería Castello 120, Madrid. Group exhibition “XXI Premio BMW”, Auditorio Principe Felipe, Oviedo. Group exhibition “Premio Fundación de las Artes y los artistas”,Museo Thyssen- Bornemisza, Madrid, and Fundación Fran Daurel, Barcelona. 2008 Solo exhibition, Galería Santiago Echeberría, Madrid. 2009 Group exhibition “Trayectos”, Galería Santiago Echeberria, Madrid. “Group Summer Exhibition”, O.K. Harris Works of Art, New York, NY. 2010 Group exhibition “El arte del golf”, Galería Santiago Echeberría, Madrid. Group exhibition “Algo más que realismo”, Zaragoza. Group exhibition “BP Portrait Award 2010”, National Portrait Gallery (London), Usher Gallery (Lincoln), and Aberdeen Art Galery,UK. 2011 Group exhibition “BP Portrait Award 2010”, Aberystwyth Art Gallery,UK. Solo exhibition, OK Harris Works of Art, New York, NY. Group exhibition “Nacional Contemporany Realism 2011” (M.A. Doran Gallery (Tulsa,U.S.A.) and Group exhibition “Blanco y Negro” (Galería Santiago Echeberría). 2012-Group exhibitions “Fashion Victioms”,(Esp)acio abierto, Madrid),“Realismo 2012” and “Miradas Urbanas” (Galería Santiago Echeberría. 2013 Group exhibition “Made in Spain”, (Galería Santiago Echeberría). Books Libro Anuario “Arte y Libertad V”, J.E.Gonzalez, Ed. Comuniter, 2010, 2011 and 2013. 500 Contemporany Portraits, National Portrait Gallery (London). Selected Collections MEAM, Museo de Arte Moderno, Barcelona.
109
110
MIGUEL ANGEL MOYA
“Catedral III”-2010
Oil on canvas,162 x162 cm. Photo:Courtesy Miguel Angel Moya
111
112
MIGUEL ANGEL MOYA
“Clothing Store 2”-2010 Oil on canvas,100 x100 cm. Photo:Courtesy Miguel Angel Moya
113
MIGUEL AN
“Manhatt
Oil on canvas, Photo:Courtesy M
114
NGEL MOYA
tan”-2012
,162 x 216 cm. Miguel Angel Moya
115
MIGUEL AN
“N.Y.Public L
Oil on panel ,1 Photo:Courtesy M
116
NGEL MOYA
Library”–2009
122 x 122 cm. Miguel Angel Moya
117
MIGUEL CORONADO Born in Madrid in 1972. Currently lives and works in Madrid. In 1996 he graduated in Fine Arts at the Complutense University of Madrid. For years his work has been exhibited in various art galleries in Spain. Ariel Sibony Gallery represents him in Paris since 2011. His work is presented worldwide in many public and private collections. From the beginning he is interested in investigate the possibilities of plastic language of painting, trying to find a poetic way to build each image that he creates. He thinks that subtlety of pictorial language is able to express their emotions in a deeper way than the simple descriptive precision that the themes he paints. www.miguelcoronado.jimdo.com
MIGUEL CORONADO in his studio Photo: Courtesy Miguel Coronado
118
MIGUEL CORONADO
“Girl in the pool”.
Oil on panel . 23 x 23 in. Photo: Courtesy Miguel Coronado
119
MIGUEL CO
“Children in
Oil on panel Photo: Courtesy M
120
ORONADO
n the water�
l , 70 x 47 in Miguel Coronado
121
MIGUEL CO
“The s
Oil on panel Photo: Courtesy M
122
ORONADO
sisters�
, 39 x 31 in. Miguel Coronado
123
MIGUEL CO
“Tre
Oil on panel Photo: Courtesy M
124
ORONADO
ees�
l , 47 x 47 in. Miguel Coronado
125
THE SURREALISTS:
WORKS FROM THE COLLECTION November 3, 2013–March 2, 2014
Philadelphia Museum of Art The Surrealists: Works from the Collection will provide a selection of exceptional works from the Philadelphia Museum of Art that represent one of the most influential art movements of the twentieth century. Surveying the period during which Surrealism flourished—from the mid1920s to the late 1940s in Europe and the United States—this exhibition will begin by examining the movement’s Parisian origins and trace its development over time as its methods and goals were embraced by a broad international avant-garde. Reflecting a deep fascination with psychoanalysis and dreams as well as myth and fantasy, the work of the Surrealists explored the use of chance and spontaneity to access the unconscious, defined new ways of making art, and tested the boundaries of social acceptability. The artists of the Surrealist movement experimented with a variety of approaches to obtain unexpected results by tapping into the subconscious mind. This is seen in Animal Caught in a Trap (1929), where André Masson used automatic drawing as a starting point for the development of an abstracted image. Joan Miró broke with established forms of painting by experimenting with collage, assemblage, the unlikely juxtaposition of images, and simplified forms and bold colors, as in Dog Barking at the Moon (1926). Jean Arp used torn and scattered ink in a series of drawings, each called Composition (1937), to play with the idea of chance as the foundation for a new aesthetic approach. 126
Dorothea Tanning, American, 1910 - 2012.
Birthday, 1942.
Oil on canvas, 40 1/4 x 25 1/2 inches (102.2 x 64.8 cm). Philadelphia Museum of Art, 125th Anniversary Acquisition. Purchased with funds contributed by C. K. Williams, II, 1999. Š Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn
127
Giorgio de Chirico, Italian (born in Greece), 1888 - 1978.
The Poet and His Muse, c. 1925
Oil and tempera on canvas, 35 7/8 x 29 inches (91.1 x 73.7 cm). Philadelphia Museum of Art, The Louise and Walter Arensberg Collection, 1950. Š Artists Rights Society (ARS), New York / SIAE, Rome
128
Man Ray, American, 1890 - 1976.
Indestructible Object, 1963 (replica of destroyed 1923 original).
Metronome with photograph, 8 5/8 x 4 3/8 x 4 1/2 inches (21.9 x 11.1 x 11.4 cm). Philadelphia Museum of Art, Gift of the Friends of the Philadelphia Museum of Art, 1971. Š Man Ray Trust / Artists RightsSociety (ARS), New York / ADAGP, Paris
129
During the 1930s, Surrealism emerged as major force on the international scene and developed a political voice in the years leading up to the Spanish Civil War and World War II. Miró’s Person in the Presence of Nature (1935) suggests the mounting pressures within the artist’s home country, while Salvador Dalí’s Soft Construction with Boiled Beans (Premonition of Civil War), painted a year later, and foreshadowed the horror of the conflicts to come. These fantastical scenes were the result of attempts to access the unconscious through psychoanalysis and the study of dreams, while providing commentary on real world tragedies. With Europeans taking refuge in the United States during World War II, the center of the Surrealist movement shifted to New York. Julien Levy was one of the many art dealers who introduced Surrealism to collectors and new audiences in this country. The work of many of the artists he represented will be included in this exhibition, including photographs by Man Ray and Lee Miller. Max Ernst, a pioneer of Surrealism, was one of many European exiles who made a new life for themselves here, eventually marrying fellow artist Dorothea Tanning. Her masterpiece Birthday (1942) is an iconic self-portrait in an empty room with doors leading into an infinite recession of space. A similar confounding of reason is reflected in Kay Sage’s defined dreamscapes, such as Unicorns Came Down to the Sea (1948). The Surrealists’ fascination with automatic drawing evolved to take new forms over time, as reflected in the evocative space and crystalline shapes of Matta’s painting The Bachelors Twenty Years Later (1943), the title of which refers to Marcel Duchamp’s The Large Glass.
130
Joan Mir贸, Spanish, 1893 - 1983.
Painting, 1933.
Oil and aqueous medium on canvas, 51 3/8 x 64 1/4 inches (130.5 x 163.2 cm). Philadelphia Museum of Art, A. E. Gallatin Collection, 1952. 漏 Artists Rights Society (ARS), New York / ADAGP, Paris
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132
Salvador Dalí, Spanish, 1904 - 1989.
Soft Construction with Boiled Beans (Premonition of Civil War), 1936
Oil on canvas, 39 5/16 x 39 3/8 inches (99.9 x 100 cm). Philadelphia Museum of Art, The Louise and Walter Arensberg Collection, 1950. © Salvador Dali, Gala-Salvador Dali Foundation / Artists Rights Society (ARS), New York
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The exhibition will end with works from the International Surrealist Exhibition at the Galérie Maeght, Paris (1947), the first major showing of Surrealism in Europe after World War II. This section includes the work of Enrico Donati, one of the movement’s younger artists. His sculpture The Evil Eye (1947) is a recent acquisition. Set in acrylic glass, the eye’s copper wire roots are visible beneath the platform that is backed by a monkey head visible only in a series of mirrors mimicking the waxing and waning moon. This exhibition contains approximately one hundred works from the collection by fifty artists and writers. Important publications and documentary materials, including photographs of the Surrealists at work or leisure, exhibition catalogues, and the periodicals Minotaure, VVV, and View, are also included in the exhibition. Excerpts of the Surrealist manifestos will be broadcast in the gallery, offering visitors a multisensory experience of the movement, its ambitions, and its unique history.
Philadelphia Museum of Art P.O. Box 7646. Philadelphia. Pennsylvania 1910 - 7646 134
Roberto Matta, Chilean, 1911 - 2002.
The Bachelors Twenty Years Later, 1943.
Oil on canvas, 38 x 50 inches (96.5 x 127 cm). Philadelphia Museum of Art, Purchased with the Edith H. Bell Fund, the Edward and Althea Budd Fund, gifts (by exchange) of Mr. and Mrs. William P. Wood and Bernard Davis, and bequest (by exchange) of Miss Anna Warren Ingersoll, 1989. Š Artists Rights Society (ARS), New York / ADAGP, Paris
135
Carolina Serpa Marques Born in Oporto/Portugal In 1989 took the the Law Degree from The Catholic University of Oporto and since 1991 she has been teaching at LusĂada University of Oporto. As a self-taught painter Carolina makes portraits and other works by commission. Since 2009 she exhibits in collective and solo exhibitions. carolinakermenguy@gmail.com carolinaserpamarques.blogspot.com
Carolina Serpa Marques Photo: Courtesy Carolina Serpa Marques 136
Carolina Serpa Marques.
“Menina das Tranças Pretas“ ( Girl with Black Braids) 2013. Acrylic on canvas 70x60 cm Photo: Courtesy Carolina Serpa Marques
137
Carolina Ser
“Reflexão”
Oil and acrylic on c Photo: Courtesy Caro
138
rpa Marques.
(Reflection)
canvas , 50 x 100 cm olina Serpa Marques
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Carolina Serpa Marques.
“Serenidade Oriental” (Oriental Serenity ) 2011 Acrylic on canvas, 100x80cm Photo: Courtesy Carolina Serpa Marques
141
THE HAMMER MUSEUM
January 26 – May 18, 2014
TEA AND MORPHINE: WOMEN IN PARIS, from 1880 to 1914 Includes works from the Elisabeth Dean Collection & the UCLA Grunwald Center for the Graphic Arts
Paul Albert Besnard.
Morphinomanes ou Le Plumet [Morphine Addicts or The Plume], 1887
Etching, drypoint and aquatint, 12 11/16 x 17 1/4 inches (32.2 x 43.8 cm). Collection UCLA Grunwald Center for the Graphic Arts. Purchase. Photograph by Brian Forrest. 142
Los Angeles—The Hammer Museum presents Tea and Morphine: Women in Paris, 1880 to The exhibition draws on the Elisabeth Dean Collection of French prints, a major promised gift to the UCLA Grunwald Center for the Graphic Arts, as well as the Grunwald’s existing holdings to explore fin-de-siècle representations of women. While women were often exalted and idealized in French graphic arts of the period, the exhibition explores how grittier images, whether of morphine addicts or prostitutes, began to dramatize a more nuanced and often troubling range of female experience. Tea and Morphine is cocurated by Cynthia Burlingham, Director, Grunwald Center for the Graphic Arts and Deputy Director, Curatorial Affairs at the Hammer Museum, and Victoria Dailey, Independent Curator. “The Dean Collection represents one of the most important gifts in the Grunwald Center’s history, and we are delighted to present this selection of works which demonstrates the incredible quality and scope of the entire collection,” says Cynthia Burlingham.
143
Eugene Grasset.
La Morphinomane [The Morphine Addict], 1897
Color lithograph, 22 ½ x 16 7/8 inches (57.2 x 42.9 cm). Collection UCLA Grunwald Center for the Graphic Arts, Hammer Museum. Promised Gift of Elisabeth Dean. Photograph by Brian Forrest. 144
Whether as angelic creatures or exotic lures, women filled the imaginations of artists and constituted the great subject of fin-desiècle art. Those who had leisure time were depicted relaxing with an afternoon cup of tea, as seen in a Mary Cassatt etching, whereas other artists portrayed the drug addiction common to women facing harsh economic realities. These extremes, and the positions in between, set the parameters for the exhibition of approximately 100 works, which includes prints as well as rare books and ephemera (such as menus, theater programs, and music scores). This array of objects gives the exhibition an intimate quality, revealing much about how women–and men–lived their lives during a time of great social upheaval and artistic innovation. This will be the first, large-scale exhibition of the Elisabeth Dean Collection since a 1986 exhibition at the Fresno Art Museum, when the collection was only six years old. Tea and Morphine will be the public’s first opportunity to appreciate the growth of the Elisabeth Dean Collection and to understand the scope of this important body of work.
145
Henri Jean Guillaume Martin.
Le silence [Silence], c. 1894 - 1897
Color lithograph, 22 ½ x 17inches (57.2 x 43.2 cm). Collection UCLA Grunwald Center for the Graphic Arts, Hammer Museum. Promised Gift of Elisabeth Dean. Photograph by Brian Forrest. 146
George Bottini.
Sagot’s Lithography Gallery, 1898
Color lithograph, 14 7/8 x 10 7/8 inches (37.8 x 27.6 cm). Collection UCLA Grunwald Center for the Graphic Arts, Hammer Museum. Promised Gift of Elisabeth Dean. Photograph by Brian Forrest. 147
Alfredo MĂźller
Beatrice, c. 1899
Etching and aquatint, 25 x 19 ½ inches (63.5 x 49.5 cm). Collection UCLA Grunwald Center for the Graphic Arts, Hammer Museum. Promised Gift of Elisabeth Dean. Photograph by Brian Forrest. 148
Louis Abel-Truchet.
Program for Le Théatre Libre’s production of The Smoke, then the Flame, 1895
Color lithograph, 9 ½ x 12 1/8 inches (24.1 x 30.8 cm). Collection UCLA Grunwald Center for the Graphic Arts. Purchase. Photograph by Brian Forrest. 149
Eugène Grasset.
La vitrioleuse [The Acid Thrower], 1894
Photo-relief with water-color stenciling, 22 7/8 x 18 inches (58.1 x 45.7 cm). Collection UCLA Grunwald Center for the Graphic Arts, Hammer Museum. Promised Gift of Elisabeth Dean. Photograph by Brian Forrest. 150
Victor Emile Prouvé.
L’Opium, 1894
Color lithograph, 24 3/8 x 17 inches (61.9 x 43.2 cm). Collection UCLA Grunwald Center for the Graphic Arts, Hammer Museum. Promised Gift of Elisabeth Dean. Photograph by Brian Forrest. 151
Maurice Denis.
Frontispiece to the album Amour, 1911
Color lithograph, 22 他 x 17 7/8 inches (57.8 x 45.4 cm). Collection UCLA Grunwald Center for the Graphic Arts, Hammer Museum. Promised Gift of Elisabeth Dean. Photograph by Brian Forrest. 152
Francis Jourdain.
La Lecture [The Reader], c. 1900
Color etching and aquatint, 24 x 17 Âź inches (61 x 43.8 cm). Collection UCLA Grunwald Center for the Graphic Arts, Hammer Museum. Promised Gift of Elisabeth Dean. Photograph by Brian Forrest. 153
Eugène Grasset.
Cover for the sheet music of Enchantement by Jules Massenet, c. 1890. Chromotypography, 13 ¾ x 10 ½ inches (34.9 x 26.7 cm). Collection UCLA Grunwald Center for the Graphic Arts, Hammer Museum. Promised Gift of Elisabeth Dean. Photograph by Brian Forrest. 154
Georges de Feure.
La source du mal [The Spring of Evil], 1894
Color lithograph, 22 5/8 x 16 1/16 inches (57.5 x 40.8 cm). Collection UCLA Grunwald Center for the Graphic Arts. Purchase. Photograph by Brian Forrest. 155
ARTIST LIST Tea and Morphine features the work of 43 artists, providing a cross section of the Parisian art world that reflects the stylistic diversity of the era. The exhibition juxtaposes established names with prolific but less-remembered figures whose diverse sensibilities gave the period’s artworks and advertisements their sensual appeal. It includes prominent Impressionist and Symbolist painters and members of the Nabi group alongside graphic designers and illustrators who were regular contributors to such newly established print journals as l’Estampe originale and L’Estampe moderne.
Hammer Museum 10899 Wilshire Blvd Los Angeles, CA 90024 USA
156
George Auriol (French, 1863-1938) Paul Berthon (French, 1872-1909) Albert Besnard (French, 1849-1934) Pierre Bonnard (French, 1867-1947) Georges Alfred Bottini (French, 1874-1907) Henri Boutet (French, 1851-1919) Eugène Carrière (French, 1849-1906) Mary Cassatt (American, 1844-1926) Edgar Degas (French, 1834-1917) Eugène Delâtre (French, 1864-1938) Maxime Dethomas (French, 1867-1929) Maurice Denis (French, 1870-1943) Maurice Dumont (French, 1869-1899) Louis Abel-Truchet (French, 1857-1918) Fau Fernand (French, 1858-c.1919) Georges de Feure (French, 1868-1943) Louis Auguste Girardot (French, 1858-1933) Eugène Grasset (French, 1841-1917) Paul César Helleu (French, 1859-1927) Hermann-Paul (French, 1864-1940) Georges Jeanniot (French, 1848-1934) Francis Jourdain (French, 1876-1958) Jean-Emile Laboureur (French, 1877-1943) René Lalique (French, 1860-1945) Louis Legrand (French,1863-1951) Alphonse Legros (French,1837-1911) Auguste Lepère (French,1849-1918) Henri Jean Guillaume Martin (French, 1860-1943) Alfredo Muller (Italian, 1869-1940) William Nicholson (English, 1872-1949) Victor Emile Prouvé (French, 1858-1943) Armand Rassenfosse (Belgian, 1862-1934) Paul Elie Ranson (French, 1862-1909) Pierre Roche (French, 1855-1922) Odilon Redon (French, 1840-1916) Henri Rivière (French, 1864-1951) Théophile Alexandre Steinlen (Swiss, 1859-1923) James Jacques Joseph Tissot (French, 1836-1902) Henri de Toulouse-Lautrec (French, 1864-1901) Félix Vallotton (Swiss, 1865-1925) Louis Valtat (French, 1869-1952) Edouard Vuillard (French, 1868-1940) Arthur Henri Lefort des Ylouses (French, 1846-1912) 157
FEBRUARY Prague, Czech Republic
Baden-Baden, Germany
Only the Good Ones: The Snapshot Aesthetic Revisited January 24 – March 6, 2014 Galerie Rudolfinum Alsovo Nabrezi 12, 11001 – Prague
Franz Gertsch: Nature’s Secret October 26, 2013- February 16, 2014 Museum Frieder Burder Lichtentaler Allee 8S, Baden-Baden
Salzburg, Austria
Wolfsburg, Germany
Under Pressure: Politics in Contemporary Photography November1, 2013 – March 2, 2014 Museum der Moderne, Salzburg Mönchsberg 32, 5020 Salzburg
Art & Textiles – Fabric as Material and Concept in Modern Art from Klimt to the Present October 10, 2013 – March 3, 2014 Kunstmuseum Wolfsburg Hollerplatz 1 -38440 Wolfsburg
Wien, Austria
Tel Aviv, Israel
Point of View #7 – Unusual Insights into the Pictures Gallery December 12, 2013 – February 16, 2014 Kunsthistorisches Museum Maria-Theresien-Platz, 1010 Wien
Joana Vasconcelos: Lusitania 2013 November 4, 2013 – April 26, 2014 Tel Aviv Museum of Art – The Lightfall, Herta and Paul Amir Building 27 Shaul Hamelech Blvd, POB 33288, Tel –Aviv
Paris, France
Amsterdam, Netherlands
Gérard Garouste; Contes Ineffables January 11 – February 24, 2014 Galerie Daniel Templon 30, Rue Beau Bourg, Paris
“Raw Truth: Auerbach – Rembrandt” December 12, 2013 – March 6, 2014 Rijksmuseum Museumstraat 1, 1071 Amsterdam
158
HIGLIGHTS Amsterdam, Netherlands
Madrid, Spain
Gian Paolo Barbieri:”Arte e Eleganza” January 11 - March 8, 2014 Eduardo Planting Gallery Eerste Bloemdwarsstraat 2 1016 KS Amsterdam
CÉZANNE site/non-site February 4 - May 18,2014 Museo Thyssen Bornemisza Paseo del Prado 8 2014 Madrid
Lisbon, Portugal
Madrid, Spain
Rubens, Brueghel, Lorrain: A Paisagem Nórdica do Museu do Prado December 3 – March 30, 2014 Museu Nacional de Arte Antiga Rua das Janelas Vedes
Chris Killip Work October 2, 2013 – February 24, 2014 Museu Nacional Centro de Arte Reina Sofia Edificio Sabatini Calle de Santa Isabel, 52, 28012 Madrid
Oporto, Portugal
Madrid, Spain
Habitar(s) November 30, 2013 – February 23, 2014 Galeria da Biblioteca Municipal Almeida Garrett Rua D. João de Castro, 210, Porto
ARCO MADRID February19 – February 23,2014 Halls 7 and 9 of Feria Madrid Spain Arco Madrid is the Pre Eminent Contemporary Art Fair of Madrid Art Fair of Madrid . Finland will be the Guest of Honor in the 33rd Edition
Barcelona, Spain
Genève, Switzerland
Before The Horizon (The Representation of the Horizon from the Middle 19th Century to Present) October 24, 2013 – February 16, 2014 Fundación Juam Miró Parc de Montjuic, Barcelona
Rene Rimbert (1896-1991) Poetry of the Silence and Flemish Reminiscence November1, 2013 – April 25, 2014 Artevera’s Gallery 1 Rue Etienne Dumont, 1204, F, Genève 159
FEBRUARY Riehen/Basel, Switzerland
London, UK
Odilon Redon February 2 - May 18,2014 Fondation Beyeler Baselstrasse 101 CH-4125 Riehen / Basel
Giorgio Di Chirico: Myth and Mistery January 15 – April 19, 2014 Estorick Collection of Modern Italian Art 39a Canonbury Square, London N1 2AN
Zürich, Switzerland
London, UK
‘From Matisse to Der Blaue Reiter/ The Blue Rider’. Expressionism in Germany and France’ 7 February to 11 May 2014 Kunsthaus Zürich Heimplatz, 1 Zürich
David Lynch: The Factory Photographs January 17 – March 03, 2014 The Photographers Gallery 16 Ramillies Street London
London, UK
London, UK
Silke Otto-Knapp January 17 –March 30, 2014 Camden Arts Centre Arkwright Road London NW3 6DG
Guillermo Kuitca: L’encyclopédie Nos I, II, III, IV, V, VI January 18 – March 14, 2014 Hauser & Wirth (London) 23 Saville Row, London, W1S 2et
London, UK
Los Angeles, Ca, USA
The EY Exhibition Paul Klee: Making Visible October 16, 2013 – March 9, 2014 Tate Modern Bankside, London SE1 9TG
Alex Prager; Face in The Crowd January 25 – March 8, 2014 M+B 612,North Almont Drive Los Angeles, California
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HIGLIGHTS Los Angeles, Ca, USA
New York, USA
Calder and Abstraction: From Avant-Garde to Iconic November 24, 2013 – July 27, 2014 Los Angeles County Museum of Art 5905 Wilshire Blvd, Los Angeles, CA 90036
Piero della Francesca:Personal Encounters January 14 – March 30, 2014 The Metropolitan Museum of Art 1000 Fifth Avenue, New York
Los Angeles, Ca, USA
New York, USA
Tea and Morphine: Women in Paris, 1880 to 1914 January 26 – May 18, 2014 Hammer Museum 10899 Wilshire Blvd Los Angeles, CA 90024
New York Academy of Arts Presents the Big Picture Featuring Vincent Desidero, Eric Fischl, Neo Rauch, Jenny Saville and Mark Tansey. January 28 – March 2, 2014 Wilkinson Gallery New York Academy of Art 111 Franklin Street, New York
Madison, USA
New York, USA
Patrick Earl Hammie- Significant Other February 7 - March 25, 2014 Poter Butts- Gallery University of Wiscinson 800 Langdon St. Madison, WI 53706
Visions and Nightmares: Four Centuries of Spanish Drawings January 17 – May 11, 2014 The Morgan Library 29 East 36 Street, New York
Monmouth. Oregon, USA
New York, USA
John Chang and Patrick Earl Hammie February 24- March 21, 2014 Cannon Gallery Western Oregon University 354, Nothern Monmouth Ave
John Van Mullen January 9– February 22, 2014 C24 Gallery 514 West 24th Street, New York
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FEBRUARY HIGLIGHTS New York, USA
New York, USA
Richard Artschwager- No More Running Man January 9– February 22, 2014 Gagosian Gallery 980 Madison Avenue, New York
Ink Art: Past as Present in Contemporary China December11, 2013 – April 6, 2014 The Metropolitan Museum of Art 1000 5th Ave, New York, NY 10028
New York, USA
Pennsylvania,USA
Alex Prager; Face in The Crowd January 9 – Februart 22, 2014 Lehman Maupin 201, Chrystie Street & 540 West 26 th Street, New York
The Surrealists: Works from The Collection November 3, 2013–March 2, 2014 Special Exhibitions Gallery, Perelman Building P.O. Box 7646. Philadelphia. Pennsylvania 1910 – 7646
New York, USA
Philadelphia, USA
The American West in Bronze, 1850 -1925 December 18, 2013–April 13, 2014 1000 Fifth Avenue, New York, NY 10028-0198
The Surrealists: Works from the Collection November 3, 2013 - March 2, 2014 Philadelphia Museum of Art - Special Exhibitions Gallery, first floor, Perelman Building 2600 Benjamin Franklin Pkwy, Philadelphia, PA 19130
New York, USA
Edward Steichen in the 1920’s and 1930’s A Recent acquisition, highlighting a beneficent gift from Richard and Jackie Hollander December 6, 2013 through February 2014 945 Madison Avenue, 75th Street New York City, NY 10021 162
February, 2014
www.lineandstylish.com 163