Nยบ12 EN / SEP 2014
FREE MONTHLY MAGAZINE
ARTIST OF TH MONTH
ISABEL GORE
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Technical File Fotografia/Photography:
Line & Stylish, Art Magazine Nr Registo ERC – 126385/ ERC Registration nr - 126385 Proprietário/Owner: José Eduardo de Almeida e Silva Editor/Publisher: José Eduardo de Almeida e Silva NIF: 179208586 Periodicidade/Periodicity: Mensal/ Monthly Morada da Redacção/Editorial Address: Urbanização do Lidador Rua 17, nr 106 4470-709 – Maia Portugal Contacto/Contact : +351 914037084 Director Geral/Director in Chief: Eduardo Silva Director Adjunto/Vice-director: Isabel Gore Editor / Editor in Chief: Eduardo Silva Redacção/ Editorial Staff: José Eduardo Silva Isabel Pereira Coutinho Luís Peixoto Director Técnico/ Art and Web Director: Luís Peixoto
Çetin Erokay © Cortesia/Courtesy: Çetin Erokay
Isabel Gore © Cortesia/Courtesy:Isabel Gore
Lower Belvedere © Belvedere, Vienna © Russian Museum © Tretjakovskaja © Petr Aven Collection, Moscow Museu Calouste Gulbenkian © Museu Calouste Gulbenkian Ramont Patrick © Cortesia/Courtesy: Solomon R. Guggenheim Museum Guggenheim Museum, New York 72.2003 © 2014 Artists Rights Society (ARS), New York/ADAGP, Paris Museum, New York 1970.141 © 2014 Artists Rights Society (ARS), New York/ADAGP, Paris ©Solomon R. Guggenheim Founding Collection 45.965
Colaboradores para o número de Setembro /Guest Redactors for September number Çetin Erokay Gerda Bulens Anne-Marie Pollet
The William Turner Gallery ©The William Turner Gallery
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This month Line & Stylish commemorates its 1st anniversary. We want to thank all Artists, Galleries, and Museums for their cooperation with their works, interviews and events, as well to our subscribers and readers. We are guided by quality and a total dedication to Fine Arts, Photography, Design and Fashion. During one year we have tried to feature through texts, images and interviews, not only the new tendencies, but also the national and international cultural events that, in our point of view, illustrate the present. We highlight the new Partnership Publicity Exchange between Line & Stylish, Art Magazine and TM-ART and Art Antwerp, founded by Mr. Thomas Maes, a passionate entrepreneur and artist, Executive Director at ART Antwerp, Art-Expo vzw and CEO, Head Editor and Senior Designer at ART Antwerp Magazine. In this issue one can see the first event - A Review on Antwerp’s First Fine Art and Jewelry Fusion Exhibition Antwerp Event Diamonds for Life: a Shining Success! In the present issue we are pleased to introduce Isabel Gore a painter from Porto, Portugal. Her creativity and capacity of reproducing a story on canvas are evident in 2 works here published, and belonging to a series called “Tribute to Giacomo Casanova”. Hope you really appreciate this number and we will go on trying to do our best. José Eduardo Silva (Editor) Cover: “Movement” - Isabel Gore Painter’s Private Collection 3
INDEX 6.
ART ANTWERP
40.
12.
SILVER AGE
52.
RAMONT P
26.
ÇETIN EROKAY
66.
GREG MI CALL OF
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Early Paintings and Vasily Kan
d Woodcuts by ndinsky
PATRICK
ILLER: DUTY
78.
LINE AND COLOUR. DRAWINGS AND WATERCOLOURS
90.
ISABEL GORE Artist of the month
104.
SEPTEMBER HIGHLIGHTS
info@lineandstylish.com +351 914 037 084 5
ART ANTWERP INTERNATIONAL ART & DESIGN FAIR The New Edition Art Antwerp offers the Art Fair World a Brilliant and Refreshing Perspective – Get with the Times!
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Friday, March 21, 2014, Antwerp, BE. What is Art Antwerp? – Art Antwerp International Art & Design 2014 (AA’14) is an innovative event and global platform for creators, galleries, art-lovers, collectors, dealers, art & design experts and journalists, and worldwide marketing. Essentially, it is an 8 day long cultural fair at once inclusive (of multiple types of art & design) and exclusive (in the sense of professional and creative quality - exhibition, publishing and clientele). AA’14 promises you much more than a regular art fair! The first edition has already kicked-off with an intro event at the Royal Paleis op de Meir of Antwerp; Diamonds for Life was a highly successful charity event fusion exhibition of art, design & jewel craft, from many nations and levels of experience, and an array of creative styles / techniques. Visitors varied from curious sightseers to local and international collectors, political figures, and foreign diamond traders. In the same light, Art Antwerp fair offers a variety exhibition for everyone, all the while maintaining an attractive and harmonious layout, program and presentation.
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Where and when? – From December 5th to 12th, Art Antwerp will take place at the Antwerp-Expo forum (Antwerp, Belgium), alongside museums, historical buildings, art galleries, antique showrooms and jewellery crafters. The port city is highly central and is home to many collectors and trend-setters with a high flux of visitors and vacationers. Antwerp City is the exemplary in the balance between traditional and modern art culture. Who is Art Antwerp? – The AA’14 organizers are a group of international, innovative experts in art & design, publishing, marketing and business. Art Antwerp founder, Thomas Maes, is a passionate entrepreneur and artist, as are many of the AA’14 collaborators. Why this new approach, and why now? – Exponential population growth and a constant demand for innovation and variety have brought on an era of heightened connectivity, multiplicity and shared knowledge; Art Antwerp presents visitors and buyers an up-to-date art fair and educational, networking platform, a show of cultural diversity and an excellent spectrum of investment opportunities for all. Art Antwerp is built for a progressive society and promotes art world evolution. The 'How’– While embracing a proactive, progressive approach, Art Antwerp 2014 interacts with compassion toward exhibitors, guests and collaborators; attention to image, and an understanding of the client’s product and statement allows for a clear perspective, placement advising and showroom balance. The Art Antwerp mission is fresh, sophisticated, smart, comprehensive, selective, open and respectful. With this conduct and the steadfast list of collaborators, networks and connections, Art Antwerp is unquestionably a worldclass organization. 8
AA’14 offers the following events and publications: Art Antwerp International Art & Design 2014 (5-12 December) Cultural Fair International Art Exhibition of Fine Art, Contemporary Art, ArtNouveau, Interior Design, Jewel Design, and more. Featured Seminars with art world professionals. AA'14 VIP Vernissage Reception (December 5th) First Viewing Grand Opening, Ribbon-Cutting Ceremony, Press Conference Hors D’oeuvres and Cocktail Service, Live Art & Dance Performances, Classical Music Performances, Art Auction benefiting good causes as the Belgium cancer foundation &… Art Antwerp Magazine (To Be Launched on December 5) Showroom catalogue in the form of a Biennial Magazine - second edition to be printed in March of 2015 Includes Full Page Artwork Images, Articles, Interviews, Partner Ads To be Sold and Distributed Globally Art Antwerp Times AA’14 newspaper launched in February and mailed to 5000+ recipients, distributed by the Antwerp Hilton Hotel, The Royal Paleis op de Meir of Antwerp, and various luxury shops and travel agencies. A second edition will be published and distributed this summer and another at the fair itself. To exhibit, sponsor, visit or collaborate with Art Antwerp, contact info@artantwerp.com For more info, visit www.artantwerp.com or www.tmartfinearts.com 9
Antwerp Event Diamonds for Life:
A Shining Success! A Review on Antwerp’s First Fine Art and Jewelry Fusion Exhibition Lighting the way for the future of fine art and design, TM-ART Fine Arts International hosted an innovative and prosperous charity event at the Royal Paleis Op De Meir in Antwerp from the 8th to the 13th of February. A great array of visitors marveled at the beautifully composed exhibition of fine art, design and jewelry. The Diamonds for Life (D4L) event raised funds for the Kom op Tegen Kanker cancer foundation of Belgium.
Over 6 days and 2 VIP receptions, some 900 visitors crowded in from Meir Street to view carefully selected artwork by Gabriel Meiring, Thomas Maes and 13 other artists and craftsmen from around the globe. Among the exhibitors were the generous Alastair Laidlaw and Christine Marsden who donated one of their limited edition prints of Dreams of Diamonds, the world’s largest jewel & photography superbook. The book was sold, along with artwork by misters Maes and Meiring and some jewel work by Michielsen Manufacturing. 10
Dominick Alexander Rediers and Director Thomas Maes proudly opened the event and extended welcoming words to numerous ambassadors, mayors, ministers and other esteemed guests such as Minister Geert Bourgeois, Minister Annemie Turtelboom, Kristel Strubbe and Schepen Andre Gantman. VIP reception guests were delighted with the haute-cuisine dinner and service by Horta and many toasts were made. Live classical piano performances were composed and played by maestro Gabriel Meiring and a brilliant last minute addition, Ms. Evelyn Sagita Kauw. Throughout the entire event, Grani d’Oro Café of Monte-Carlo offered diverse excellent, quality coffee beverages. As proposed, this event provided an excellent stage for the participating artists, gallery owners, craftsmen and sponsors who gained much exposure and made solid connections throughout the VIP receptions and daytime visits. Guests and participants were thoroughly satisfied and continue to send praise to the TM-ART team for organizing and hosting this truly world-class event. TM-ART Fine Arts International extend their gratitude to all who were involved and the team now eagerly devotes itself to launching ART ANTWERP International Art & Design 2014 (5-12 December) cultural fair and opening vernissage event. To see photo coverage of the D4L event, visit TM-ART on Youtube. To learn more, request an application/ticket or inquire about sponsoring ART ANTWERP 2014, visit www.tmartfinearts.com , www.artantwerp.com, info@artantwerp.com. Brought to you by Art-Expo vzw, TM-ART Fine Arts International and ART ANTWERP International Art & Design 2014. With help from Perfect Pixel, Grani d’Oro Café, ArtTour International, KNACK, ATV, Art des Annonces, Horta, Hilton, Vel’Or and many more. 11
SILVER AGE
RUSSIAN ART IN VIENNA AROUND 1900 27 June to 28 September 2014 Lower Belvedere
Boris M. Kustodiev The Family, 1905
Oil on canvas, 182.5 x 198 cm Š Belvedere, Vienna 12
The Belvedere’s exhibition Silver Age - Russian Art in Vienna around 1900, showing from 27 June to 28 September 2014, explores Russian art and the cultural links between Russia and Austria in the early twentieth century. The term Silver Age refers to the cultural heyday in Russian literature and the fine arts after 1900 and is considered to be the equivalent of the German term Jugendstil or Art Nouveau. Two exhibitions organized by the Vienna Secession in 1901 and 1908 introduced the Viennese public to contemporary Russian art, which was extremely well received by both critics and collectors. While the first exhibition was dedicated to art in Nordic countries and only had one section on Russia, the second was devoted entirely to modern Russian art. It placed an emphasis on established artists from the group World of Art (Mir Iskusstva), as well as exponents of the young association of artists Blue Rose (Golubaya Roza), the last generation of Russian Art Nouveau. At this 1908 exhibition, three paintings were purchased for the Moderne Galerie (today’s Belvedere), including the important portrait of the Polenov Family by Boris M. Kustodiev that had been previously rejected by the conservative Russian art scene. The exhibition Silver Age will showcase Russian artists whose work could have been seen in Vienna over a hundred years ago. It thus illustrates the mutual influences of this cultural exchange between Russian and Austrian art.
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All through the late nineteenth and early twentieth century, Russian art could be seen in Vienna with relative frequency. There was an unprecedented flowering in art’s various fields, prompting contemporaries to dub this period the Silver Age. But this astonishing heyday of creativity was relatively short-lived and lasted only from the late 1890s to the latter years of the 1910s. Its exponents, however, considered it to be the next step in Russia’s artistic evolution, following the blossoming of literature in the Golden Age between 1810 and 1830. During these years, when Russian literature was taking the West by storm – the novels by Leo Tolstoy and Fyodor Dostoevsky were a worldwide triumph – this enthusiasm also swept across the borders of the Austro-Hungarian empire. “Russian artists followed the Vienna art scene and works by Gustav Klimt were published in Russian art magazines. And Austrian artists also knew the works by their Russian colleagues – in Gustav Klimt’s studio, for example, there was a majolica figure by Michail A. Vrubel,” Agnes Husslein-Arco, Director of the Belvedere, described the artistic exchange between the countries. The new Russian art emerged in the works of the World of Art group, which had been established in St. Petersburg just two years before the Vienna Secession’s exhibition. In many respects, this bore close resemblances with the creative experiments by Austrian artists during this time.
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Léon S. Bakst “Curtain Elysium”, 1906
Tempera on canvas, 678 x 1155 cm © Russian Museum 15
Sergei Y. “Curtain Design for the Ball
Oil on cardboar © Petr Aven Coll
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Sudeikin let Tragedy of Salome“, 1913
rd, 62 x 78,2 cm lection, Moscow
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“The Silver Age made an important contribution to Russian art, as it was in this period that Russians turned their attention to their own roots and traditions, after almost two hundred years of orienting themselves toward the West,” curator Konstantin Akinsha explained. “Russian Symbolism and the Mir Iskusstwa exhibitions were short-lived but their artistic legacies captured the essence of a time that defined a new worldview and constructed strong foundations for the avant-garde,” Belvedere Deputy Director and curator Alfred Weidinger added.
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Michail A. Vrubel “Pan”, 1899
Oil on canvas, 124 x 106.3 cm © Tretjakovskaja 19
Nikolai K “Campaign of Vladimir again
Oil on canva Š Tretjak
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K. Roerich nst Korsun (Red Sails)�, 1901
as,27 x 52 cm kovskaja
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The Vienna Secession exhibitions in 1901 and 1908 In 1901 the Vienna Secession staged an exhibition featuring the work of key artists, such as Michail A. Vrubel, Konstantin A. Korovin, Nikolai K. Roerich, and Konstantin A. Somov, in a show designed by Josef Hoffmann. In contrast to the presentations from other countries, the Russian section also comprised impressive examples of applied art: majolica figures, vessels, and even an enormous fireplace from the workshops of Abramtsevo, where these arts were being fostered by the vibrant industrialist, railway builder and patron of the arts Savva Mamontov. For the first time, the Secession was introducing the Viennese public to Russian Symbolism and Russian arts and crafts, and this met with resounding approval in both public and private circles. Peter Altenberg praised the Russian paintings in his personal guide, which was published in the journal Ver Sacrum, and the respected Austrian collectors Gallia and Wärndorfer acquired exquisite watercolors by Konstantin A. Somov. The second exhibition of Russian art in Vienna was presented in 1908 and was to be the largest show of foreign art ever staged at the Vienna Secession. It not only comprised works by established artists – Boris M. Kustodiev, Valentin A. Serov, and Léon S. Bakst, among others – but also impressive pieces by a new generation of Symbolist painters, including Sergei Y. Sudeikin, Nikolai N. Sapunov and other members of the Blue Rose group of artists. They were the last exponents of Russian Symbolism, which, in 1908, was already dwindling, soon to be replaced by the experiments of the avant-garde.
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Boris M. Kustodiev “Portrait of the Artist’s Wife”, 1903 Oil on canvas,139 x 133.5 cm © Russian Museum 23
“In this sense, Vienna witnessed both the beginning and end of Russian Symbolism. The last exhibition of Russian art shown in Vienna was on the eve of the First World War and was dedicated to set designs by Léon S. Bakst,” curator Alfred Weidinger said. Elegant stage sets and costume designs for The Martyrdom of Saint Sebastian by Claude Debussy and Gabriele D’Annunzio were shown at Salon Heller in the spring of 1914. Just a few months later the First World War broke out, and both fin-desiècle Vienna and Russia’s Silver Age were brought to an abrupt end.
Belvedere Prinz Eugen-Straße 27 1030 Vienna 24
Elena Luksch-Makovskaya “Sauna”,1908 (illustrated broadsheet)
Gouache, watercolor and ink on paper, 33.5 x 42.5 cm © Belvedere, Viena 25
ÇETIN EROKAY ÇETIN EROKAY, was born in 1942 in Izmir, Turkey. He was graduated and made his master degree at Izmir Ege University Economy and Commerce Faculty. Prof. Dr. Murside İçmeli’s drawing and painting’ lessons were fundamental to make him starting to love art. He improved his artistic work and technique by the critics of his outstanding contemporary artist friends and in parallel with his own studies.
ÇETIN EROKAY
Courtesy: Çetin Erokay 26
ÇETIN EROKAY “Çizgileri Tinsi” (The Tune of Lines) 2013 Oil on canvas, 110 X 110 X 4 cm Courtesy: Çetin Erokay 27
ÇETIN EROKAY “Çizgileri Tinsi (The Tune of Lines) 2013 Oil on canvas, 110 X 110 X 4 cm Courtesy: Çetin Erokay 28
ÇETIN EROKAY “Çizgileri Tinsi” (The Tune of Lines) 2013 Oil on canvas, 110 X 110 X 3 cm Courtesy: Çetin Erokay 29
ARTIST STATEMENT “Line is how mankind had expressed himself even before he spoke. He had managed to immortalize sounds and ideas via long lines after he began to speak, using lines again while creating writing. He has sprinkled the lines that we call note upon five parallel lines, which we call stave once more to eternalize melodies. In architecture, painting, sculpture when getting started, he has always begun by drawing a sketch with lines, creating the balance, aesthetic value and the harmony of the work. He has depicted this as the cohesiveness and the rhythm in the work of art. Thus, there’s a melody generated from the natural harmony and the unity in the relationship of lines with one another. I have founded my paintings upon the dance of geometric disjunctions and integrations of lines with colours. This is because, I have seen and felt that their relations with each other create a rhythmic harmony. Isn’t the joining of geometric shapes the visual foundation of all live and lifeless forms that surround us? Don’t all the forms around us dance coherently with the colours, light and shadow? I have experienced the hidden thrill behind reaching many dimensions in a work that’s reduced to a single dimension. While placing them behind one or more transparent surfaces, I have enjoyed including one or more layers. A friend of mine, who has seen my works, had heard this melody and the rhythm and called out THE TUNE OF LINES. That has given the works their name” - Çetin Erokay 30
ÇETIN EROKAY “Çizgileri Tinsi” (The Tune of Lines) 2013 Oil on canvas, 110 X 110 X 3 cm Courtesy: Çetin Erokay 31
ÇETIN EROKAY “Çizgileri Tinsi” (The Tune of Lines) 2013 Oil on canvas, 130 X 130 X 4 cm Courtesy: Çetin Erokay 32
ÇETIN EROKAY “Çizgileri Tinsi” (The Tune of Lines) 2013 Oil on canvas, 150 X 150 X 4 cm Courtesy: Çetin Erokay 33
Çetin Erokay took a key role in the establishment of SELCUK YASAR MUSEUM OF PAINTINGS –Izmir/Turkey. One of Çetin Erokay’s painting was used as a poster at the ‘’IV International Izmir Movie Festival’’ in 1992. In 1998 one of his graphic designs, became one of the finalists of the “International New York Festival” and his work was printed in the book entitled “The World’s Best Works . He has also held many solo exhibitions and participated in group exhibition. Çetin Erokay paintings have been exhibited at Vienna, Rome, Lille, Beijing, New York and Tehran. His artworks took place in various reputable art collections in Turkey and abroad. He is member of Euro Asian Worldwide organisation and also the Chairperson of EAWW in Turkey. From 1970 to 2005, he lectured Public Relations and Advertisement Classes in the Aegean University. He continues his art endeavour in his own atelier at Izmir-Turkey.
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ÇETIN EROKAY “Çizgileri Tinsi” (The Tune of Lines) 2013 Oil on canvas, 80 X 80 X 4 cm Courtesy: Çetin Erokay 35
ÇETIN E “Çizgileri Tinsi” (The
Oil on canvas, 15 Courtesy: Ç
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EROKAY e Tune of Lines) 2013
50 X 150 X 4 cm Çetin Erokay
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SELECTED EXHIBITIONS *1985 Izmir Museum of Painting and Sculpture Protection Association Group Exhibition. *1985 Aegean Artists Group Exhibition, Ataturk Culture Centre of Aegean University, Izmir. *1985 İzmir Chamber of Commerce 100th Anniversary Exhibition. *1986 “The Birds Variations” Solo Exhibition, Fuzen Art Gallery. *1987 “21th DYO Painting Competition” Painting Exhibition. *1992 IV. Izmir International Film Festival’s Poster. *1993 “Formations” Solo Exhibition, ZANA Art Gallery, Izmir. *1997 “Symphonic Fragmentations” Solo Exhibition, Temizocak Art Gallery. *1997 “The Great Exhibition” Izmir Contemporary Culture and Art Activities Association, Group Exhibition, Izmir Museum of Painting and Sculpture. *1998 Graphic Design Finalist of New York International Festival. *1999 Solo Exhibition, Adnan Franko Art Gallery-Izmir. *2001 Solo Exhibition, Art Shop Art Gallery-Izmir. *2003 Turkish –Iranian -Azerbaijan Artists Group Exhibition, Kültürpark Papatya Antik Art Gallery-Izmir. *2005 Painters of Izmir Book and Exhibition, Izmir Museum of Painting and Sculpture. *2008 Solo Exhibition, “Fragmentations” Atölye EN, Izmir. *2008 Solo Exhibition ‘’Good Morning Sun’’. Yaşar Education and 38
Culture Foundation Altın Yunus Art Gallery - Çesme- Izmir. *2009 Solo Exhibition “The Clouds and Wings” Bozcaada Art Gallery-Bozcaada – Çanakkale. *2009 Group Exhibition, Catı Art Gallery. Alacati- Cesme-Izmir. *2009 Group Exhibition, Atelye EN-Izmir. * 2010 Solo Exhibition, ” Clauds and Wings” Bodrum Ayna Art Gallery-Kedi Cultur and Art Centre- İzmir. *2011 - I. Izmir International Art Biennial*2011 Solo Exhibition “Luck Objects in Anatolian Civilizations” Wine&Art Gallery Cesme – Izmir. *2011 NIKA Modern Arts 78th Auction, Istanbul. *2011 AEGEAN University 4th EGEART International Art Days. *2012 GALLERY M, Euro Asian Art Centre 21th Century Art and Artists Exhibition/Vienna.
http://www.cetinerokay.com 39
Early Paintings and Woodcuts by Vasily Kandinsky Kandinsky Before Abstraction, 1901–1911 June 27, 2014–Spring 2015 Solomon R. Guggenheim Museum
The Guggenheim Museum presents Kandinsky Before Abstraction, 1901–1911 in the museum’s Kandinsky Gallery on Annex Level 3. The exhibition features an intimate presentation of sixteen early paintings and woodcuts by Vasily Kandinsky (b. 1866, Moscow; d. 1944, Neuilly-sur-Seine, France), highlighting pictorial themes that preceded the artist’s known nonobjective style. This exhibition is organized by Tracey Bashkoff, Senior Curator, Collections and Exhibitions, and Megan Fontanella, Associate Curator, Collections and Provenance.
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Vasily Kandinsky Singer (Sängerin), 1903
Woodcut on Japanese paper, mounted on paper, 35.9 x 24.8 cm Solomon R. Guggenheim Museum, New York 72.2003 Š 2014 Artists Rights Society (ARS), New York/ADAGP, Paris 41
Vasily Ka Landscape near Murnau with Locomotive (La
Oil on board, 5 Solomon R. Guggenheim M Š 2014 Artists Rights Society (A
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andinsky andschaft bei Murnau mit Lokomotive), 1909
50.5 x 65.1 cm Museum, New York 50.1295 ARS), New York/ADAGP, Paris
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Kandinsky launched his artistic career in 1895, abandoning a legal profession to become the art director of a printing firm in Moscow. One year later Kandinsky left for Munich, where he formed associations with the city’s leading avant-garde groups, realized his talent for working with three classic printmaking techniques (etching, lithography, and woodcut), and began to evolve as an artist and theoretician. The woodcut in particular, which requires artists to capture the essence of their vision or story through a reduced means of expression, provided Kandinsky with a vehicle for articulating his romantic tendencies. Recollections of Russia combined with romantic historicism, lyric poetry, folklore, and pure fantasy informed his early work. He started traveling extensively in 1904, making trips to Venice, Paris, Amsterdam, Tunisia, and Russia, before settling in Munich again in 1908 and translating his printmaking to landscape painting. Such graphic elements as clearly delineated forms, flattened perspective, and the black-and-white “noncolors” of his woodcuts pervade the jewel-colored Bavarian landscapes of 1908–09. These paintings differ remarkably from his earlier exercises in Neo-Impressionist painting. By 1913, he had already reduced his recognizable and recurrent motifs—including the horse and rider, rolling hills, towers, and trees— to broad areas of bright, radiant color that were subsidiary to the expressive qualities of line and color. These calligraphic contours and rhythmic forms reveal scarce traces of their representational origins. Kandinsky was finally able to evoke what he called the “hidden power of the palette” and move away from his pictorial beginnings, thus embarking on the road to abstraction. 44
Vasily Kandinsky Church (Kirche), 1907
Woodcut, 18.2 x 15.6 cm The Hilla von Rebay Foundation, On extended loan to the Solomon R. Guggenheim Museum, New York 1970.141 Š 2014 Artists Rights Society (ARS), New York/ADAGP, Paris 45
Vasily Ka Pastorale, Fe
Oil on canvas, 1 Solomon R. Guggenheim Museum, New York, Solo Š 2014 Artists Rights Society (A 46
andinsky ebruary 1911
105.7 x 156.5 cm omon R. Guggenheim Founding Collection 45.965 ARS), New York/ADAGP, Paris 47
About the Kandinsky Gallery The history of the Solomon R. Guggenheim Foundation is intertwined with the work of Vasily Kandinsky (1866–1944) more than any other artist of the twentieth century. Artist, art advisor, and the museum’s first director Hilla Rebay encouraged founder Solomon R. Guggenheim to begin collecting Kandinsky’s work in 1929 and to meet Kandinsky at the Bauhaus Dessau in July 1930. This introduction initiated an ongoing acquisition period of Kandinsky’s art, with more than one hundred fifty works ultimately entering the museum’s collection, making it the largest collection of Kandinsky works in the United States and the third largest collection in the world. Since the 2004 exhibition An Inaugural Selection, the Guggenheim’s Kandinsky Gallery has primarily featured a rotating selection of focused presentations of Kandinsky’s work, arranged by theme, period, location of production, and medium.
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Solomon R. Guggenheim Museum 1071 Fifth Avenue, New York
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RAMONT PATRICK,
1960, selfmade painter, Ghent, Belgium. Lives and works in Bredene, Belgium
RAMONT PATRICK Courtesy: Ramont Patrick 52
“A look into the artist’s soul. Ramont was three years old when his parents moved to Ostend. This proximity of the sea would become vital for his life and of central importance in his work. The sea, the piers, the beach and the dunes became his playground. Romping on the beach, swimming recklessly between East and West piers, fishing: the golden days of his boyhood. And drawing, already then. The urge to capture nature impressions cannot be deleted from Ramont’s memory. Sculptor Hubert Minnebo was his secondary school teacher for plastic education. He taught him to ‘look’, without a doubt an absolute condition for a painter. He joined the Belgian navy as a young mariner and sailed the open sea, along the European coast and through the Strait of Gibraltar. New images on his retina, new sources of inspiration. The beauty of the coasts of Normandy and Brittany has been branded on his memory for ever.
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RAMONT “The Night Falls Ov
Oil Painting, Courtesy: Ram
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PATRICK ver The City� Ostend
300 x 200 cm amont Patrick
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Ramont doesn’t merely aim to paint fine harbours and seascapes. His light on canvas and his palette suggest some strange magic behind reality. Ramont is fascinated by mysteries of ancient times. His dark green mossy boulders evoke the megalithes of Stonehenge and the menhirs of Brittany. The light passages on his canvases draw you into another dimension.
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RAMONT PATRICK “The Keyhole” Oil Painting, 150 x 100 cm Courtesy: Ramont Patrick 57
RAMONT “Dialog With
Oil Painting, Courtesy: Ram
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PATRICK h The Moon “
200 x 120 cm amont Patrick
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Also the mysterious depths of the submarine world have inspired Ramont. As a diver he explored fauna and flora deep down in exotic faraway seas. The human figure is mostly absent in his work. He considers man as a species that pollutes and destroys nature. Ramont’s perception of nature is a solitary experience. His great masters are Rembrandt and Vermeer. He admires the magistral use of light in their oeuvre. And in his view also Van Gogh’s world of colours is unequalled. Ramont is an artist who feels the energy and the passion within his soul” - Gerda Bulens, 2009
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RAMONT PATRICK “The Thinking Devil” Oil Painting, 100 x 50 cm Courtesy: Ramont Patrick 61
RAMONT “In To Th
Oil Painting, Courtesy: Ram
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PATRICK he Circle”
200 x 200 cm amont Patrick
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An impression by Anne-Marie POLLET, Art Historian ‘ … Ramont is an artist with an eye for structures and materials. With his sharp sense of observation he brings the diversity in our environment on canvas. His skies are unlike other skyscapes. They are transparent and with their delicate degradation of colour they radiate quiet and meditation. His blues combined with purple, mauve, lilac, pink, red and orange are a delight for the eye. Also his dark and ominous marine paintings are attractive…’ ‘… He is not only inspired by the North Sea. He also brings fantastic underwater scenes on canvas with mysterious ruins, wrecks and antique statues. On some of these paintings we find blood coral with a visible three-dimensional paint surface. Your eyes feel the deep red structure. He is intrigued by foreign coasts with breakers dashing against the rocks… His marine paintings smell like beaches, breakwaters, shells, seaweeds. Seas can be calm, inconstant, destructive, threatening, stormy, unpredictable. Ramont is able to paint all these aspects of the sea.’
http://www.ramontpatrick.be 64
RAMONT PATRICK ““The Wall” Oil Painting, 200 x 150 cm Courtesy: Ramont Patrick 65
GREG MILLER: CALL OF DUTY
July 26th - September 13th, 2014
The William Turner Gallery
Santa Monica, CA - The William Turner Gallery is pleased to present Call of Duty, an exhibition of new paintings by Greg Miller. The exhibition will be accompanied by the artist’s second short film, entitled, “The Pool.” Hollywood Film Noir references abound in this newest body of work from Neo-Pop painter, Greg Miller - and beautiful women are the heroes of this visual narrative. Whether lounging in a pool, diving into the sea or caught mid-kiss, these women maintain a cool distance from the viewer - they are mysterious and untouchable, encased in resin and paint, frozen in time like celluloid dreams.
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Miller “ Coral Reef” – 2014
Acrílico, Colagem e Resina sobre painel, 72 x 60 Courtesy: The William Turner Gallery 67
Mil “ The Blu
Acrylic, Collage, Re Courtesy: The Willi 68
ller ue” – 2014
esin on Panel, 48 x 60 iam Turner Gallery 69
Miller’s softly rendered femme fatales are juxtaposed with rough textures, drips and sprays, and peeling layers that have been built up and scratched away - layers that obscure just as much as they reveal. The compositions are dramatically framed, cinematically cropped, up close and intimate - homages to a city that is as enthralling as it is enigmatic.
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Miller “First Kiss” - 2014
Acrylic, Collage, Resin on Panel, 60 x 48 Courtesy: The William Turner Gallery 71
With this series, Miller endeavours on a sort of cultural excavation, collecting, preserving and recontextualizing documents of a forgotten time. His paintings bring the outside world in, mimicking the Los Angeles cityscape with its myriad walls plastered in tattered movie posters, graffiti, airbrushed murals and aging advertisements. Assembling these images of urban signage, billboards, found ephemera and pop culture visuals, Miller taps into a space in our collective consciousness that tugs at memory like a long lost lover. Miller says of his practice, “‘I have always liked to paint. I really wanted to document that language and that imagery and then add to it with other things I found on the street. Little pieces I have found and collected. They are part of the romantic story I tell in the context of each painting.�
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Miller “ After Dark”- 2014
Acrylic, Collage, Resin on Panel, 48 x 48 Courtesy: The William Turner Gallery 73
Mil “ Pool Paint
Acrylic, Collage, Res Courtesy: The Willi 74
ller ting� - 2014
sin on Panel, 48 x 60 iam Turner Gallery 75
Greg Miller’s work is featured in numerous museum and private collections, including the Frederick R. Weisman and Charles Saatchi Foundation. The Get Go, a volume of his writings, photography and paintings, was published in 2010, and the first comprehensive monograph on the artist, Signs of the Nearly Actual, was published in 2008. Miller splits his time between Los Angeles and New York.
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William Turner Gallery Bergamot Station Arts Center 2525 Michigan Avenue E-1, Santa Monica, CA 90404
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LINE AND COLOUR. DRAWINGS AND WATERCOLOURS IN THE CALOUSTE GULBENKIAN COLLECTION 27 June 2014 to 21 September 2014
This exhibition features a small but important series of drawings and watercolours acquired by Calouste Gulbenkian that will be shown to the public as a whole for the first time, revealing the nature of the collector’s relationship with the graphic arts. Usually kept in storage for conservation reasons, these works have appeared individually in exhibitions where their iconographic significance was framed within the general terms of the theme proposed.
François Boucher. Paris, Pair Of Cupids With A Basket Of Flowers. France,
Black chalk with white chalk highlights on light brown paper. 30.4 × 15.4 78
, 1703-1770. , Late 1760.
4 cm. Inv. 172 A. 79
Jean-Honoré Fragonard. G Qu’ En Dit L’ Abbé? Ou La Leçon De Dans
Brush brown ink and Brown washes, with red an Inv. 2
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Grasse, 1732 – Paris, 1806. se Ou Le Maître De Danse. France, C. 1770.
nd black chalk tracing on paper, 23.6 × 36.6 cm. 2297.
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The route of the exhibition, which journeys from the sixteenth to the twentieth century, will allow visitors to derive aesthetic pleasure from contemplating works by Dürer, Watteau, Ruisdael, Boucher, Fragonard, Guardi, Turner, Millet and Jouve, among many others. All of the featured artists made use of lines and colours to create works which, in both geographical and chronological terms, constitute landmarks in the history of the art of drawing.
Giuseppe De Nittis (1846-1884). The Fishes And The Shepherd Who Plays The Flute Flute (Book X, Fable 10). 25.7 × 21.5 cm. Signed On The Lower Right-Hand Side: De Nittis. Inv. 462–39. 82
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Jacob Van Ruisdael. Haarlem, 1 View of a Forest. H
Black chalk, ink and grey washes on paper,16.2 Ă— 26. 84
1628/1629 – Amesterdam,1682. Holland, 1650–55.
.2 Cm. Signed Monogram Lower Centre: Jr. Inv. 861. 85
John Singer Sarge The Church Of Santa Maria Della
Watercolour with touches of gouache and graph 86
ent (1856 – 1925) Salute, Venice. Venice, Ca. 1904–9.
hite traces on cardboard. 36.7 × 53.8 cm. Inv. 75. 87
This exhibition will also allow multiple dialogues to be established which, in the intimacy of the personal approach, will shed light on the complex facets of the artistic methodology employed in the practice of drawing and the watercolour: in the former, we see the spontaneous expression of a ‘first thought’, the unfinished but clarifying composition, the visible ‘hesitation’ in the choice of other possible paths, the preparatory study for future works, and the finished autonomous work with its own artistic qualities; and in the watercolour, the spontaneity, immediacy and transparency that the fluidity of the medium demands and also allows.
Museu Calouste Gulbenkian Avenida Berna 45, 1067-001 Lisboa 88
Giuseppe De Nittis (1846-1884). Black Panther And Serpent (Python). France, Early 1920s.
ContĂŠ crayon and thick ink applied with brush on paper glued on Cardboard. 50.8 Ă— 100.8 cm. Signed on the bottom , left-hand side: Jouve. Inv. 625.
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ARTIST OF THE MONTH
ISABEL GORE ISABEL GORE (Isabel Maria Rego) was born in 1957, Porto,Portugal. Graduated in Germanic Philology - Porto University. Self-taught artist, who attended painting classes with Prof. Alfredo Barros, Portuguese Painter and Fine Art’s teacher and also drawing lessons at “Cooperativa Árvore” - Porto/Portugal With some works published in REVISTART, Spain. Represented in the permanent collection of the Contemporary Art Museum, Bahia, Brasil and in some private collections in Portugal and abroad
Isabel Gore 90
Isabel Gore “ Beauty� (from the series - Giacomo Casanova) Oil on canvas, 90 cm x 70 cm Private collection 91
Isabel “Mad C
Oil on canvas, Courtesy: I 92
l Gore Corner�
60 cm x 80 cm Isabel Gore 93
Isabel “Fa
Oil on canvas, Courtesy: I 94
l Gore ado�
40 cm x 60 cm Isabel Gore 95
SELECTED EXHIBITIONS
2013/2014 - Group Exhibition - “Liberty Tributes to Joan Miró”, Galeria Café Majestic- Porto, Portugal - Group Exhibition - D.E.V.E Gallery, Bruges, Belgium - Group Exhibition - National Art Gallery, Izmir, Turkey - Group Exhibition - Gallery M, Vienna, Austria - Group Exhibition - Galeria Vieira Portuense – Porto,Portugal 2010/ 2012 - Group Exhibition – Galeria Amadeo Souza Cardoso ,Museu Municipal de Espinho, Portugal - Group Exhibition “Centre Animation Loisirs St. Marguerite de La Ville de Nice”,Nice, France. - Group Exhibition - “Premio Open Art 2011“- VIII Edição-Sale del Bramante – Rome, Italy - Bienial “d’Arte-Vez, “Foyer do Auditório da “Casa das Artes”, Arcos de Valdevez,Portugal.
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Isabel Gore “ Temptation” (da série - Giacomo Casanova) Oil on canvas, 90 cm x 70 cm Private Collection 97
Isabel “Move
Oil on canvas, Painter’s Priva 98
l Gore ement�
50 cm x 75 cm ate Collection 99
Isabel “Under C
Oil on canvas, Courtesy: I 100
l Gore Control�
50 cm x 70 cm Isabel Gore 101
EXPOSIÇÕES SELECIONADAS 2007/2009 - Group Exhibition- Painting, Sculpture and Poetry - “Memoria, Colori e Identità” - Salerno/Italy. - Group Exhibition - “Diversidades”- Ordem dos Médicos, Porto,Portugal. - European Group Exhibition - Painting, Sculpture and Photography “ Museu S.S. XII Apostoli”. Rome, Italy. - Group Exhibition - Biblioteca Municipal Almeida GarrettPalácio de Cristal – Porto, Portugal - Solo Exhibition - “Academia de Dança Margarida Valle”, Porto, Portugal. 2003/2006 - Group Exhibition – organized by Millennium BCP, Porto, Portugal - Group Exhibition - “Casa do Alto”, Maia, Portugal - Solo Exhibition - Foyer do Auditório da “Casa das Artes”, Arcos de Valdevez, Portugal - International Group Exhibition “Arte Postal” - Biblioteca Municipal de Ovar, Portugal - Group Exhibition - “Galeria Arte Jovem” – Lisbon,Portugal
http://www.isabelgore.com/ http://www.youtube.com/watch?v=DVHMsvlivH0 imariarego@gmail.com 102
Isabel Gore “ Chaos”
Oil on canvas, 70 cm x 70 cm Courtesy: Isabel Gore 103
SEPTEMBER H Vienna, Austria
Lisbon, Portugal
Silver Age - Russian Art in Vienna around 1900 27 June to 28 September 2014 Lower Belvedere Prinz Eugen-Straße 27 1030 Vienna
Contemporary Painting 11 July – 11 September, 2014 Galeria de Arte AFK / Art Gallery AFK Rua Professor Fernando Fonseca 21A, Lisboa, Portugal
Erstein, France
Madrid, Spain
Anthony Caro. Masterpieces from the Würth Collection February 7, 2014 – January 4, 2015 Musée Würth France Rue Georges Besse F-67150 Erstein
Alma –Tadema and Victorian Painting; In The Pérez Simón Collection 25 June to 5 October 2014 The Museo Thyssen-Bornemisza Paseo del Prado 8 28014 Madrid, Spain
Venice, Italy
Zürich, Switzerland
Irving Penn: Resonance April 13 – December 31, 2014 Palazzo Grassi Campo San Samuele 3231, 30124 Venice
The Torches of Prometheus. Henry Fuseli e Javier Téllez June 20 – October 12, 2014 Kunsthaus Zürich Heimplatz 1, 8001 Zürich
Lisbon, Portugal
London, UK
Line and Colour. Drawings and Watercolours 27 June - 21 September,2014 Museu Calouste Gulbenkian Avenida Berna 45, 1067-001 Lisboa
Gerardo Dottori: The Futurist View 9 July – 7 September 2014 Estorick Collection of Modern Italian Art 39a Canonbury Square London N1 2AN 104
HIGHLIGHTS California, USA
Philadelphia, USA
Greg Miller; Call of Duty July 26th - September 13th, 2014 The William Turner Gallery Bergamot Station Arts Center 2525 Michigan Avenue E-1 Santa Monica, CA 90404
Patrick Kelly: Runway of Love
April 27–November 30, 2014 Special Exhibitions Gallery, Perelman Building 2600 Benjamin Franklin Parkway Philadelphia, PA 19130
New York, USA Early Paintings and Woodcuts by Vasily Kandinsky Kandinsky Before Abstraction, 1901–1911 June 27, 2014–Spring 2015 Solomon R. Guggenheim Museum 1071 Fifth Avenue, New York
New York, USA Ai Weiwei: According to What? April 18 – August 10, 2014 Brooklyn Museum of Art 200 Eastern Parkway Brooklyn, New York
New York, USA Charles James: Beyond Fashion May 8–August 10, 2014 The Metropolitan Museum of Art 1000 Fifth Avenue New York, NY 10028-0198
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PARTNERS:
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September, 2014
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