Tags: pieter aersten aersten painter 16th century dutch 1551 1550s buthcher's stall realism still life genre
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Oil on canvas; 59.5 x 79.3 cm.
Italian painter and printmaker. Born at Carpignano Sesia (Novara). Moved to Milan in 1941 and studied painting at the Brera Academy under Funi and Carr-32; became friendly with Cassinari and Morlotti. Joined the groups Numero and Pittura, and helped to edit their periodicals. Published etchings illustrating poems by Cesare Pavese 1947; first one-man exhibition at the Galleria della Bottega, Novara, 1948. After naturalistic beginnings, evolved c.1950-1 an abstract style influenced by the colours and light of Bonnard and by the structure of the Cubist pictures of Braque. Took studies from nature as his starting-point, but tried to capture the essence of natural forms bathed in light. Spent part of each year in the countryside of Piedmont, from which he drew inspiration. After 1960 his work started to become more figurative, with paintings of still life and shadowy nudes in interiors related to de Sta-21l and Bacon. Lives in Milan.
Published in:
Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, p.3
Tags: giuseppe ajmone ajmone painter 20th century contemporary italian 1950 1950s still life christie's neo-expressionism abstract
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Oil on canvas; 81 x 54 cm.
Italian painter and printmaker. Born at Carpignano Sesia (Novara). Moved to Milan in 1941 and studied painting at the Brera Academy under Funi and Carr-32; became friendly with Cassinari and Morlotti. Joined the groups Numero and Pittura, and helped to edit their periodicals. Published etchings illustrating poems by Cesare Pavese 1947; first one-man exhibition at the Galleria della Bottega, Novara, 1948. After naturalistic beginnings, evolved c.1950-1 an abstract style influenced by the colours and light of Bonnard and by the structure of the Cubist pictures of Braque. Took studies from nature as his starting-point, but tried to capture the essence of natural forms bathed in light. Spent part of each year in the countryside of Piedmont, from which he drew inspiration. After 1960 his work started to become more figurative, with paintings of still life and shadowy nudes in interiors related to de Sta-21l and Bacon. Lives in Milan.
Published in:
Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, p.3
Tags: giuseppe ajmone ajmone painter 20th century contemporary italian bouquet public collection still life flowers expressionism
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Oil on canvas.
Akulov, Vladimir a representative of the Vitebsk school of painting, has preserved in his art its spirit of experimentation and of the search for an individual creative manner. Over twenty years child’s lyricism and naivety, the perception of a turned-over word is characteristic of his work.Encompassing a wide range of genres, from still-life and landscape to complex multi-figured compositions, the artist remains devoted to the style of expressionism. Asserting the prevalence of the spiritual values over the material ones, he has chosen the method of Edvard Munch as a protest against an excessive impartiality and technocratizaton, as a means of making up for the lack of emotionality which is characteristic of the official art. Being a poet and a philosopher, a master of an intuitive, spontaneous painting, he fills his works with a poetic metaphor, and his poetry at the same time turns info a sphere of transformations looking like a set of visual images. Colors act as the letters of a certain boundless alphabet, out of which the talent of the master endeavors to combine meaningful words. A very peculiar humane coloring is inherent to the artist’s works, and sad animals with human faces and people with the faces of sad animals depicted in the pictures seem to stiffen in a transitional stage, as if personifying the author’s outlook. The master creates a second reality caused by his feelings and perception of the world.The artist is replacing the former relations of things and figures and figures by new relations, frozen of purely emotional and spiritual values.The depths of the artist’s sub consciousness give birth to a great number of subjects. The number of his works exceeds several thousand: the artist seems just to depict his own dreams. Being a poet by nature, he knows for certain what perfection is, and suffers from the imperfection of what he sees around and inside himself. That is why his tragic outlook appears to be more humane than the outlook of many of his optimistic colleagues.Every artist perceives the world in his own way, catching in the kaleidoscope of phenomena the waves of those frequencies that correspond to his spiritual nature. Everyone reveals something unique in this world, and these revelations will allow our descendants to judge the art of our time.But for the work of art to be appreciated by both contemporaries and descendants, it should remain in its native country. The fragile building of art has always needed a firm stand-by. And it is not by chance that Vladimir Akulov started to cooperate with the Zhilbel art centre. Their cooperation has allowed the artist to realize his creative conceptions both in poetry and in painting. The Zhilbel centre, relying on the experience and opinion of the leading experts and critics, arranges both classical and avant-garde exhibitions which, despite their polar difference, are always of a very high standard. This allows the gallery to display a wide spectrum of modern Belarusian art.
Tags: vladmir akulov akulov painter 20th century contemporary belarus 1998 1990s drinking still life still life expressionism bottle public collection
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‘STILL LIFE WITH BLUE SLIPPERS’ (1911)
Oil on canvas, 43 x 33
Provenance
Private collection, Moscow
Bibliography
M. Etkind, ‘Natan Altman’.
Altman was born in Vinnytsia, Imperial Russia. From 1902 to 1907 he studied painting and sculpture at the Art College in Odessa. In 1906 he had his first exhibition in Odessa. In 1910 he went to Paris, where he studied at the Free Russian Academy, working in the studio of Wladimir Baranoff-Rossine, and had contact with Marc Chagall, Alexander Archipenko, and David Shterenberg. In 1910 he became a member of the group Union of Youth. His famous Portrait of Anna Akhmatova, conceived in Cubist style, was painted in 1914. After 1916 he started to work as a stage designer.
In 1918 he was the member of the Board for Artistic Matters within the Department of Fine Arts of the People's Commissariat of Enlightenment together with Malevich, Baranoff-Rossine and Shevchenko. In the same year he had an exhibition with the group Jewish Society for the Furthering of the Arts in Moscow, together with Wladimir Baranoff-Rossine, El Lissitzky and the others. In 1920 he became a member of the Institute for Artistic Culture, together with Kasimir Malevich, Vladimir Tatlin and others. In the same year, he participated in the exhibition From Impressionism to Cubism in the Museum of Painterly Culture in Petrograd. From 1920 to 1928 he worked on stage designs for the Habimah Theatre and the Jewish State Theatre in Moscow. In 1923 a volume of his Jewish graphic art was published in Berlin. In 1925 he participated in Exposition Internationale des Arts Decoratifs et Industriels Moderns (Art Deco) in Paris. His first solo exhibition in Leningrad was in 1926.
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