tag:blogger.com,1999:blog-69708579241015189842024-02-27T06:03:33.695-08:00Denis Bloch Fine ArtDenis Bloch Fine Art is dedicated to providing the finest 20th century and contemporary original prints and vintage posters to fine art collectors worldwide.Denis Bloch Fine Arthttp://www.blogger.com/profile/06132141931455877262noreply@blogger.comBlogger30125tag:blogger.com,1999:blog-6970857924101518984.post-4494275427502333592014-11-20T16:56:00.000-08:002014-11-20T16:56:37.509-08:00What is a Proof? Artists Proofs and Printer's Proofs<div dir="ltr" style="text-align: left;" trbidi="on">
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Art collectors often ask our gallery about this topic, so today we are going to shed some light on the differences between different proofs and the printed edition. <br />
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<strong><span style="color: #e69138; font-size: large;">What is a Limited Edition?</span></strong></div>
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<tr><td style="text-align: center;"><a href="http://denisbloch.com/object.php/1285/marc-chagall-arbre-fleuri-lithograph-mourlot-915-louvre-catalogue" imageanchor="1" style="margin-left: auto; margin-right: auto;" target="_blank"><img alt="http://denisbloch.com/object.php/1285/marc-chagall-arbre-fleuri-lithograph-mourlot-915-louvre-catalogue" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnxjWhHeTlTpE4BfvveGVtBehbtBfa7Vb-oqcP9HP8_Soqg-xUkPBl-tAK03AMJQK1ZFOkHSpb8x4iBaH_zIJ8F-DVo8cVjGsdccN6IXhJSo09h73VdCplH2KdWcoBIltMLJJ2X8HMoQEJ/s1600/Chagall+-+The+-+Flowering+-+Tree+-+I.jpg" height="257" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em><a href="http://denisbloch.com/object.php/1285/marc-chagall-arbre-fleuri-lithograph-mourlot-915-louvre-catalogue" target="_blank">Marc Chagall "L'Arbre Fleuri I" - Lithograph - Edition of 100</a></em></td></tr>
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When an artist prints a <strong>limited edition original print</strong>, such as a: lithograph, etching, aquatint, carborundum, screenprint, linocut, or woodcut, a set number of identical prints are made. This set number is the "<strong>Edition Size</strong>," and these will generally be numbered sequentially and hand-signed by the artist. An edition size can vary from extremely small editions of 5 to large editions of 1,000 or more. Open editions have an unknown or unlimited quantity of prints.<br />
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<tr><td style="text-align: center;"><a href="http://denisbloch.com/object.php/1104/joan-miro-la-magie-quotidienne-dupin-271-etchings-for-sale" imageanchor="1" style="margin-left: auto; margin-right: auto;" target="_blank"><img alt="http://denisbloch.com/object.php/1104/joan-miro-la-magie-quotidienne-dupin-271-etchings-for-sale" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisZbzqJlwyzngGvxmdlwd5Zz20F8JVjFSu_W6SDyCy79AGK8xXtUu583C2FEhnIQulpEjvizEjMZZ3BzHJY18OLf1D707_SNcSzcquC9M8mxMcsP4d4uQ4WFaxRKtI-XoZ31cgJMdlFr4k/s1600/miromagiequotidienne.JPG" height="246" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em><a href="http://denisbloch.com/object.php/1104/joan-miro-la-magie-quotidienne-dupin-271-etchings-for-sale" target="_blank">Joan Miro "La Magie Quotidienne" - Etching - Edition of XV on Japon</a></em></td></tr>
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Sometimes there are different editions printed on different kinds of paper. As an example there may be a regular edition on <strong>Arches</strong> paper with a limit of 100. These 100 prints are signed and numbered sequentially from 1/100 to 100/100. In addition to this edition on Arches paper, a smaller edition of 15 are printed on <strong>Japon</strong> paper and numbered sequentially in roman numerals from I/XV to XV/XV and signed by the artist. This brings our<u> total edition</u>, to 115 prints + any additional proofs that may exist. <br />
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<strong><span style="color: #e69138; font-size: large;">So What is a Proof?</span></strong> </div>
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A proof is usually an identical print to the regular edition, that is printed at the same time - <em>but is not part of the numbered sequence</em>. This is known as a "<strong>Proof Aside from the Edition</strong>," and these may or may not be hand-signed by the artist. In general with any edition printed there can be anywhere from 5-50 extra proofs aside from the edition. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd_OAh1aqPkUt-eoW8FLXvaYozxx-ux7cvCHqwWCh2nmbJydgfL6XUf669nNIg8db8yATYoIKsVGG11WmpdJe4fj3YiqGzcLlQIA6k4CxNYGC3VapoZdwArSpKK-bWUQrGGUqOoN3tTwLC/s1600/IMG_2598.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd_OAh1aqPkUt-eoW8FLXvaYozxx-ux7cvCHqwWCh2nmbJydgfL6XUf669nNIg8db8yATYoIKsVGG11WmpdJe4fj3YiqGzcLlQIA6k4CxNYGC3VapoZdwArSpKK-bWUQrGGUqOoN3tTwLC/s1600/IMG_2598.JPG" height="326" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em>Pablo Picasso "Farol (B. 945)" - Linocut - Epreuve d'artiste</em></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi96ZCHtAiGUkmM_etkGzLabm8aI4LiEPKEUoD20T1_hWFEAazjm43K2ExBnpkvk5uZlX8hLe8byjSCT4iWMliIYO3JZ9XIW_jIy1gvmi20HEqd2RASVJCpuM8YBwW394V2B0DNf6-rsVCF/s1600/ap.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi96ZCHtAiGUkmM_etkGzLabm8aI4LiEPKEUoD20T1_hWFEAazjm43K2ExBnpkvk5uZlX8hLe8byjSCT4iWMliIYO3JZ9XIW_jIy1gvmi20HEqd2RASVJCpuM8YBwW394V2B0DNf6-rsVCF/s1600/ap.jpg" height="261" width="400" /></a></div>
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Often these extra proofs are retained for the artist, otherwise known as an "Artist Proof". An artist proof can be annotated "A.P." for Artist Proof, or "E.A." in French "Epreuve d'artiste". Sometimes artists can additionally dedicate and gift a proof to a friend, collaborator, dealer, printer, or even family member. <br />
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<tr><td style="text-align: center;"><a href="http://denisbloch.com/object.php?name=Zao_Wou-Ki&title=En_Attendant_un_Jour_de_Fete_%28250b%29&artist_id=14&object_id=978&cat=original print&catid=8" imageanchor="1" style="margin-left: auto; margin-right: auto;" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhdKesplKLuHYAKY9mvQmw34eDuAHb1s9L3ILVLQP-TU_HAy7P9z7nIGfBR584TUt5NnQAE8DNtvbSjhu_NGvA4M-hIqN6F8TJ5Re_thq99re2E3Sc7OghSKI5rx03H0tgJ1MKC5IU9Hka/s1600/Zao_Wou_ki_A250b.jpg" height="640" width="412" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em><a href="http://denisbloch.com/object.php?name=Zao_Wou-Ki&title=En_Attendant_un_Jour_de_Fete_%28250b%29&artist_id=14&object_id=978&cat=original print&catid=8" target="_blank">Zao Wou-ki "En Attendant un Jour de Fete (250b)" - Etching - BAT with notes</a></em></td></tr>
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A "<strong>Printer's Proof</strong>" designated as "P.P." is much the same, an extra proof made aside of the numbered edition retained by the printer or atelier. The "P.P." can also sometimes stand for "Publisher's Proof". The printer's proof is usually for approval by the master printer to ensure the quality of the printing, and can sometimes include notes and annotations about the printing process. The "BAT" or "<strong>Bon à Tirer</strong>" is a kind of printer's proof, normally use as a control example against which the other impressions are compared. Bon à Tirer is French for "Good to Print" and is also kept by the Printer or Atelier studio. <br />
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<tr><td style="text-align: center;"><a href="http://denisbloch.com/object.php/339/sam-francis-signed-etchings-for-sale-sfe044" imageanchor="1" style="margin-left: auto; margin-right: auto;" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6QPhOSNxpVV92Lnrtfo8sXybvTWJpIP2jWrLZVomqNZGX0GWTbgDChK_CQ3J6Gfan3Yu_P_m3RBxk9Oj-qXITvaOMBZ49xJJvmKI1LvREei5TZlTDNn96jTTuzO_NJd02bky5PHQ8enfv/s1600/Sam+Francis+-+Color+Trial+Proof+I.jpg" height="400" width="321" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em><a href="http://denisbloch.com/object.php/339/sam-francis-signed-etchings-for-sale-sfe044" target="_blank">Sam Francis "Untitled I (TP)" - Etching - Color Trial Proof</a></em><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia5Y3nj8Uw34ChXCdEhvjaZHbwrelLocmi5ADJ46uWJRjiSZ61z6_ZFILpnGj_j78NRyfYLZGHmShjbSMlb2Z4z2Hhdo3WyCnvpWpHfWQQYw9OZtWLxy9EsEgbFFT5MG0IJaduLe-mn8L4/s1600/ctp.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia5Y3nj8Uw34ChXCdEhvjaZHbwrelLocmi5ADJ46uWJRjiSZ61z6_ZFILpnGj_j78NRyfYLZGHmShjbSMlb2Z4z2Hhdo3WyCnvpWpHfWQQYw9OZtWLxy9EsEgbFFT5MG0IJaduLe-mn8L4/s1600/ctp.jpg" height="148" width="320" /></a></div>
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Another kind of proof is the "<strong>Trial Proof</strong>" annotated "T.P." The trial proof is essentially a test proof, often to test colors or the final look of the composition. It is sometimes also referred to as a "working proof" by which the final composition of an edition has not yet been realized. Trial proofs are often thought of as unique prints as they are a one-of-a-kind version of the composition. Art historians, curators, and collectors view working proofs as especially desirable because of their rarity, and the insight they may give into the progress of the work.<br />
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<tr><td style="text-align: center;"><a href="http://denisbloch.com/object.php/556/marc-chagall-le-peintre-devant-le-village-mourlot-604" imageanchor="1" style="margin-left: auto; margin-right: auto;" target="_blank"><img alt="http://denisbloch.com/object.php/556/marc-chagall-le-peintre-devant-le-village-mourlot-604" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOmKUa3ZiAeUvM4JXotgCVbIdhHuds2i9JH0SO6ebUNV2nitH0ar5y5dsBBsmBmAppJBoMq3T0RKcfApuA13CJQfRxu54EnX2JPh7HBaBj9b3yA2aF2XY8WmxIEyAPZ4KwGLT3WH3Q0Y5B/s1600/chagallvillage1b.JPG" height="640" width="457" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em><a href="http://denisbloch.com/object.php/556/marc-chagall-le-peintre-devant-le-village-mourlot-604" target="_blank">Marc Chagall "Le Peintre devant le Village II" - Lithograph - HC aside from edition</a></em></td></tr>
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The last form of a "Proof" is the "H.C." which stands for the French term "<strong>Hors Commerce</strong>" or "Not for Sale". These are exactly as they sound, identical proofs to the regular edition that are not intended to be sold. Prints designated H.C. are often given to the project collaborators as a form of appreciation or partial payment. <br />
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<strong><span style="color: #e69138; font-size: large;">Total Tirage</span></strong></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhes6aoOXCPXxLiqF8Rtmv4-RKhva4Hp8h-jXGD3oheiVX5PyBffiZk9tSBp4k8CasSuNvt_2-Gjcf7aVYmZA8Vb_QpXC6efagv9BfUXIR6nyvzovdE2dUqm0wNGS4O8A484NZ8B1TWUHla/s1600/Multiflore.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhes6aoOXCPXxLiqF8Rtmv4-RKhva4Hp8h-jXGD3oheiVX5PyBffiZk9tSBp4k8CasSuNvt_2-Gjcf7aVYmZA8Vb_QpXC6efagv9BfUXIR6nyvzovdE2dUqm0wNGS4O8A484NZ8B1TWUHla/s1600/Multiflore.jpg" height="157" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em>Marc Chagall Catalogue Raisonne Description</em></td></tr>
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"<strong>Tirage</strong>", the French term meaning "output," is the total number of prints printed for an edition, including any proofs, APs, PPs, HC, and TPs. It is important to note that not every limited edition includes all of these, and the complete number of prints within a tirage are usually described in the artist's <span class="red_text"><strong>Catalogue Raisonné</strong></span>. Some artists and editions are catalogued very well and include full descriptions of the tirage, while others may have basic information only about the numbered edition. <br />
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<span style="color: #e69138; font-size: large;">For more information about printmaking and collecting original prints please visit our website:</span></div>
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<div style="text-align: center;">
<a href="http://www.denisbloch.com/"><strong><span style="color: #cc0000; font-size: x-large;">WWW.DENISBLOCH.COM</span></strong></a></div>
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Denis Bloch Fine Arthttp://www.blogger.com/profile/06132141931455877262noreply@blogger.com0tag:blogger.com,1999:blog-6970857924101518984.post-20860884543529908592014-09-27T12:25:00.000-07:002014-09-27T12:25:33.153-07:00Rauschenberg - Signs of the Times<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBjzw567rsJapSx2QGpxXTyCzAlHKtoVLpIhhno_P19DbkR4JEbuYkCWsObo2a_3mY-eKRGir7G3LBMJkjStlXXakc0CWXfvV-1Sx14282IgBwTJgyx8o1AdQOal2Zxot9fRRwI6hUl18e/s1600/Rauschenberg-Signs-Framed.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBjzw567rsJapSx2QGpxXTyCzAlHKtoVLpIhhno_P19DbkR4JEbuYkCWsObo2a_3mY-eKRGir7G3LBMJkjStlXXakc0CWXfvV-1Sx14282IgBwTJgyx8o1AdQOal2Zxot9fRRwI6hUl18e/s1600/Rauschenberg-Signs-Framed.jpg" height="640" width="529" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong>Robert Rauschenberg</strong> - <em>Signs</em> - 1970 - Screenprint Signed</td></tr>
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<span style="font-family: "Tw Cen MT","sans-serif";"></span><br />
<span style="font-family: "Tw Cen MT","sans-serif";"><a href="http://www.denisbloch.com/object.php/554/robert-rauschenberg-art-gallery-signs-1970-for-sale" target="_blank">Robert Rauschenberg’s“Signs” 1970</a>, is one of the most sought after Rauschenberg screenprints because
of the artwork’s incredible iconographic imagery and historical significance. "Signs" was originally commissioned by Time Magazine, with the intention that it
would be used as the January edition cover for the year 1970. After considering
the final composition, the executives at Time Magazine found the piece was more
politically charged than they had hoped and decided against using it. It was
felt that the composition, though stunning, was more of a recapitulation of the
1960’s than a welcome to the new decade. <o:p></o:p></span><br />
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<span style="font-family: "Tw Cen MT","sans-serif";">After the
dismissal by Time Magazine, <a href="http://en.wikipedia.org/wiki/Robert_Rauschenberg" target="_blank">Robert Rauschenberg’s</a> trusted dealer <a href="http://en.wikipedia.org/wiki/Leo_Castelli" target="_blank">Leo Castelli</a>
convinced him to print a limited edition screenprint of “Signs”. The edition
was published by Leo Castelli in New York in an edition of 250; each signed,
dated ‘70’, and numbered in pencil. <o:p></o:p></span></div>
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<span style="font-family: "Tw Cen MT","sans-serif";">“Signs”
is an astounding collage encompassing the monumental events and people of
1960’s America. Rauschenberg masterfully juxtaposes scenes of innovation like
the moon landing with the destructive violence of the war in Vietnam<i style="mso-bidi-font-style: normal;"> </i>and the<i style="mso-bidi-font-style: normal;"> </i>civil rights movement. The revolutionary nature of the era is
pronounced through the images of peace protestors at the top, whose rallies for
change and peace are echoed by the voice of Janis Joplin deeply singing into
her microphone. The iconic leaders of the era including JFK and his brother
Bobbie Kennedy challenge the divisive violence of the wars and civil unrest,
even as their forms and images transition into the faces of martyrs. The
“Signs” of this transformative decade are woven seamlessly by Rauschenberg, and
the screen print is known as one of his most important works of art. <o:p></o:p></span></div>
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<span style="font-family: "Tw Cen MT","sans-serif";">Permanent
Museum Collections: <br />
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<a href="http://americanart.si.edu/collections/search/artist/?id=3951" target="_blank">Smithsonian Institute of Art</a><br />
<a href="http://www.moma.org/collection/object.php?object_id=67925" target="_blank">Museum of Modern Art New York (MOMA)</a><br />
<a href="http://www.tfaoi.com/aa/9aa/9aa230.htm" target="_blank">Madison Museum of Contemporary Art<o:p></o:p></a></span></div>
<span style="font-family: "Tw Cen MT","sans-serif";"><a href="http://cs.nga.gov.au/Detail.cfm?IRN=47248" target="_blank">National Gallery of Australia</a></span><br />
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<br />
<strong>DENIS BLOCH FINE ART is please to offer a number of original </strong><br />
<strong>signed prints by Robert Rauschenberg. </strong><br />
<strong></strong><br />
<a href="http://www.denisbloch.com/showall.php?artist=Robert Rauschenberg&id=19" target="_blank"><span style="color: #e69138;"><strong>Click Here To View The Collection!</strong></span></a></div>
Denis Bloch Fine Arthttp://www.blogger.com/profile/06132141931455877262noreply@blogger.com0tag:blogger.com,1999:blog-6970857924101518984.post-30066085778135784822014-07-01T14:59:00.000-07:002014-07-01T14:59:51.347-07:00Art Terms Decoded: What is a Triptych?<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU7k8CM02w1fAT128ScICS52zs3ljAjVJiv2XqvOf47KnAWLB_EDDJAAam2zmsNmRaAooXrEYP0BiBfCJw-ViQkbP-TjVx6vSZ2rnqe5HCK6Iyzmo0jFkOCReEiBTYc1zRl4gzkFlAZhG-/s1600/Duccio_triptych_NatGalLon.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU7k8CM02w1fAT128ScICS52zs3ljAjVJiv2XqvOf47KnAWLB_EDDJAAam2zmsNmRaAooXrEYP0BiBfCJw-ViQkbP-TjVx6vSZ2rnqe5HCK6Iyzmo0jFkOCReEiBTYc1zRl4gzkFlAZhG-/s1600/Duccio_triptych_NatGalLon.jpg" height="253" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://commons.wikimedia.org/wiki/File:Duccio_triptych_NatGalLon.jpg" target="_blank">Duccio di Buoninsegna c. 1280</a><br />
<a href="http://commons.wikimedia.org/wiki/File:Duccio_triptych_NatGalLon.jpg" target="_blank">"Madonna and Child"</a><br />
<a href="http://commons.wikimedia.org/wiki/File:Duccio_triptych_NatGalLon.jpg" target="_blank">Location: National Gallery, London, England</a> </td></tr>
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<span class="red_text"></span><br />
<span class="red_text">The etymological origins of the art term "Triptych" (pronounced "trip-tick") spawns from the Greek<strong> </strong>adjective <i>τρίπτυχον</i> or "Three Fold". This perfectly defines the nature of a triptych - which is a three paneled or three sectioned work of art. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUBartKD4-ZI5kXZ6rRNgF91PKNAtGz9JYKtIvs0G65T5O7NXtYzy_6fqCYSyRzNnhNi6BN37PRAE2O-ZI5KCGWOYH97j1z43Vs5DyyWf_HCj56y8G6gQVb4A-8pfWLmxISaDQWYhuOXh2/s1600/Master_of_Frankfurt_(Maestro_de_Francfort),_Sagrada_Familia_con_%C3%A1ngel_m%C3%BAsico,_Santa_Catalina_de_Alejandr%C3%ADa,_Santa_B%C3%A1rbara,_1510-1520,_Museo_del_Prado,_M.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUBartKD4-ZI5kXZ6rRNgF91PKNAtGz9JYKtIvs0G65T5O7NXtYzy_6fqCYSyRzNnhNi6BN37PRAE2O-ZI5KCGWOYH97j1z43Vs5DyyWf_HCj56y8G6gQVb4A-8pfWLmxISaDQWYhuOXh2/s1600/Master_of_Frankfurt_(Maestro_de_Francfort),_Sagrada_Familia_con_%C3%A1ngel_m%C3%BAsico,_Santa_Catalina_de_Alejandr%C3%ADa,_Santa_B%C3%A1rbara,_1510-1520,_Museo_del_Prado,_M.jpg" height="268" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://commons.wikimedia.org/wiki/File:Master_of_Frankfurt_(Maestro_de_Francfort),_Sagrada_Familia_con_%C3%A1ngel_m%C3%BAsico,_Santa_Catalina_de_Alejandr%C3%ADa,_Santa_B%C3%A1rbara,_1510-1520,_Museo_del_Prado,_Madrid..jpg" target="_blank">Master of Frankfurt c. 1510-1520</a><br />
<a href="http://commons.wikimedia.org/wiki/File:Master_of_Frankfurt_(Maestro_de_Francfort),_Sagrada_Familia_con_%C3%A1ngel_m%C3%BAsico,_Santa_Catalina_de_Alejandr%C3%ADa,_Santa_B%C3%A1rbara,_1510-1520,_Museo_del_Prado,_Madrid..jpg" target="_blank">"HolyFamily with musical Angel, Saint Catherine of Alexandria, and Saint Barbara" </a><br />
<a href="http://commons.wikimedia.org/wiki/File:Master_of_Frankfurt_(Maestro_de_Francfort),_Sagrada_Familia_con_%C3%A1ngel_m%C3%BAsico,_Santa_Catalina_de_Alejandr%C3%ADa,_Santa_B%C3%A1rbara,_1510-1520,_Museo_del_Prado,_Madrid..jpg" target="_blank">Location: Museo del Prado, Madrid, Spain</a></td></tr>
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<span class="red_text">The three pieces in a triptych can be separate pieces or can be conjoined or hinged together. The hinged triptych was an extremely popular and standard format in early Christian alter pieces from the middle ages onward. In these traditional Christian alter pieces the middle panel was generally the largest panel flanked by two smaller panels on either side which could be displayed opened or closed. The center panel was generally the most important scene, often a motif of the Virgin and Child or Jesus, while the smaller side panels were dedicated to admiring saints. </span><br />
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<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/lichtenstein_as_i_opened_fire.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://denisbloch.com/pics/lichtenstein_as_i_opened_fire.jpg" height="156" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.denisbloch.com/object.php?name=Roy_Lichtenstein&title=As_I_Opened_Fire_&artist_id=9&object_id=1018&cat=original print&catid=8" target="_blank">Roy Lichtenstein "As I Opened Fire" 1964</a></td></tr>
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The modern format of the triptych is usually three coordinating pieces on wood panels, canvases, or even works on paper. The three pieces can be different sizes but are often the same size and shape. The triptych composition may consist of three separate images or could also be one composition separated into the three panels. One of the most noted triptychs of the 20th Century is <a href="http://www.denisbloch.com/showall.php?id=7&artist=Francis_Bacon" target="_blank">Francis Bacon's</a> triptych painting from 1969, <em>Three Studies of Lucian Freud, </em>which broke the record for the<em> </em>highest price ever paid for an artwork at <a href="http://www.nytimes.com/2014/01/16/arts/design/buyer-of-142-4-million-bacon-painting-identified-as-elaine-wynn.html?_r=0" target="_blank">auction at $142.4 million</a>. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQbXqToF3IBRvlIQmZNGCRkS71ti7btd3l4sEjhHwbCe8ZfgIfYc06nqrlONuNEhNIGWE9AD7WYw3H7Sc9rFyRE2bFP_7imppxJS8-9zIot9ds9-CKU3r0LvnGEBsrEVPSmcqSk10orRyN/s1600/world_14_temp-1381742379-525bb72b-620x348.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQbXqToF3IBRvlIQmZNGCRkS71ti7btd3l4sEjhHwbCe8ZfgIfYc06nqrlONuNEhNIGWE9AD7WYw3H7Sc9rFyRE2bFP_7imppxJS8-9zIot9ds9-CKU3r0LvnGEBsrEVPSmcqSk10orRyN/s1600/world_14_temp-1381742379-525bb72b-620x348.jpg" height="223" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://en.wikipedia.org/wiki/Three_Studies_of_Lucian_Freud" target="_blank">Francis Bacon "Three Studies of Lucien Freud" 1969</a></td></tr>
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For more information about fine art collecting and art terms visit our website: </div>
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<a href="http://www.denisbloch.com/"><span style="font-size: x-large;">WWW.DENISBLOCH.COM</span></a></div>
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Denis Bloch Fine Arthttp://www.blogger.com/profile/06132141931455877262noreply@blogger.com0tag:blogger.com,1999:blog-6970857924101518984.post-1210935573444611562014-06-20T18:00:00.000-07:002014-06-20T18:00:56.053-07:00Art Terms Decoded: What does "Stoned Signed" or "Plate Signed" Mean? <div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrngUYnEmLOhefJ5zQNPM77NNAiuLtorlPdcXiA__Kd24T2-K14n2u2txRi5_mU1HW-iNeTccYkyOZ-zaQvSAWA4FkV1Fri1qWJKGdYLBLojDsTFTkxGct27Cz_wraAy67ChRXMCo6gc2w/s1600/Andy+-+Warhol+-+Marilyn+-+Monroe+-+Invitation+-+Castelli.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrngUYnEmLOhefJ5zQNPM77NNAiuLtorlPdcXiA__Kd24T2-K14n2u2txRi5_mU1HW-iNeTccYkyOZ-zaQvSAWA4FkV1Fri1qWJKGdYLBLojDsTFTkxGct27Cz_wraAy67ChRXMCo6gc2w/s1600/Andy+-+Warhol+-+Marilyn+-+Monroe+-+Invitation+-+Castelli.jpg" height="317" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Andy Warhol "<a href="http://www.denisbloch.com/object.php?name=Andy_Warhol&title=Marilyn_Monroe_&artist_id=38&object_id=920&cat=original print&catid=8" target="_blank">Marilyn Monroe Castelli Invitation</a>" signed in felt pen.</td></tr>
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<span class="red_text"></span> </div>
<span class="red_text">As you begin to delve deeper into the world of <a href="http://www.denisbloch.blogspot.com/2011/09/smarter-investment.html" target="_blank">fine art collecting</a> you will find that one of the most important indicators of value and potential worth is the <strong>artist's signature</strong>. Some might even say that this is the most important aspect of an artwork that makes it a <a href="http://www.denisbloch.blogspot.com/2010/05/why-should-we-colect-original-prints.html" target="_blank">desirable luxury commodity. </a></span><br />
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<span class="red_text">The reasoning behind the incredible value of the artist's signature above all else, is that a signature is the easiest way to determine the authenticity of a work of art. Many have tried to fake the signature of the great master artists throughout time and sometimes people are fooled - but often expert art dealers, gallerists, curators and appraisers are able to catch a fraudulent mark. A fake signature automatically calls in question the authenticity of the work itself whether it is a painting or original </span><br />
<span class="red_text">print. </span><br />
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<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/picasso__vieux_roi_b869__blue_signature.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://denisbloch.com/pics/picasso__vieux_roi_b869__blue_signature.jpg" height="200" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Picasso "<a href="http://www.denisbloch.com/object.php?name=Pablo_Picasso&title=Le_Vieux_Roi_%28Signed%29&artist_id=2&object_id=701&cat=original print&catid=8" target="_blank">Le Vieux Roi</a>" hand-signed in Blue</td></tr>
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<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/picasso__the_old_king.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://denisbloch.com/pics/picasso__the_old_king.jpg" height="200" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Picasso "<a href="http://www.denisbloch.com/object.php?name=Pablo_Picasso&title=Le_Vieux_Roi_%28B869%29&artist_id=2&object_id=5&cat=original print&catid=8" target="_blank">Le Vieux Roi</a>" Plate Signed in Red</td></tr>
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<span class="red_text">From a pure <a href="http://www.denisbloch.blogspot.com/2010/07/what-makes-good-investment-piece.html" target="_blank">collectorship</a> stand point a hand-signed artwork is going to be the most valuable investment. That is not to say that an unsigned artwork does not have value, it just means the MOST valuable artworks are hand-signed ones. </span></div>
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<span class="red_text"></span> </div>
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<span class="red_text"></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/picasso_ronde_de_la_jeunesse.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://denisbloch.com/pics/picasso_ronde_de_la_jeunesse.jpg" height="320" width="247" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Picasso "<a href="http://www.denisbloch.com/object.php?name=Pablo_Picasso&title=Ronde_de_la_jeunesse&artist_id=2&object_id=591&cat=Lithograph&catid=1" target="_blank">Ronde de la Jeunesse</a>" Signed in the Stone</td></tr>
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<span class="red_text">So this brings us to our term "Plate Signed" sometimes also known as "Stone Signed". A plate signed work is specifically referring to an <a href="http://www.denisbloch.blogspot.com/2010/04/what-is-original-graphic-print.html" target="_blank">original print or graphic</a> on paper with a <strong>printed signature</strong>. This is precisely what it sounds like; a plate signature is a signature that is part of the composition and is printed along with the art image. As an example scenario: Pablo Picasso draws an etching composition onto a metal plate - he then signs the plate and dates it - the plate is inked and pressed onto paper and along with his etching Picasso's signature is printed. This would be a "plate signed" original etching. </span></div>
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<span class="red_text">The term "stone signed" is exactly the same but specifically references the stone slabs that might have been used to create an original lithograph. Sometimes artist catalogue raisonnes reference that an edition is </span>"sign in the stone," which is also the same. </div>
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The most important take-away in terms of collecting a plate or stoned signed artwork is that it is not equivalent to a hand-signed work and should be valued as such. </div>
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You can see more of our hand-signed, plate signed, and stoned signed original prints on our website:</div>
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<a href="http://www.denisbloch.com/"><span style="font-size: x-large;">www.denisbloch.com</span></a></div>
<img height="96" src="https://blogger.googleusercontent.com/img/proxy/AVvXsEgjNCGpTr1n0ZPnUGq3hZ5G3r246E8vu2V-Nc3Vo_9bAI311p_4zj4RrUqv93SJ34G3WS2gCw6Fxsr6rKf8AS-QvU0IwJW7iNWI6Xs4RA2ZQ2n5Xi-TZKSO3LxWe1hnJlMoXm2sghWs5xZx5LUFdWBmr7gGCkeq6hxLmRoRCVBckGrZZNhQ5w=" style="left: 376px; opacity: 0.3; position: absolute; top: 424px;" width="72" /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhZaLdb7Wz3u9OduHraieXs2fBtyn8uAQnDNcQ3yurwIdzzJTirHmeCZ-lBAlvdkufm-7ydiEdwJWPZ8-RScfzsKHWfUyeqPlnU862pfensBbniplaiv0vXxPWTpz9kkXaF8KgQZd-hNtB/s1600/Picasso+-+Le+-+Femme+-+au+-+Chapeau+-+Linocut.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhZaLdb7Wz3u9OduHraieXs2fBtyn8uAQnDNcQ3yurwIdzzJTirHmeCZ-lBAlvdkufm-7ydiEdwJWPZ8-RScfzsKHWfUyeqPlnU862pfensBbniplaiv0vXxPWTpz9kkXaF8KgQZd-hNtB/s1600/Picasso+-+Le+-+Femme+-+au+-+Chapeau+-+Linocut.jpg" height="640" width="449" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.denisbloch.com/showall.php?id=2&artist=Pablo_Picasso" target="_blank">Pablo Picasso Linocut - Perfect Margin Conditions</a></td></tr>
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Have you ever bought an <strong>original art print</strong> and encountered the term "Acid Free"? Probably your art dealer or framer mentioned it? Well here is a useful definition of this important art term to give you some insight into protecting and preserving your <strong>fine art print investments</strong>:<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJMVDj8Qqxzx00FgX3oFYvqm5yGAl7gS-nIt_GYKpTr75N5r7q6aHCstfUIMKbS3_6xNVv7iTdiTXn2oBI7yWSE2h6U6to9zZhYR8S7pz7zjfi_8m2Mt7qk8NkVca9ologOaCPNjJwZOXx/s1600/Acid+-+Burn+-+Backside+-+Paper+-+Conservation.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJMVDj8Qqxzx00FgX3oFYvqm5yGAl7gS-nIt_GYKpTr75N5r7q6aHCstfUIMKbS3_6xNVv7iTdiTXn2oBI7yWSE2h6U6to9zZhYR8S7pz7zjfi_8m2Mt7qk8NkVca9ologOaCPNjJwZOXx/s1600/Acid+-+Burn+-+Backside+-+Paper+-+Conservation.jpg" height="640" width="492" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Example of Acid Burn from non-archival framing</td></tr>
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The term "Acid Free" refers to the materials used to frame an original artwork. When you frame a work of art - particularly a work on paper you must be extremely careful about the framing materials. Cardboard or regular tape have acidic properties that will eventually over time "burn" the paper or canvas that is exposed to them. The exposure to acidic matting, paper, or even storage materials causes a brown discoloration and deterioration of the paper. Many times the discoloration may occur underneath a frame and cannot be seen. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisAmP3ifNyaZAlv2Ee9paJYHmAQnI5w8F_xwa-p-6sASEi9CeRvo0JUkrEQ_xrU1GHkkqe8jFishqEGT-K-HY63RclIKpudhszmLHWehiG1JcydTqJjvm_0GZ-4RYxGqMhP17G8Zxp5tl9/s1600/Picasso+-+Etching+-+Mat+-+Burn+-+Acid+-+Free.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisAmP3ifNyaZAlv2Ee9paJYHmAQnI5w8F_xwa-p-6sASEi9CeRvo0JUkrEQ_xrU1GHkkqe8jFishqEGT-K-HY63RclIKpudhszmLHWehiG1JcydTqJjvm_0GZ-4RYxGqMhP17G8Zxp5tl9/s1600/Picasso+-+Etching+-+Mat+-+Burn+-+Acid+-+Free.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pablo Picasso Etching with acid mat burn</td></tr>
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When an artwork has been exposed to acidic materials and discolored it seriously devalues the piece. As mentioned in <a href="http://www.denisbloch.blogspot.com/2010/07/what-makes-good-investment-piece.html" target="_blank">previous posts</a> the investment quality of an artwork is heavily determined by the excellent condition of the piece. That is not to say that a damaged piece has no value, sometimes prints can be restored by a professional paper conservator depending on the level of damage, however this can be an expensive process. <br />
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To safely protect your fine art prints and artworks specify to your framer that you want only <strong><em>Acid Free or Archival</em></strong> matting, backboard, and hinging. We additionally recommend UV protective plexi-glas to further preserve your artwork. <br />
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For More Information on Art Conservation and Professional Art Terms visit our website: <a href="http://www.denisbloch.com/art_terms.php">www.denisbloch.com/art_terms.php</a> <br />
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We also welcome comments and questions regarding archival acid free preservation!</div>
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<a href="mailto:info@denisbloch.com">info@denisbloch.com</a> / 310-270-4880</div>
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Denis Bloch Fine Arthttp://www.blogger.com/profile/06132141931455877262noreply@blogger.com0tag:blogger.com,1999:blog-6970857924101518984.post-49729793400144023062014-03-06T17:10:00.000-08:002014-03-06T17:10:54.846-08:00Francisco Toledo - Arte Grafica<!--[if gte mso 9]><xml>
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<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/toledo__star_kite_nesting_birds.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://denisbloch.com/pics/toledo__star_kite_nesting_birds.jpg" height="400" width="355" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Francisco Toledo, <a href="http://denisbloch.com/object.php?name=Francisco_Toledo&title=Nesting_Birds&artist_id=26&object_id=906&cat=original%20print&catid=8" target="_blank">Nesting Birds</a>, 2009</td></tr>
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<![endif]-->The <b>Art of Francisco Toledo</b> is deeply influenced by Toledo´s
Mexican heritage. Many of Francisco Toledo´s artworks illustrate his
Oaxacan roots, exemplified by Toledo´s <b>paintings, sculptures, lithographs, etchings, and drawings</b> of Mexican animals and scenery as well as Mexican History & Mythology. </div>
<br />
Mexican
artist, Francisco Toledo, was born in Oaxaca, Mexico in 1940. At the
age of 12, Francisco Toledo learned the art of engraving at the Escuela
de Bellas Artes de Oaxaca. Under the instruction of Guillermo Silva
Santamaria at the Centro Superior de Artes Aplicadas del Instituto
Nacional de Bellas Artes, Francisco Toledo continued his studies of the
graphic arts including: etching, lithography, and engraving. <br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/toledo__sapo_con_frijoles.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://denisbloch.com/pics/toledo__sapo_con_frijoles.jpg" height="320" width="313" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://denisbloch.com/object.php?name=Francisco_Toledo&title=Sapos_con_Frijoles&artist_id=26&object_id=728&cat=original%20print&catid=8" target="_blank">Francisco Toledo, Sapos Con Frijoles, Etching</a></td></tr>
</tbody></table>
In
1959, Francisco Toledo had his first solo art exhibition in Mexico City
at Galeria Antonio Souza. Soon after, Toledo traveled to Europe where
he began to work at the shop of the renowned British printmaker Stanley
William Hayter in Paris. In 1963 Francisco Toledo´s first International
art exhibitions were held in Paris at the Galerie Karl Flinker and the
Daniel Gervis Gallery. By 1965 Francisco Toledo had exhibited his art
in Galleries in Switzerland, Germany, England, Norway and the U.S.A.<br />
<br />
Francisco
Toledo´s first prints exhibition entitled Toledo Obra Grafica was held
in 1969 at the Galeria Juan Martin in Mexico City. As an art medium,
graphics (original prints) particularly intrigued Toledo from early in
his career because of the extraordinary range of effects available
through printing and etching. Among Francisco Toledo´s notable graphic
artworks, are Toledo´s series of illustrated art books on Mayan myths. <br />
<br />
Francisco
Toledo's unique artistic aesthetic is based on a fantastic reality that
Toledo finds residing in nature and life. Anthropomorphized animals
(that are not often associated with beauty, such as <a class="artist_text" href="http://denisbloch.com/object.php?name=Francisco_Toledo&title=Lagartos&artist_id=26&object_id=1145&cat=original%20print&catid=8" title="See Example of Toledo's Art">insects</a>, <a class="artist_text" href="http://denisbloch.com/object.php?name=Francisco_Toledo&title=Sapos_con_Frijoles&artist_id=26&object_id=728&cat=original%20print&catid=8" title="See Example of Toledo">toads</a>,
and bats) are often the center–point of Francisco Toledo´s original
artworks. Always juxtaposing the beautiful (the grain of the paper
beneath Francisco Toledo´s washes of watercolor, or how deep the chroma
illuminating Toledo´s small gouaches) with the disturbing. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/toledo__crabs__and__dog__lithograph.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://denisbloch.com/pics/toledo__crabs__and__dog__lithograph.jpg" height="305" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://denisbloch.com/object.php?name=Francisco_Toledo&title=Crabs_and_Dogs&artist_id=26&object_id=1144&cat=original%20print&catid=8" target="_blank">Francisco Toledo, Crabs & Dogs, Lithograph</a></td></tr>
</tbody></table>
Francisco
Toledo´s social and cultural concerns about his native state led to his
life–long participation in the cultural revitalization within the
Mexican community. Francisco Toledo became integrally involved in the
establishment of a number of cultural and art institutions including:
the Casa de la Cultura in Juchitan 1972, the Instituto de Artes Graficas
de Oaxaca (IAGO) 1989, Museo de Arte Contemporaneo de Oaxaca (MACO)
1992, Patronato pro Defensa y Conservacion del Patrimonio Cultural y
Natural de Oaxaca (PROOAX) 1993, Centro de la Imagen Manuel Alvarez
Bravo, the Biblioteca Jorge Luis Borges for the blind in Oaxaca and the
Inaugurates Fonoteca Eduardo Mata in the Centro Fotografico Manuel
Alvarez Bravo. Francisco Toledo has also received several accolades for
his contributions to the Mexican community including, Mexican National
Prize in 1998, the Prince Claus Award in 2000, and the Right Livelihood
Award in 2005.<br />
<br />
In 1980 the Museo de Arte Moderno in Mexico City
held a retrospective of Francisco Toledo´s art. Francisco Toledo´s art
is found in the permanent collection of major Art Museums across the
globe. Francisco Toledo continues his artistic and humanitarian efforts
from Oaxaca City, Mexico.<br />
<br />
Select Museum & Institutional Collections: <br />
<br />
Metropolitan Museum of Art, New York, NY<br />
Museum of Modern Art, New York, NY<br />
Museo de Arte Contemporaneo de Oaxaca, Oaxaca, Mexico<br />
Museo Tamayo, Mexico City, Mexico<br />
Santa Barbara Museum of Art, Santa Barbara, CA<br />
Fundacion Proa, Buenos Aires, Argentina<br />
Museum of Latin American Art, Long Beach, CADenis Bloch Fine Arthttp://www.blogger.com/profile/06132141931455877262noreply@blogger.com0tag:blogger.com,1999:blog-6970857924101518984.post-1544121344655341272013-12-07T16:27:00.000-08:002013-12-07T16:30:49.324-08:00Developing the Abstract - Frank Stella Biography<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.denisbloch.com/object.php?artist=Frank_Stella&title=Cantahar&artist_id=70&object_id=1043&cat=&medium_id=39&type_id=28" imageanchor="1" style="margin-left: auto; margin-right: auto;" target="_blank"><img alt="http://www.denisbloch.com/object.php?artist=Frank_Stella&title=Cantahar&artist_id=70&object_id=1043&cat=&medium_id=39&type_id=28" border="0" height="398" src="http://denisbloch.com/pics/stella__cantahar__1998.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Frank Stella - <em>Cantahar</em> - 1998</td></tr>
</tbody></table>
<div style="clear: both; text-align: left;">
<strong>American Abstract Artist Frank Stella</strong> was born in Malden, MA in 1936. Frank Stella is a highly regarded and collected Abstract artist known for his large–scale freestanding sculptures, architectural structures, and the most complex original prints ever realized in the medium of printmaking.</div>
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Frank Stella began painting in his sophomore year of high school at the Philips Academy in Andover, MA. Stella continued taking fine art courses at Princeton University, while majoring in history. While in school, Frank Stella visited numerous influential art exhibitions in the galleries of New York City. Frank Stella´s artistic development was directly shaped by the <b>Abstract Expressionism</b> of Jackson Pollock and Franz Kline, and in 1958 Stella moved to New York. </div>
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<tr><td style="text-align: center;"><a href="http://www.tate.org.uk/art/artworks/stella-title-not-known-p78387" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;" target="_blank"><img alt="http://www.tate.org.uk/art/artworks/stella-title-not-known-p78387" border="0" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOJpyiTaUVZLzh_pqSfZNZIlyKMm1qSCefRFMnt-17Yag4HtM7KL-wAi5rWk6U2L5H8PR_FygTkz9U1WsDqfSTvjYRhpzsKoIw_HY5mcZQvMkiZ1aLd8BbFRyEdOaH30myQpGZIEpeqopi/s320/Frank-Stella-Black-Paintings.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Frank Stella - <em>Untitled </em>- 1967</td></tr>
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Upon moving to New York City, Stella reacted against the expressive use of paint by most painters of the abstract expressionist movement, instead finding himself drawn towards the "flatter" surfaces of <a art="" class="artist_text" href="http://www.denisbloch.com/object.php?artist=Barnett_Newman&title=The_Moment%2C_from_Four_on_Plexiglass&artist_id=62&object_id=524&single=y" s="" title="View Barnett Newman">Barnett Newman's</a> art and the "Target" paintings by <a art="" class="artist_text" href="http://www.denisbloch.com/object.php?name=Jasper_Johns&title=0_–_9_&artist_id=72&object_id=998&cat=original print&catid=8" title="View Jasper Johns">Jasper Johns</a>. Stella gained early and immediate recognition in 1959 with his series of <b>black pinstriped paintings</b> that turned the gestural brushwork and existential angst of Abstract Expressionism on its head. Several of Frank Stella´s "black paintings" were included in major art exhibitions including: "Three Young Americans" at the Allen Memorial Museum at Oberlin College, and "Sixteen Americans" at the Museum of Modern Art (MOMA) in New York. The Black Paintings served as an important catalyst for Minimalist art of the 1960s. <br /><br />In 1959 Frank Stella joined fine art dealer Leo Castelli´s gallery of artists, and in 1960 Stella began painting artworks in aluminum and copper paint as well. Stella´s art aesthetic steadily developed as he introduced a wider range of colors, typically arranged in straight or curved lines. Stella eventually created his paintings on shaped canvases (canvases in a shape other than the traditional rectangle or square), often being in L, N, U or T–shapes. In 1965 Frank Stella´s art was included in "The Shaped Canvas" at the Solomon R. Guggenheim Museum, and "Systemic Painting" of 1966. Stella´s shape canvases developed into more elaborate designs, in the <i>Irregular Polygon</i> series of 1967.<br />
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<tr><td style="text-align: center;"><a href="http://www.guggenheim.org/new-york/collections/collection-online/artwork/4003" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;" target="_blank"><img alt="http://www.guggenheim.org/new-york/collections/collection-online/artwork/4003" border="0" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy_eS8beMEUFLQMrCtDAwf5icbhkJyy3AP0zfO7YBR00aankZvDuKtTvKy8CzlkVK6CtxF67OvK65BehyF0hoQ3szVu0FVzZag_cKsaqweUEvtFmlOtLfXGt4HgdetK3Nqu4_pt-zY_0eO/s320/Frank+Stella+Guggenheim.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Frank Stella - <em>Harran II</em> - 1967</td></tr>
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In 1971 Stella developed his <i>Protractor Series</i>, in which arcs, sometimes overlapping, within square borders are arranged side–by–side to produce full and half circles painted in rings of concentric color. These paintings are named after circular cities he had visited while in the Middle East. Frank Stella´s <i>Irregular Polygon</i> canvases and <i>Protractor Series</i> further extended the concept of the shaped canvas. The shaped canvases took on even less regular forms in the <i>Eccentric Polygon</i> series as elements of collage were introduced. Stella´s artwork became more three–dimensional to the point where he started producing large, free–standing metal wall sculptures. As the 1970s and 1980s progressed, these became more elaborate and exuberant, marked by curving forms, Day–Glo colors, and scrawled brushstrokes. From the mid–1980s to the mid–1990s, Stella created a large body of paintings, sculptures, and original prints that responded in a general way to Herman Melville´s <a class="artist_text" href="http://www.denisbloch.com/object.php?name=Frank_Stella&title=Extracts&artist_id=70&object_id=1170&cat=original print&catid=8" title="View Art of the Moby Dick Series">Moby–Dick</a>.<br />
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<tr><td style="text-align: center;"><a href="http://www.denisbloch.com/object.php?artist=Frank_Stella&title=Extracts&artist_id=70&object_id=1170&cat=&medium_id=32&type_id=23" imageanchor="1" style="margin-left: auto; margin-right: auto;" target="_blank"><img alt="http://www.denisbloch.com/object.php?artist=Frank_Stella&title=Extracts&artist_id=70&object_id=1170&cat=&medium_id=32&type_id=23" border="0" height="266" src="http://denisbloch.com/pics/frank__stella__print__extracts__from__moby__dick__deckles__edges.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Frank Stella -<em> Extracts</em> - 1993</td></tr>
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Starting in the mid–1960s Frank Stella launched his extended involvement with printmaking, working first with master printer Kenneth Tyler at Gemini G.E.L. Stella would continue to produce <b>original prints</b> for the duration of his artistic career, and in 1973 he had a print studio installed in his New York house. <b>Frank Stella's abstract prints</b> in <a class="artist_text" href="http://www.denisbloch.com/art_terms.php" title="More About These Techniques">lithography, screenprinting, etching and offset lithography</a> had a strong impact upon printmaking as a fine art. <br />
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<tr><td style="text-align: center;"><a href="http://www.denisbloch.com/object.php?artist=Frank_Stella&title=Sanor&artist_id=70&object_id=925&cat=&medium_id=32&type_id=23" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;" target="_blank"><img alt="http://www.denisbloch.com/object.php?artist=Frank_Stella&title=Sanor&artist_id=70&object_id=925&cat=&medium_id=32&type_id=23" border="0" height="320" src="http://denisbloch.com/pics/frank_stella_sanor_.jpg" width="301" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Frank Stella - Sanor - 1996</td></tr>
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<br />Additionally Frank Stella is heralded for his large free–standing sculptures for public spaces from the 1990´s including: the 10,000–square–foot mural for Toronto´s Princess of Wales Theatre; his 5,000–square–foot "Stella Project" which serves as the centerpiece of the theater and lobby of the Moores Opera House on the campus of the University of Houston, in Houston, TX; and Frank Stella´s monumental sculpture was installed outside the National Gallery of Art in Washington, D.C. <br /><br />Frank Stella's virtually relentless experimentation has made him a key figure in American modernism, helping give rise to such developments as Minimalism, Post–Painterly Abstraction, and Color Field painting. In 2009 Frank Stella was awarded the National Medal of Arts by President Barack Obama, and in 2011 he was awarded the Lifetime Achievement Award in Contemporary Sculpture by the International Sculpture Center. Frank Stella continues to live and work in New York. <br /><br />"A sculpture is just a painting cut out and stood up somewhere." – Frank Stella<br /><br />Select Museum Collections:<br /><br />Art Institute of Chicago<br />Guggenheim Museum, New York<br />Hirshhorn Museum and Sculpture Garden, DC<br />Museum of Fine Arts, Houston<br />Museum of Modern Art, New York<br />Norton Simon Museum, Pasadena<br />Whitney Museum of American Art, New York<br />San Francisco Museum of Modern Art<br />Fukuoka Art Museum, Japan<br />Museum of Contemporary Art, Los Angeles<br />Tate Gallery, LondonDenis Bloch Fine Arthttp://www.blogger.com/profile/06132141931455877262noreply@blogger.com0tag:blogger.com,1999:blog-6970857924101518984.post-54183189790225192112013-10-26T11:49:00.002-07:002013-10-26T11:57:06.875-07:00IS ART A GOOD INVESTMENT?<br />
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<br /><o:p>There are a number of indicators
that prove that Fine Art, carefully selected, can be a lucrative commodity
investment. Art is one of the most enticing hard asset investments, as
collectors have created a hefty supply and demand system throughout the years.<o:p></o:p><br />
<br />
According to Michael Moses, a
retired New York University business school professor who co-<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Marc Chagall</td></tr>
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created the<span class="apple-converted-space"> </span><a href="http://www.artasanasset.com/main/" target="_blank"><span style="color: blue;">Mei Moses World All Art Index</span></a>, over the
past 60 years, the total return on fine art has been very similar to the return
on the S&P 500-stock index. "If you use the last 30 years, the S&P
substantially outperforms art," Moses says. "If you look at the most
recent eight [to] 10 years, art has outperformed the S&P." <o:p></o:p>
</o:p><br /><o:p><br />
Another reason to consider
investing in Art is that Fine Art has a proven track record as a good choice
during hard times. Fine Art is more or less resilient to times of economic
turmoil and trouble. It has outperformed during all of the wars of the 20th century,
and has outperformed during the last 27 recessions. One of the biggest draws to
this asset class is the fact that there is no underlying financial market to
tinker with prices. There will never be a bad trade or a flash crash that will
suddenly erase the value of your art investment. Though it is not a guarantee,
Art also has the potential to appreciate with time. <o:p></o:p>
</o:p><br /><o:p>
</o:p><br />
<o:p>The last and perhaps most
rewarding aspect of collecting Fine Art are the emotional and aesthetic
rewards. Because Art is a physical asset class, your investment is something
that you can potentially enjoy every day. <o:p></o:p>
</o:p><br />
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<o:p><br />
<u>COLLECTING THE RIGHT ARTIST<o:p></o:p></u>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman";">The greatest draw back to investing
in fine art is the relative unpredictability of the performance an artist’s
body of work might have. Like other markets there are artists and artworks that
are highly unlikely to retain or develop future value, and so it is very
important as a beginning collector to be highly selective of the artists you
collect. The best advice is that you select artists with established markets. A
blue-chip artist would have a major following, specifically by academic and
museum interest. The Artist is your best indicator for potential value.<o:p></o:p></span>
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<tr><td class="tr-caption" style="text-align: center;">Pablo Picasso</td></tr>
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Normally a museum artist like
Picasso, Warhol, or Hockney would be out of range for the average <br />
collector,
but through the limited edition prints market you can attain these artists for
a few thousand dollars as opposed to a few million. Many collectors and art
dealers will tell you that originals will always perform better than prints,
and this is half true. The original paintings for Pablo Picasso or Damien Hirst
will always outperform the graphic artworks for these artists certainly, and if
you have the capital to invest in high-level paintings of Museum Masters, I
strongly recommend that this is the market you seek. However, an original
painting by an immerging and unknown artist vs. an establish master’s print
will not necessarily hold value or outperform the print. The performance of an
original painting depends heavily on the current market and demand for the
artist. <o:p></o:p></span>
<br />
<br />
<u><span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman";">COLLECTING THE RIGHT PIECE<o:p></o:p></span></u>
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<br />
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman";">Aside from the Artist, other
excellent indicators of future potential rest on the work itself. It is true
that some compositions are simply more aesthetic than others. Some artworks may
bear iconic images and characteristics of an artist’s specific period or style.
It can be beneficial to research an artist’s backstory, as it can have a fair
amount of weight in the resale value of a piece. Additionally if you are
collecting sculptures or original prints the edition sizes can also play a
major factor. When deciding what art to buy, the most important is that you
enjoy and appreciate the art. <o:p></o:p></span>
</o:p> </span><br />
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</span>Denis Bloch Fine Arthttp://www.blogger.com/profile/06132141931455877262noreply@blogger.com1tag:blogger.com,1999:blog-6970857924101518984.post-68792925146370476522013-05-08T17:41:00.001-07:002013-05-08T17:44:11.504-07:00ZAO WOU-KI <div align="left" class="separator" style="clear: both; text-align: center;">
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<strong>CELEBRATING THE ABSTRACT EXPRESSIONIST</strong><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhasrF6Fyqz6ynbwAJaOgKG3dgBEv_ha5HP9A2xmsLfDWCs_fB7Q5YDtB1IaVIYyzw30WjXBIEZBF-3lexZzWMlTACke5RHjeV5s_Fio295CxQaMoroaaKY-D0vqT3zzZonKKNaYSQRfl-f/s1600/zao_wu_ji_painting.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhasrF6Fyqz6ynbwAJaOgKG3dgBEv_ha5HP9A2xmsLfDWCs_fB7Q5YDtB1IaVIYyzw30WjXBIEZBF-3lexZzWMlTACke5RHjeV5s_Fio295CxQaMoroaaKY-D0vqT3zzZonKKNaYSQRfl-f/s400/zao_wu_ji_painting.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong>Zao Wou-ki</strong> with painting - Getty Image</td></tr>
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<strong>Chinese – French Artist Zao Wou – ki</strong> was born in Beijing, China in 1921.
Zao´s given name, <b>"Wou – ki"</b> (or <b>"Wuji"</b> in the standard Hanyu
Pinyin romanization used in China), translates to "no boundaries." This
perfectly encapsulates Zao Wou–ki as an artist, who was uniquely able to combine
the cultures and aesthetic visions of France and China in his <b>Fine art
paintings, prints, etchings, and lithography</b>. <br />
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<tr><td class="tr-caption" style="text-align: center;"><strong>Zao Wou-ki</strong> - <em>Suite Beauregard</em> - 1981 - Etching</td></tr>
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Zao Wou – Ki went to
school in Nantung, a small town north of Shanghai, where his father worked as a
banker. Zao Wou–ki was considered a gifted pupil and he took great interest in
literature and in Chinese and world history. Zao Wou – ki´s family was one of
intellectuals who appreciated <b>painting and fine art</b>, and Wou–Ki would
learn the traditional Chinese art of calligraphy from his grandfather.
<br />
From the age of ten Zao Wou–ki created drawings and paintings
constantly. In 1935, at the age of fourteen, Zao Wou–Ki was admitted to the
School of Fine Arts at Hangzhou, China. There Zao Wou – ki studied life drawing,
oil painting, and also received instruction in the theories of calligraphy and
western perspective. Despite the traditional teachings in accuracy and realism,
Zao Wuji sought to capture the broad outlines and essence in his artwork
compositions.<br />
<br />
Zao Wou–Ki was appointed lecturer at the School of Fine
Arts and in 1941 held his first art exhibition. According to Wou–Ki "To tell the
truth, the [Paintings] I showed were strongly influenced by <a about="" class="artist_text" here="" href="http://www.denisbloch.com/showall.php?id=8&artist=Henri_Matisse'title='Click" learn="" matisse="" to="">Matisse</a> and <a class="artist_text" href="http://www.denisbloch.com/showall.php?id=2&artist=Pablo_Picasso" tilte="Click Here To Learn About Picasso">Picasso</a>. My harlequins recalled
the ‘Blue Period´, my statue women the ‘Greek Period´." Indeed it was in the
artworks of <b>Cezanne, <a about="" class="artist_text" here="" href="http://www.denisbloch.com/showall.php?id=8&artist=Henri_Matisse'title='Click" learn="" matisse="" to="">Matisse</a> and <a class="artist_text" href="http://www.denisbloch.com/showall.php?id=2&artist=Pablo_Picasso" tilte="Click Here To Learn About Picasso">Picasso</a></b> that Zao Wou–Ki would
find the vision he considered closest to nature. Inspired by his collection of
postcards of reproduced French paintings and full page illustrations of <b><a class="artist_text" href="http://www.denisbloch.com/showall.php?id=43&artist=Pierre_Auguste_Renoir" title="Click Here To Learn About Renoir">Renoir</a>,
Modigliani, Cezanne, <a about="" class="artist_text" here="" href="http://www.denisbloch.com/showall.php?id=8&artist=Henri_Matisse'title='Click" learn="" matisse="" to="">Matisse</a> and <a class="artist_text" href="http://www.denisbloch.com/showall.php?id=2&artist=Pablo_Picasso" tilte="Click Here To Learn About Picasso">Picasso</a></b> artworks in American
magazines, Zao Wou–ki developed his artistic approach.<br />
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<a href="http://denisbloch.com/pics/zao_wou_ki_a250.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://denisbloch.com/pics/zao_wou_ki_a250.jpg" width="204" /></a><a href="http://denisbloch.com/pics/zao_wou_ki_a250.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a></div>
<a href="http://denisbloch.com/pics/zao_wou_ki_a250.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"> </a>In 1947, the
twenty–seven year old Zao Wou–Ki decided to leave China for Paris. Zao Wou–ki
and his wife, Lan–Lan, sailed from Shanghai in early 1948 and after a voyage of
36 days, arrived in Paris, France where Zao Wou–Ki spent his first afternoon at
the Louvre Art Museum. Zao Wou – ki settled in a studio near that of Alberto
Giacometti; took French lessons; and visited and saw everything he could in
Paris. The city inspired him and Zao Wou–ki easily frequented a circle of
international artists, writers and intellectuals. While in Paris, Zao Wou–ki
acquainted himself with <b>European Lyrical Abstraction</b>, a movement of
postwar French artists pursuing free–form <b>abstract expression</b> through
painting.<br />
<br />
In 1949, Zao Wou–ki began making <b>art prints</b> after
learning the technique of <b>lithography</b> at the Atelier Desjobert. The
lithograph medium delighted Zao Wou – ki ––"The idea of throwing color on a
large white stone, like on China paper, pleased me…," and Zao Wou–ki´s print
experiments became lithographic masterpieces. In 1950 Zao Wou–ki published his
prints accompanied by poems from celebrated poet Henri Michaux in 1950.
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<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/zao_wou_ki_drawings_paintings_sale.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="http://denisbloch.com/pics/zao_wou_ki_drawings_paintings_sale.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong>Zao Wou-ki -</strong> <em>Flore et Faune</em> - 1951 - Etching</td></tr>
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Zao Wou–ki´s collaboration with Henri Michaux pushed him to review his
Indian ink techniques and his roots in Chinese traditional drawing. Upon
discovering Paul Klee´s paintings in 1951, Zao Wou–ki began to incorporate
ideograms into his <b>paintings, drawings, and prints</b>. Zao Wuji still
painted figurative elements, however, before he definitively committed to an
Abstract painting aesthetic in 1953, inspired by archaic Chinese characters. Zao
Wou–Ki had unknowingly come full circle back to traditional Chinese calligraphy
– carefully drawing out each character with great passion and emotion.
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<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/zao_wou_ki_agerup_361.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://denisbloch.com/pics/zao_wou_ki_agerup_361.jpg" width="308" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong>Zao Wou-ki</strong> - <em>Éloge des choses extrêmement légères</em> - 1993 - Etching</td></tr>
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Zao Wou–Ki travelled extensively in the 1950–1960s discovering and
exhibiting in Italy, Spain, the United States, Japan, Greece, Switzerland and
England. In 1950 Zao participated for the first time in the Salon de Mai, at
which he was to exhibit regularly every year after that. Zao Wou–ki´s would
befriended artists such as <a class="artist_text" href="http://www.denisbloch.com/showall.php?id=11&artist=Rufino_Tamayo" title="Click Here To Learn About Tamayo">Rufino
Tamayo</a> and <a class="artist_text" href="http://www.denisbloch.com/showall.php?id=3&artist=Joan_Miro" title="Click Here To Learn About Miro">Joan
Miro</a>, as well as, architect I.M. Pei. In 1993 he was appointed Commander of
the Legion of Honor by the President of France and the following year was
awarded the Premium Imperial Award of Painting in Japan.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0F80yQK_w4pdeet7CcTBigMqHtx4dnd12tlFe4ghL_zAhCJO2EqYzhkWYrPWdX56twZ0Vsqw_kXCUHCxT_56zvEzGkWk2Ox6CVdtF16kSjmYoQSyrrRlSe8xZGZwVZXWuhnvmHPBV1-RT/s1600/zao-wou-ki-painting.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0F80yQK_w4pdeet7CcTBigMqHtx4dnd12tlFe4ghL_zAhCJO2EqYzhkWYrPWdX56twZ0Vsqw_kXCUHCxT_56zvEzGkWk2Ox6CVdtF16kSjmYoQSyrrRlSe8xZGZwVZXWuhnvmHPBV1-RT/s400/zao-wou-ki-painting.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Zao Wou-ki - <em>Village en fête -</em> Oil on canvas - 1954</td></tr>
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<br />
Zao Wou – ki was
regarded as one of foremost Chinese Contemporary painters of the 20th century.By
the end of his life Zao Wou–ki had stopped producing new artworks due to health
problems. He died on April 9th, 2013 at his home in Switzerland.<br />
<br />
"How to
represent the wind? How to paint emptiness? And the light, its brightness, its
purity? I did not want to reproduce but to juxtapose forms, to assemble them in
order to find in them the whispering wind over still water." ~ Zao
Wou–ki<br />
<br />
Select Museum Collections:<br />
Metropolitan Museum of Art,
NYC<br />
Guggenheim Museum, NYC<br />
Georges Pompidou Centre, Paris<br />
Musee des
Beaux–Arts, Montreal<br />
Art Institute of Chicago, IL<br />
Museum of Modern Art,
NYC<br />
Museo de Arte Moderno, Mexico<br />
National Institute of Fine Arts,
Beijing<br />
Fundacio Joan Miro, Barcelona<br />
<br />Denis Bloch Fine Arthttp://www.blogger.com/profile/06132141931455877262noreply@blogger.com2tag:blogger.com,1999:blog-6970857924101518984.post-20605582699025564882012-10-17T15:09:00.003-07:002012-10-17T15:23:37.149-07:00Speedy Graphito - Technical Temptation<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.denisbloch.com/graffitis_artist.php?name=Speedy_Graphito&cat=Vintage_Posters&aid=84" imageanchor="1" style="margin-left: auto; margin-right: auto;" target="_blank"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiXnDW0z9j-WLqNogNbwDUbcQWkLPBb8WzuUtSH_xvXyG5jx_hk8Lq0ANme2p91OsD2MykRZFTHhmax9i-rlWzY-_RDE4yDiHVU5HGqRVN7SHRfo5fXUdMnyGZ9YXHhl_wNLdn5DJhcJl7/s320/Speedy-Graphito-Paintings-For-Sale.JPG" width="316" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #f3f3f3;"><strong>Speedy Graphito</strong>, <em>City Love</em>, Painting on Canvas</span></td></tr>
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<span style="font-family: "Garamond","serif";"><span style="font-family: "Garamond","serif";"><span style="font-family: "Garamond","serif";"><span style="font-family: Times New Roman;"><span style="color: #f3f3f3;"><strong>Street Art pioneer Speedy Graphito</strong> was born in Paris in 1961. Speedy Graphito began his art career in the 1980´s on the streets of Paris, creating dynamic paintings and street murals using spray paint and stencils. </span></span></span></span></span><br />
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<tr><td style="text-align: center;"><a href="http://www.denisbloch.com/graffitis_artist.php?name=Speedy_Graphito&cat=Vintage_Posters&aid=84" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;" target="_blank"><span style="color: #f3f3f3;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha62Eyk1fYjo1ct9UsilfpZX7EbeR8-RoWxDF5Yq92ifUF0b8olUb3ioei4vE_jUh7uO0Rx2fpJl5dalcVw-c0Y26KQ33CfHFlVimKKGu1-taSTEkWFZpikI49xwYYeiOzCN5uV9O4NUo_/s200/speedy_toxic_game_spiderman.jpg" width="139" /></span></a></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #f3f3f3;"><strong>Speedy Graphito</strong>, <em>Toxic Game</em>, </span><br />
<span style="color: #f3f3f3;">Screenprint Unique on Paper</span></td></tr>
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<span style="color: #f3f3f3;"><span style="font-family: Georgia, "Times New Roman", serif;">Originally a graphic designer and art director, Speedy Graphito quickly established a distinct <strong>urban art style</strong> that incorporates schematic and charasmatic characters, cartoons and manga alongside contemporary commercial brands, logos, and iconic pop culture imagery. Speedy Graphito´s art is inspired by the virtual and physical urbanscape, but predominantly the barrage of advertising that dominates today´s consumer culture. Street Artist </span><span style="font-family: "Garamond","serif";"><span style="font-family: "Garamond","serif";"><span style="font-family: "Garamond","serif";"><span style="font-family: Times New Roman;"><span style="font-family: Georgia, "Times New Roman", serif;">Speedy Graphito has become recognized and revered for his satirical exploration of commercialism, often turning a critical eye on our society through his <strong>pop graffiti art</strong>.</span> </span></span></span></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpU-1N-W1IweBYjoFE78Znd9arkHDSSJBfkXuORZkJZLhybNkJGPhRnxGJRmg6JRB9La_YTvdRKAkmn-cMbKXGNczBLygGJyiQ-EACVHzCy-w14Aa6JrXmn2u-RlEym1n9a8FuW2hPFhBR/s1600/speedy+snowwhite+hpm4.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="color: #f3f3f3;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpU-1N-W1IweBYjoFE78Znd9arkHDSSJBfkXuORZkJZLhybNkJGPhRnxGJRmg6JRB9La_YTvdRKAkmn-cMbKXGNczBLygGJyiQ-EACVHzCy-w14Aa6JrXmn2u-RlEym1n9a8FuW2hPFhBR/s320/speedy+snowwhite+hpm4.jpg" width="218" /></span></a></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #f3f3f3;"><strong>Speedy Graphito</strong>, <em>Temptation</em>, </span><br />
<span style="color: #f3f3f3;">Screenprint on Paper</span></td></tr>
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<span style="color: black; font-family: "Garamond","serif";"><span style="font-family: "Garamond","serif";"><span style="color: black; font-family: "Garamond","serif";"><span style="font-family: Times New Roman;"><span style="font-family: Georgia, "Times New Roman", serif;"><span style="color: #f3f3f3;">Particularly influenced by the iconography of Disney characters and video games,
street artist Speedy Graphito often turns a critical eye on our society, as his artworks feed
off the collective memory of iconic imagery to create a new universal language.
As an example, Speedy Graphito´s</span> </span><a class="artist_text" href="http://www.denisbloch.com/object.php?name=_Speedy Graphito&title=Temptation_&artist_id=84&object_id=908&cat=Graffiti&catid=16" title="View this Artwork"><span style="font-family: Georgia, "Times New Roman", serif;">"Temptation
2011"</span></a><span style="font-family: Georgia, "Times New Roman", serif;"> <span style="color: #f3f3f3;">features</span> </span><a class="artist_text" href="http://www.denisbloch.com/object.php?name=_Speedy Graphito&title=Love_Me_&artist_id=84&object_id=1007&cat=original print&catid=8" title="View This Artwork"><span style="font-family: Georgia, "Times New Roman", serif;">Disney´s
Snow White</span></a><span style="font-family: Georgia, "Times New Roman", serif;"> <span style="color: #f3f3f3;">enamored with the half–eaten logo of Macintosh Apple, creating a
shrewd and satirical criticism of consumer seduction.</span></span><span style="color: #f3f3f3;"> </span></span></span></span></span><br />
<span style="font-family: "Garamond","serif";"><span style="font-family: "Garamond","serif";"><span style="font-family: "Garamond","serif";"><span style="font-family: Times New Roman;"><br /><span style="color: #f3f3f3;">
<span style="font-family: Georgia, "Times New Roman", serif;">An astute representation of social communication in the internet era, <strong>Speedy Graphito's "Snow White"</strong> screenprint mirrors our media and technology dominant social intercourse. Our new social experience is saturated by both text and pictoral messages, echoing the layers of an inundated graffiti wall. The seduction is explicated beyond <strong>Snow White and the Apple Logo</strong>, but further distinguishes our mass enchantment with a technological world at our finger-tips - just a click away from satisfaction. </span>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiezufdkDpnJJZbQmfiamDiR-VjNZF86kWWHgcIHYT2ZpdhJ1toOCR3wlavRE8ll_teIAQvYFMl402ToEgoaR_arlvACYXd-1uPNaoqVT6jYUu2HzaRJb091-tVETuGT4v8doArdXUcj4UO/s1600/Speedy-Graphito-Donald-Duck-Painting.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="color: #f3f3f3;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiezufdkDpnJJZbQmfiamDiR-VjNZF86kWWHgcIHYT2ZpdhJ1toOCR3wlavRE8ll_teIAQvYFMl402ToEgoaR_arlvACYXd-1uPNaoqVT6jYUu2HzaRJb091-tVETuGT4v8doArdXUcj4UO/s320/Speedy-Graphito-Donald-Duck-Painting.jpg" width="314" /></span></a></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #f3f3f3;"><strong>Speedy Graphito</strong>, <em>Money</em>, Painting on Canvas</span></td></tr>
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<span style="color: #f3f3f3;">
</span><span style="color: #f3f3f3;"><span style="font-family: Georgia, "Times New Roman", serif;"><strong>Speedy Graphito´s paintings, prints, and street art murals</strong> can be found worldwide. Already recognized in the international arena, Speedy Graphito´s Art is well known in France, England, USA, Belgium, India, Japan, Brazil, and Dubai, as well as major auction houses. Speedy Graphito has recently participated in a number of solo art exhibitions in <strong>Los Angeles Art Galleries</strong>, as well as exhibiting at the 2011 Miami Art Basel.<br /><br /><strong>Denis Bloch Fine Art</strong> is pleased to offer original paintings, drawings, limited edition screenprints, and unique prints by <a href="http://www.denisbloch.com/graffitis_artist.php?name=Speedy_Graphito&cat=Vintage_Posters&aid=84" target="_blank">Street Artist Speedy Graphito</a>.</span>
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Denis Bloch Fine Arthttp://www.blogger.com/profile/06132141931455877262noreply@blogger.com3tag:blogger.com,1999:blog-6970857924101518984.post-32649362635009600722012-06-07T17:34:00.000-07:002012-06-07T17:34:51.781-07:00Mr. Brainwash Biography<br />
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M</v:path></v:stroke></span></v:shapetype><span lang="EN" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman";">r. Brainwash</span><span lang="EN" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN; mso-fareast-font-family: "Times New Roman";"> ("MBW")
is the pseudonym for the graffiti street artist Thierry Guetta. <o:p></o:p></span></div>
<span lang="EN" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN; mso-fareast-font-family: "Times New Roman";">Mr. Brainwash
was born in France in 1966, and has become </span><span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman";">one
of American's most popular 'street art' artists. Originally a videographer, Mr.
Brainwash began his career in 1999 documenting the lives and artwork of various
graffiti street artists such as <a href="http://en.wikipedia.org/wiki/Banksy">Banksy</a> and <a href="http://en.wikipedia.org/wiki/Shepard_Fairey">Shepard Fairey</a>. Mr. Brainwash has
collected hours of footage often risking his own neck following graffiti
artists creating their street art. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span><br />
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman";">Shortly after his initial
introduction to Banksy, Mr. Brainwash made the decision to transition from art
lover to artist as depicted in the film “<a href="http://www.imdb.com/title/tt1587707/">Exit Through the Gift Shop</a>”. Mr.
Brainwash soon graduated from a few hand drawn stickers to making giant sized
paste-ups, and his iconic pop graffiti art is now seen on the streets and art
galleries of New York and Los Angeles.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman";">The film “Exit Through the Gift
Shop” as well as Mr. Brainwash and his relationship with the street artist
Banksy is shroud in great controversy and mystery. </span><span lang="EN" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN; mso-fareast-font-family: "Times New Roman";">There has been debate over whether the
documentary is genuine or a mockumentary, although Banksy answers
"Yes" when asked if the film is real.</span><span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/brainwash_tomato_spray.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://denisbloch.com/pics/brainwash_tomato_spray.jpg" width="237" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mr. Brainwash - Tomato Spray</td></tr>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman";">Mr. Brainwash's uniformly subversive
style fuses historic pop imagery and contemporary cultural iconography to
create his own pop art - graffiti hybrid. The development of this style has
catapulted Brainwash to international stardom. Mr. Brainwash's first solo show
'Life is Beautiful' was held in Los Angeles in June 2008, showing over 100 artworks.</span><span style="color: white; font-family: "Arial","sans-serif"; font-size: 9pt;"> </span><span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman";">In addition to Mr. Brainwash’s widely recognized iconic art
images,</span><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">
<i style="mso-bidi-font-style: normal;">Life is Beautiful</i> featured larger
than life art installations which included a 20-foot robot made of old
televisions, and a life-size recreation of Edward Hopper's Nighthawks and a
pyramid made from 20,000 books. Originally scheduled to open for only two
weeks, the art exhibit was extended for three months, attracting more than
30,000 visitors.</span><span style="font-size: 10.5pt; mso-ansi-language: EN;"><span style="font-family: Calibri;"> <span lang="EN" style="color: #909090;"><o:p></o:p></span></span></span></div>
<br />
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman";">Mr. Brainwash's graffiti -styled art
has continued to garner recognition from art collectors and street art enthusiasts
alike.</span><span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN; mso-fareast-font-family: "Times New Roman";"> <span lang="EN">In
2009, </span></span><span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman";">Mr. Brainwash collaborated with
Madonna on her Greatest Hits album</span><span lang="EN" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN; mso-fareast-font-family: "Times New Roman";">, creating the cover art for<i style="mso-bidi-font-style: normal;"> <span style="mso-bidi-font-style: italic;">Celebration. <o:p></o:p></span></i></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/brainwash_einstein.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://denisbloch.com/pics/brainwash_einstein.jpg" width="313" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mr. Brainwash - Love is the Answer</td></tr>
</tbody></table>
<br />
<div class="MsoNormal" style="line-height: normal; margin: 0in 0in 10pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span lang="EN" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN; mso-bidi-font-style: italic; mso-fareast-font-family: "Times New Roman";">In 2010, Mr. Brainwash </span><span lang="EN" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN; mso-fareast-font-family: "Times New Roman";">opened his second art exhibition <i style="mso-bidi-font-style: normal;">ICONS</i> in New York City.</span><span lang="EN" style="color: white; font-family: "Arial","sans-serif"; font-size: 9pt;"> </span><span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman";">The
show featured Mr. Brainwash’s paintings and silkscreens of world icons such as
Madonna, <a href="http://www.denisbloch.com/object.php?artist=Mr. Brainwash&title=Juxtapose&artist_id=88&object_id=956&cat=&medium_id=51&type_id=36">Charlie Chaplin</a>, and <a href="http://www.denisbloch.com/object.php?artist=Mr. Brainwash&title=Love_is_the_Answer_%28Regular_Edition%29&artist_id=88&object_id=958&cat=&medium_id=52&type_id=34">Albert Einstein</a>, as well as portraits of music
legends constructed of broken records and large-scale sculptural installations
such as a giant boom box and a NYC cab in a life-sized Matchbox packaging. The
sold-out art exhibition was extended until early May 2010. Not only were major
art collectors acquiring Mr. Brainwash's paintings and prints but also
prestigious auction houses. In the Fall of 2010 </span><span lang="EN" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN; mso-fareast-font-family: "Times New Roman";">Mr. Brainwash made two significant auction
sales for his unique paintings. The smaller of the two pieces featured a
portraiture style depiction of model Kate Moss selling for $67,000. The larger piece
continued Brainwash's fascination with Albert Einstein and featured the
historic physicist in a front of a graffiti adorned wall holding a sign reading
“Love is the Answer”. The work sold for well above the pre-auction estimates
for $120,000.<u><sup><span style="color: blue;"><o:p></o:p></span></sup></u></span></div>
<br />
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman";">Mr. Brainwash currently lives and
works in Los Angeles.</span><span style="font-family: Calibri;"> <o:p></o:p></span></div>
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Note:
<o:p></o:p></span><br />
<br />
<div class="MsoNormal" style="line-height: normal; margin: 0in 0in 10pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">An
interesting note on Mr. Brainwash’s unique signature and authentication – Mr.
Brainwash has a series of additions to his signature to help further
authenticate his original artworks. On the back of every unique piece he stamps
his thumb print and adds a numbered code from a dollar bill. The bill is then
cut in two, one half is given to the owner of the piece and the other is kept
at Mr. Brainwash’s estate for future authentication. Any unique piece sold by
<a href="http://www.denisbloch.com/showall.php?artist= Mr. Brainwash&id=88">Denis Bloch Fine Art</a> will be accompanied by a certificate of authenticity as
well as the dollar bill. <o:p></o:p></span></div>Denis Bloch Fine Arthttp://www.blogger.com/profile/06132141931455877262noreply@blogger.com0tag:blogger.com,1999:blog-6970857924101518984.post-77320728457897928822011-12-27T17:20:00.000-08:002012-01-11T10:39:00.363-08:00Sam Francis – Space and Color<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmwV88CZicmNa2TjmcH8xAraQ2A_rYt3pEfJTDhFnrEfT2SGa_9PoN03_612vVa1QK5hjcTuA2aVGWEKTWkU8ZFukG6vHHd2xMLMuOYu2HpEOiApqYwwLnTltLWFEEG_nWtFCbrdmC0jMV/s1600/Sam_Francis_Trietto_Print.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" rea="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmwV88CZicmNa2TjmcH8xAraQ2A_rYt3pEfJTDhFnrEfT2SGa_9PoN03_612vVa1QK5hjcTuA2aVGWEKTWkU8ZFukG6vHHd2xMLMuOYu2HpEOiApqYwwLnTltLWFEEG_nWtFCbrdmC0jMV/s400/Sam_Francis_Trietto_Print.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sam Francis - Trietto II - Aquatint Print </td></tr>
</tbody></table><strong>“Painting is about the beauty of space and the power of containment.” – Sam Francis</strong><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMMl9bvmNOyD-LRLtXLtk3FutIS2HFGr3GoHkjmRiWGoPM0y3PYSA8uol_Ygq6vCm-JF3m412oMxDI26lr_2Rty_y1UhaW7HGngAPBrBgO4TwJISzSBGvYFM0avl0LDAVqsEofC9IkjMNJ/s1600/Sam_Francis_Painting_Studio.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="251" rea="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMMl9bvmNOyD-LRLtXLtk3FutIS2HFGr3GoHkjmRiWGoPM0y3PYSA8uol_Ygq6vCm-JF3m412oMxDI26lr_2Rty_y1UhaW7HGngAPBrBgO4TwJISzSBGvYFM0avl0LDAVqsEofC9IkjMNJ/s320/Sam_Francis_Painting_Studio.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sam Francis with Wallse Ting in studio</td></tr>
</tbody></table>American Abstract Artist <strong>Sam Francis</strong> was late to start his successful and brilliant career as a painter and printmaker. While serving as a pilot in the United States Air Force during WWII, Sam Francis suffered an injury that hospitalized him for several years. While recovering, Sam Francis began to paint over the side of his hospital bed to escape the mundane routine of the hospital as well as the pains of his aching body. Developing a love for art and finding an artistic voice was healing for Sam Francis, and the art created in this time had an astonishing remedial effect on Sam Francis’ mental and emotional state. <br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW3rfOoTq6xZVUy2OT_ng9slQ78akgoi331D-_Veu1mpq6rtYTI8TnCL8Jjsii-IjWbGMaAj0eePjts2pfapLRT5ZQwrL5jbaWQRsnlCGwNaVj98_iXNVIvmwunTNQUcJXma-Ea9O9QmSZ/s1600/Sam_Francis_Lithograph_Gallery.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" rea="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW3rfOoTq6xZVUy2OT_ng9slQ78akgoi331D-_Veu1mpq6rtYTI8TnCL8Jjsii-IjWbGMaAj0eePjts2pfapLRT5ZQwrL5jbaWQRsnlCGwNaVj98_iXNVIvmwunTNQUcJXma-Ea9O9QmSZ/s320/Sam_Francis_Lithograph_Gallery.jpg" width="206" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sam Francis - Untitled SF345 <br />
Lithograph</td></tr>
</tbody></table>Sam Francis’ experience as a pilot had a unique bearing on his paintings and prints, which often utilized aerial perspectives to communicate the silence of the skies. Sam Francis’ aerial approach to the canvas became paramount to his methodology as a painter, as well as a signature style for Sam Francis. <br />
<br />
During the late 1940s, Sam Francis began producing and exhibiting his earliest abstract artworks. Francis was initially influenced by the work of the <a href="http://en.wikipedia.org/wiki/Abstract_expressionist">Abstract Expressionists</a>, like Mark Rothko and Arshile Gorky, and Sam Francis incorporated many of their techniques and ideas in his art. Despite this influence, Sam Francis’ art was also in close dialogue with modern and contemporary French art. His references ranged from the Water Lilies of Claude Monet, which inspired many of Sam Francis ideas about atmosphere and space, to Pierre Bonnard and <a href="http://www.denisbloch.com/showall.php?artist=Henri_Matisse&id=8">Henri Matisse</a>, whose conceptions of pure color were particularly resonant with Francis. <br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6HIsuvspXsJG1B-4bO0ZtclNH6HfATG3G403Ipsd5SQJnHIrjczgu89cBZFa__sCYQhJA8hbSAOCofZCBucb1m72VOS19ssYHure8uFTU9YwqGYBBLcccDTKneArs8Iv_pPO02GkhzVbR/s1600/Sam_Francis_Pasadena_Box.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" rea="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6HIsuvspXsJG1B-4bO0ZtclNH6HfATG3G403Ipsd5SQJnHIrjczgu89cBZFa__sCYQhJA8hbSAOCofZCBucb1m72VOS19ssYHure8uFTU9YwqGYBBLcccDTKneArs8Iv_pPO02GkhzVbR/s320/Sam_Francis_Pasadena_Box.jpg" width="217" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sam Francis - Pasadena Box (Plate 8) <br />
Lithograph Print</td></tr>
</tbody></table>While traveling to Japan during the 1950’s, Sam Francis became interested in Japanese calligraphy and art, particularly the Japanese use of negative space. Sam Francis was acutely aware of the dialogue between color and space on the canvas. In many of Sam Francis’ prints and paintings from the 1960’s the brushwork is relegated to the outer edges, leaving vast empty spaces in the center of each art piece. The negative space, or silence within Sam Francis’ art is as meaningful as Francis’ fluid brushwork of radiant color.<br />
<br />
“Color is a kind of holy substance for me,” Francis said. “It’s the element in painting which I am most fascinated with. It is an element of painting which overcomes me. . . . Color in a way is a receptacle for a feeling and a way for you to hold it until understanding arrives or meaning is extracted.” Sam Francis’ artwork further investigated perceptions of light and color by contrasting glowing jewel tones with large areas of white. White in Sam Francis’ art does not function simply as a ground against which he applies color. Rather, the white areas are dynamically engaged in active communication with the colors. For Francis each color had a symbolic value: white corresponded to the infinite, blue to the cosmos and water, and yellow to the sun. <br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuBlVGCOQVgeLwdIm-v9d3lVS5Vd00QaJPGt0AeaXgMDPNeESVmNH2MSozG-4G2APx2q0pxilWuq0ab3dynJ56m1VFqWUH-uWLaV3937EUBYUeF8DjjmXtBWH3qFP-Ib6ZCecBDIVqa72q/s1600/Sam+Francis+Untitled.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" rea="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuBlVGCOQVgeLwdIm-v9d3lVS5Vd00QaJPGt0AeaXgMDPNeESVmNH2MSozG-4G2APx2q0pxilWuq0ab3dynJ56m1VFqWUH-uWLaV3937EUBYUeF8DjjmXtBWH3qFP-Ib6ZCecBDIVqa72q/s320/Sam+Francis+Untitled.jpg" width="250" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sam Francis - Untitled - Monotype </td></tr>
</tbody></table>Considered one of the premier colorists of the twentieth century, Sam Francis is best known for dramatic, lushly painted works comprised of vivid pools of color, thinly applied. Sam Francis has also been compared to <a href="http://en.wikipedia.org/wiki/Color_field">Color Field</a> artists on the basis of large, fluid sections of paint that seem to extend beyond the confines of the pictorial surface. Sam Francis’ art is a dynamic and sophisticated juxtaposition between color and space, a luminous conversation played out in strokes of lush color.<br />
<br />
Visit our website for more available prints by <a href="http://www.denisbloch.com/showall.php?artist=Sam_Francis&id=40" title="Click here to vist our website">Sam Francis</a>.Denis Bloch Fine Arthttp://www.blogger.com/profile/06132141931455877262noreply@blogger.com0tag:blogger.com,1999:blog-6970857924101518984.post-7532419262429128342011-09-06T13:26:00.000-07:002011-09-06T13:26:11.810-07:00A smARTer Investment<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXQ-mJUW2v4pzZtzeFSKk-jS1-c5Z2saQ6zfsVEbSDhILZlUn-YE2EvqMv7Kjer1OiO0BzkG-QcISmwpUpCZSX-quEY1DseqZbM6UBPvr0JT-mnA_EWAjKXNUIYqGAXQkBILiceHW_TwUX/s1600/KoonsBCAMeggunique.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXQ-mJUW2v4pzZtzeFSKk-jS1-c5Z2saQ6zfsVEbSDhILZlUn-YE2EvqMv7Kjer1OiO0BzkG-QcISmwpUpCZSX-quEY1DseqZbM6UBPvr0JT-mnA_EWAjKXNUIYqGAXQkBILiceHW_TwUX/s320/KoonsBCAMeggunique.jpg" width="320" xaa="true" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.denisbloch.com/object.php?artist=Jeff_Koons&title=Cracked_Egg_%28Red%29&artist_id=82&object_id=891&single=y">Jeff Koons, <em>Cracked Egg (Red),</em> 2008</a></td></tr>
</tbody></table>If you’d added a few fine artworks to your portfolio over the last few years, instead of all those bank stocks, your retirement nest egg might be looking a little different right now. <br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhYF1c7RTZIbVaqnMygKYHqWAilo1khYUgoE_-AVsvxiKCosUQvYtNp_aasCBdnGu0nSJkMoLxzYqNOxNCRC8IFpXu7SRVWqbHIEGx7msXwRcUe5AAhFzNWffZxuEVE_pVMNIKH2AfO_JY/s1600/stock-market-crash%255B1%255D.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhYF1c7RTZIbVaqnMygKYHqWAilo1khYUgoE_-AVsvxiKCosUQvYtNp_aasCBdnGu0nSJkMoLxzYqNOxNCRC8IFpXu7SRVWqbHIEGx7msXwRcUe5AAhFzNWffZxuEVE_pVMNIKH2AfO_JY/s200/stock-market-crash%255B1%255D.jpg" width="200" xaa="true" /></a></div>Let’s face it, the stock market rollercoaster, particularly in the last month has left the average investor nauseous and contemplating getting off the ride all together (if not already). In many cases the market volatility has driven investors to alternative investment markets like <strong>gold and Fine Art</strong>. <br />
<br />
Fine Art has been an attractive investment for centuries and is becoming increasingly recognized as it has outperformed more conservative investments over the last few decades. It is an alternative investment earning capital gains rather than a dividend.<br />
<br />
Indeed, for the last ten years, the price index of all Fine Art works sold more than once worldwide has produced a nearly 11% annualized return, outperforming the Standard & Poor’s 500 index of large cap stocks and most other asset classes, including bonds and commodities.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/chagall__multiflore_low_res.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://denisbloch.com/pics/chagall__multiflore_low_res.jpg" width="231" xaa="true" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.denisbloch.com/object.php?name=Marc_Chagall&title=Multiflore&artist_id=5&object_id=555&cat=Lithograph&catid=1">Marc Chagall, <em>Multiflore</em>, 1974</a></td></tr>
</tbody></table>Fine Art, including <strong>paintings, sculpture, original prints and photography</strong> is a very interesting long-term asset class. Indeed, investment-grade art enjoys a low correlation with other asset classes, including stocks and bonds, strengthening its case as a candidate for portfolio diversification. And some maintain they can act as an inflation hedge, since “real assets” (like gold) tend to rise in value while the value of money falls. <br />
Since the end of World War II the value of Fine Art works has appreciated enormously. Quality works of art have proved to be a remarkable store of value. This is predominantly due to increasing rarity caused by an expanding demand from museums and collectors, and dwindling supplies.<br />
<br />
Before you even think about putting down money, however, it’s important to educate yourself on the forces affecting the art market overall. The best advice is to talk to seasoned collectors and professionals in the industry. Go to the galleries and ask questions. Get involved with the museum and befriend the curator. An educated consumer is going to be best equipped to maneuver in this marketplace.<br />
<br />
If, as it is more likely the case, you want to invest your money in something that you also like the look of, <br />
(which I recommend!), make sure that your heart doesn’t rule your head and you buy something that looks pretty but is unlikely to ever accrue in value or worse yet decrease. <br />
<br />
On that note, beware of galleries and dealers promoting artists with niche bubble markets. There is a reason we have not seen some very “popular” commercial artists in any major Contemporary Museums – the following of these types of artists is purely promotional, and their value is backed by the people marketing them, not by an actual global market. Over time these types of mega-marketed commercial artists will fall victim to the tastes of the market and will be virtually worthless. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/dine__fortress_of_the_heart.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="192" nba="true" src="http://denisbloch.com/pics/dine__fortress_of_the_heart.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.denisbloch.com/object.php?name=Jim_Dine&title=Fortress_of_the_Heart&artist_id=12&object_id=871&cat=original print&catid=8">Jim Dine, <em>Fortress of the Heart</em>, 1981-82</a></td></tr>
</tbody></table>It is important to note that the high end of the market is not at the mercy of public taste. The art market has its blue-chip investments (<a href="http://www.artcyclopedia.com/">museum artists</a>) and these quality investments will bring a reliable return. Of course, the entry point can be higher. Artwork that emanates from more mature markets, such as Museum Class Master Paintings, can cost anywhere from $10,000 to many millions depending on the artist. <br />
<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_A0YF1DKaA8jVZvwmLV2FVtNz1BITgBW8ZNpZ8qsWVYjnYThIbXJYzGBKT-lZNk2PmJElBtDkQH9lIgXcPjq4q3mf69G7J4IPI-fMceRJ3k3E4CWz-cOzn0wNcf53c-pHpM6AxnkhXXAc/s1600/MOMA+-+Linocuts+1.JPG" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" nba="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_A0YF1DKaA8jVZvwmLV2FVtNz1BITgBW8ZNpZ8qsWVYjnYThIbXJYzGBKT-lZNk2PmJElBtDkQH9lIgXcPjq4q3mf69G7J4IPI-fMceRJ3k3E4CWz-cOzn0wNcf53c-pHpM6AxnkhXXAc/s320/MOMA+-+Linocuts+1.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Picasso Linocuts featured at the MOMA 2009</td></tr>
</tbody></table>The alternative is the investment in <a href="http://www.denisbloch.com/">Museum Class Master Graphics or Original Prints</a> with an entry point in the $1,000 level. Of course even great Prints are now expensive, but I’d recommend those! The best ones generally increase in value the most. From a return on investment standpoint, it’s also good advice to buy the best piece you can afford. The market has become much more selective, with an emphasis on quality.Denis Bloch Fine Arthttp://www.blogger.com/profile/06132141931455877262noreply@blogger.com0tag:blogger.com,1999:blog-6970857924101518984.post-37518145571457530382011-06-21T16:19:00.000-07:002011-06-21T16:46:16.244-07:00Sonia Delaunay Biography: Textiles, Design, and Prints<div dir="ltr" style="text-align: left;" trbidi="on"> <br />
<div class="separator" dir="rtl" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhardZaoTa4vWcrm_dRg_Gq2rH21hycfn4Qfk2RGuKkomr30WfVl9c60NFKJJh71hI9RE64jNzJQOUgHYDP7TmKUyo4-Cd3WJ5qAJkosSwqSaZd49zmZbMe6oU8KcsXAnG5l87mgvdJoiPb/s1600/delaunay1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" i$="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhardZaoTa4vWcrm_dRg_Gq2rH21hycfn4Qfk2RGuKkomr30WfVl9c60NFKJJh71hI9RE64jNzJQOUgHYDP7TmKUyo4-Cd3WJ5qAJkosSwqSaZd49zmZbMe6oU8KcsXAnG5l87mgvdJoiPb/s400/delaunay1.jpg" width="311" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sonia Delaunay Original Print - <br />
<em>Composition with Semi-circles</em></td></tr>
</tbody></table> <div class="separator" style="clear: both; text-align: center;"></div><strong>Artist Sonia Delaunay-Terk</strong> was born in present day Ukraine on November 14th, 1885 under the surname Stern. At a young age Sonia Delaunay moved to St. Petersburg, where she was cared for by her mother's brother, Henri Terk, a successful and affluent Jewish lawyer. Henri Terk and his wife Anna adopted Sonia Delaunay in 1890 when she assumed the name Sonia Terk. Sonia Delaunay-Terk received a privileged upbringing with the Terks, traveling widely throughout Europe where Sonia Delaunay was introduced to art museums and art galleries. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiulcl4DZNIyFM75LMd9cmFcj86ubms4xc6fHcdZFzF5aRlPlO6OMUuhNmTEG1vi1CWonAV2XR9yAcGBNeQSX98lHLwqIoAz3HeFNb3EC_eyaaSO1QCTWE8czJ3vEfxAG3vYPwuh5SBfX4L/s1600/DEL+Geo+Comp+Red+Blue+Circ+1972+450.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" i$="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiulcl4DZNIyFM75LMd9cmFcj86ubms4xc6fHcdZFzF5aRlPlO6OMUuhNmTEG1vi1CWonAV2XR9yAcGBNeQSX98lHLwqIoAz3HeFNb3EC_eyaaSO1QCTWE8czJ3vEfxAG3vYPwuh5SBfX4L/s320/DEL+Geo+Comp+Red+Blue+Circ+1972+450.jpg" width="256" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sonia Delaunay Etching - <br />
<em>Composition with Circles</em></td></tr>
</tbody></table>When Sonia Delaunay was 18, she was sent to study art at the Academy of Fine Arts in Karlsruhe, Germany. Sonia Delaunay studied in at the Art Academy until 1905 when she decided to join the <strong>Modern Art movement</strong> at Montparnasse in Paris. Sonia Delaunay was deeply influenced by the <strong>post-impressionist art</strong> of <a href="http://www.denisbloch.com/object.php?title=Orangerie_Des_Tuileries&artist=Vincent_Van_Gogh&type_id=2&medium_id=10&artist_id=&object_id=676">Van-Gogh</a>, <a href="http://www.artcyclopedia.com/artists/gauguin_paul.html">Gauguin</a>, and <a href="http://www.artcyclopedia.com/artists/rousseau_henri.html">Henri Rousseau</a> as well as the artists of the <a href="http://en.wikipedia.org/wiki/Fauvism">Fauves group</a> including <a href="http://www.denisbloch.com/showall.php?artist=Henri_Matisse&id=8">Henri Matisse. </a><br />
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During Sonia Delaunay’s first year in Paris Sonia Delaunay met, and married, German homosexual art gallery owner Wilhelm Uhde. It is assumed that Sonia Delaunay’s marriage to Uhde was a marriage of convenience to escape the demands of her parents, who disliked her artistic career. Through Uhde's gallery Sonia Delaunay gained entrance into the Parisian art world and benefitted from his connections, and Uhde masked his homosexuality through his public marriage to Sonia. Through her connections Sonia Delaunay met prominent artists of the modern art movement including: <a href="http://www.denisbloch.com/showall.php?artist=Pablo_Picasso&id=2">Pablo Picasso</a>, <a href="http://www.denisbloch.com/showall.php?artist=Georges_Braque&id=4">Georges Braque</a>, <a href="http://www.artcyclopedia.com/artists/rouault_georges.html">Georges Rouault</a>, and <a href="http://www.artcyclopedia.com/artists/vlaminck_maurice_de.html">Maurice de Vlaminck</a>. <br />
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Sonia Delaunay met painter Robert Delaunay in early 1909. Sonia and Robert became lovers in April of the same year and it was decided that Sonia Delaunay and Uhde should divorce. The divorce was finalized in August 1910. In November of 1910 Sonia and Robert Delaunay were married. Sonia Delaunay was pregnant with their son Charles who was born on January 18, 1911. Sonia Delaunay made a patchwork quilt for Charles' crib, which is now in the collection of the Musee National d'Art Moderne in Paris. Sonia Delaunay’s quilt was created spontaneously and exemplifies Sonia Delaunay’s use of geometry and color in her <strong>textiles, paintings, and original prints</strong>. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimK-AsVpk8fGJzTfwGiaqwhWKpSb5Ga2YW_H5w61BeRn-ybs_iqWXKF_2NqniS8PRaqJwuOSNBWyFoURBOafzuHkzmZQwwDzVJCkRsjo0R7L7afBBj3hbSd-JpiSIDtSZKZKoWfnREilaW/s1600/delaunay2.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" i$="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimK-AsVpk8fGJzTfwGiaqwhWKpSb5Ga2YW_H5w61BeRn-ybs_iqWXKF_2NqniS8PRaqJwuOSNBWyFoURBOafzuHkzmZQwwDzVJCkRsjo0R7L7afBBj3hbSd-JpiSIDtSZKZKoWfnREilaW/s320/delaunay2.jpg" width="242" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sonia Delaunay Aquatint - <br />
<em>Composition with Triangles</em></td></tr>
</tbody></table>Contemporary art critics recognize this as the point where Sonia Delaunay moved away from perspective and naturalism in her art. <strong>Robert & Sonia Delaunay</strong> became associated with the development of <strong>Orphism</strong>, a highly abstract art movement which paralleled the geometry of Cubism but with a much brighter color palette. It is said that artist <a href="http://www.artcyclopedia.com/artists/klee_paul.html">Paul Klee</a> was so taken with Sonia Delaunay’s’ patterning of squares from a 1912 illustrated book, that they became an enduring feature in Klee’s own art.<br />
During the 1910-1920s, Sonia Delaunay focused on bringing this new artistic lyricism into the world of design, transforming Art Deco fabrics into vibrant high fashion clothing, wall coverings, furniture textiles as well as, theatrical costumes. In 1917 Sonia Delaunay met Sergei Diaghilev, and Sonia Delaunay designed costumes for his productions of Cleopatra and Aida. <br />
The Russian Revolution brought an end to the financial support Robert & Sonia Delaunay received from Sonia’s family in Russia, and a different source of income was needed. Sonia Delaunay made clothes for private clients and friends, and in 1923 created fifty fabric designs using geometrical shapes and bold colors, commissioned by a manufacturer from Lyon. Sonia Delaunay’s customers included Nancy Cunard, Gloria Swanson, Lucienne Bogaert and Gabrielle Dorziat. <br />
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In the 1930s, Sonia Delaunay returned her focus on painting, joining the Abstraction-Creation group in seeking to create an art based upon non-representational elements, often geometrical, and continuing to focus on color as central to painting. The group was trans-national, and including among its members: Jean Arp, Barbara Hepworth, <a href="http://www.denisbloch.com/showall.php?artist=Wassily_Kandinsky&id=47">Wassily Kandinsky</a> and <a href="http://www.artcyclopedia.com/artists/mondrian_piet.html">Piet Mondrian</a>. In 1937 Sonia & Robert Delaunay collaborated on a mural for the Exposition Internationale des Arts et Techniques dans la Vie Moderne.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvx8cp40-Rfuf87QWudwzyKj4QWzDEfiBYuvF7j738x2Sfgla0xD4spBylpR4fPkIiP-2Z90Kyhq_ByMOKCrv3PUUGHCPKhnN_Nsa_wyUqIVcxqgAVtebz2Cb2MDxZQMhQnG-6_OzU2OFv/s1600/Delaunay+-+Composition.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" i$="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvx8cp40-Rfuf87QWudwzyKj4QWzDEfiBYuvF7j738x2Sfgla0xD4spBylpR4fPkIiP-2Z90Kyhq_ByMOKCrv3PUUGHCPKhnN_Nsa_wyUqIVcxqgAVtebz2Cb2MDxZQMhQnG-6_OzU2OFv/s320/Delaunay+-+Composition.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sonia Delaunay Print - <br />
<em>Geometric Composition</em></td></tr>
</tbody></table>In 1941 Robert Delaunay died of cancer. After Robert death, Sonia Delaunay continued to work and exhibit regularly as a painter & designer, turning often to printmaking including: <strong>etchings, lithographs, and pochoirs prints</strong>. In 1963 Sonia Delaunay donated 58 of her own works and 40 of Robert Delaunay’s to the Musee National d'Art Moderne, Paris. Sonia Delaunay became the first woman ever to be exhibited at the Louvre during her lifetime when the museum mounted an exhibition of the works in 1964. <br />
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In 1966 Sonia Delaunay printed Rythmes-Couleurs with 11 of her gouaches produced as pochoir prints, with texts by Jacques Damase. In 1969 Sonia Delaunay printed Robes poemes, also with texts by Jacques Damase containing 27 Sonia Delaunay prints. <br />
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Sonia Delaunay-Terk died in 1979 at the age of 94 with no regrets in her life.<br />
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<strong>Sonia Delaunay’s work in modern design included the use of geometric abstraction in the integration of furniture, fabrics, wall coverings, clothing, prints, lithographs, and etchings. </strong><br />
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<a href="http://www.nytimes.com/2011/03/18/arts/design/sonia-delaunay-show-at-cooper-hewitt-review.html">Sonia Delaunay was the subject of a recent Exhibition at the Cooper Hewitt National Design Museum.</a><br />
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Select Museum Collections:<br />
<a href="http://www.hermitagemuseum.org/fcgi-bin/db2www/quickSearch.mac/gallery?selLang=English&tmCond=Delaunay">Hermitage Museum, St. Petersburg</a><br />
<a href="http://moma.org/collection/artist.php?artist_id=1480">Museum of Modern Art, New York</a><br />
<a href="http://www.artic.edu/aic/collections/artwork/artist/3739">Art Institute of Chicago, Chicago</a><br />
<a href="http://www.metmuseum.org/works_of_art/collection_database/all/listview.aspx?page=1&sort=4&sortdir=desc&keyword=Sonia%20Delaunay&fp=1&dd1=0&dd2=0&lSort=4&vw=1">Metropolitan Museum of Art, New York</a><br />
<a href="http://hirshhorn.si.edu/search.asp?search=&objNumber=&objNumberExact=true&artists=Sonia+Delaunay&withImage=true&collection_search_advanced=GO">Hirshhorn Museum & Sculpture Garden, DC</a><br />
<a href="http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=993">Tate Gallery, London</a><br />
<a href="http://www.museoreinasofia.es/coleccion/autores-obras.html?idAutor=10195">Reina Sofia National Museum, Madrid</a><br />
Louvre, Paris<br />
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</div>Denis Bloch Fine Arthttp://www.blogger.com/profile/06132141931455877262noreply@blogger.com0tag:blogger.com,1999:blog-6970857924101518984.post-77789406038696919812011-04-25T16:07:00.000-07:002011-04-28T17:49:47.142-07:00David Hockney Vintage Posters - A Colorful Timeline<div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/hockney__mount_fuji.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" j8="true" src="http://denisbloch.com/pics/hockney__mount_fuji.jpg" width="275" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">David Hockney, <em>Mount Fuji and Flowers</em>,<br />
Offset Lithographic Poster</td></tr>
</tbody></table><strong>Artist David Hockney</strong> has continued to be an innovative artistic force since the beginning of his career in the 1960s. Although Hockney has always denied being a part of the <strong>Pop Art Movement</strong>, Hockney is often included under this heading because of the vibrancy of his palette, though he never adopted the iconographic subject matter of the Pop Artists. David Hockney's affiliation with the Pop Artists is mostly by association, and seems more to do with his friendships with peers like <a href="http://www.denisbloch.com/showall.php?artist=Andy_Warhol&id=38">Andy Warhol</a>, whom he met in New York in 1961, than Hockney's artwork. <br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/hoc__paper_pool.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="298" i8="true" src="http://denisbloch.com/pics/hoc__paper_pool.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">David Hockney, <em>Paper Pool #7</em>, Off-Set Lithographic Poster</td></tr>
</tbody></table>Taking a look at the time-line of <strong>David Hockney's exhibition, museum, and art posters</strong>, we get a good sense of the development Hockney's unique aesthetic and painting style over the years. After completing his training at the Royal College of Arts in London, Hockney's art had adopted a deliberately rough and rudimentary style which Hockney owed a great deal to artists <a href="http://www.denisbloch.com/showall.php?artist=Jean_Dubuffet&id=10">Jean Dubuffet</a> and <a href="http://www.denisbloch.com/showall.php?artist=Francis_Bacon&id=7">Francis Bacon</a>. Hockney was in a phase of rapid self-discovery on both artistic and personal levels. David Hockney was coming to terms with his own sexuality while at the same time searching for an artistic style. <br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"> </div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/hoc__the_bigger_splash.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" i8="true" src="http://denisbloch.com/pics/hoc__the_bigger_splash.jpg" width="131" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">David Hockney, <em>A Bigger Splash</em>, <br />
Off-Set Lithographic Poster</td></tr>
</tbody></table>After his first trip to Los Angeles in 1964, Hockney returned to England set to work on a series of prints and paintings that reflected his American experiences. David Hockney began to incorporate acrylic paint in his art, and Hockney created his first series of stylized Southern Californian landscapes as well as his first <strong>swimming pool paintings</strong>. One of Hockney's most noted swimming pools is<strong> "A Bigger Splash," 1967</strong>, which is now a part of the permanent collection of the Tate Gallery, London and the title of a documentary about Hockney that was released in 1974. David Hockney had always fantasized about living in Los Angeles: “Within a week of arriving there in this strange big city, not knowing a soul, I'd passed the driving test, bought a car, driven to Las Vegas and won some money, got myself a studio, started painting, all within a week. And I thought, it's just how I imagined it would be.” In 1978 David Hockney experimented with a process of moulding colored paper pulp, producing a series of twenty-nine <a href="http://www.denisbloch.com/object.php?name=David_Hockney&title=Paper_Pool&artist_id=34&object_id=548&cat=original print&catid=8">Paper Pools</a>. <strong>Hockney's "Paper Pools"</strong> were greatly influenced by Van Gogh. <br />
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<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/hockney__photocollages.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="284" i8="true" src="http://denisbloch.com/pics/hockney__photocollages.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">David Hockney, <em>Photocollages</em>, Off-set Lithographic Poster</td></tr>
</tbody></table> <br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/hockneyarles.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" j8="true" src="http://denisbloch.com/pics/hockneyarles.jpg" width="130" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">David Hockney, <em>XVI RIP Arles</em>,<br />
Offset Lithographic Poster</td></tr>
</tbody></table> <br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">During the 1970's David Hockney made his first photomontage or photo collage artworks, which Hockney referred to as <strong>"Joiners".</strong> David Hockney was greatly inspired by the art of <a href="http://www.denisbloch.com/showall.php?artist=Pablo_Picasso&id=2">Pablo Picasso</a> particularly Picasso's Cubist Period, and Hockney saw photography and his Polaroid composites as a new investigation of Cubism and pictorial space. David Hockney explored the use of the camera, making composite images of Polaroid photographs arranged in a rectangular grid. Later Hockney used regular 35-millimetre prints to create photo-collages, compiling a 'complete' picture from a series of individually photographed details. In 1985 Hockney lectured on his photographic experimentation at the prestigious Rencontres Internationales de la Photographie in Arles. </div> <br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/hockney__parade.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" i8="true" src="http://denisbloch.com/pics/hockney__parade.jpg" width="169" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">David Hockney, <em>Parade</em>,<br />
Off-set Lithographic Poster</td></tr>
</tbody></table> <br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">During the mid 1970's Hockney embraced the challenge of a new medium, creating a number of designs for various Theatrical productions in London and New York. As a young child, David Hockney had developed an obsession with opera when he first saw the Carl Rosa opera company's production of La Bohème, and Hockney was ecstatic to bring his two passions together. From 1975 - 1993 Hockney produced set and costume designs for:</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">'The Magic Flute' 1978, </div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">'Parade' 1981, </div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">'Oedipus Rex' 1981, </div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">'Tristan und Isolde' 1986, </div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">'Die Frau Ohne Schatten' 1991, </div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">and 'Turandot' 1993. </div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div> <br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhja-K0bd_r2_odrqoMZLXEMwS21ntV0c_6jIbTU70RYVUjzlxETHHM5AjfkIwsON-tqbfL68trW0jsvRiVoRnrerebUpGI0lEgx3cmI9BdDucwcxh0ir8t_I13GMUn31XhhKq5IbpkL7GD/s1600/Hockney+-+Grand+Canyon.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="166" j8="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhja-K0bd_r2_odrqoMZLXEMwS21ntV0c_6jIbTU70RYVUjzlxETHHM5AjfkIwsON-tqbfL68trW0jsvRiVoRnrerebUpGI0lEgx3cmI9BdDucwcxh0ir8t_I13GMUn31XhhKq5IbpkL7GD/s400/Hockney+-+Grand+Canyon.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">David Hockney, <em>A Bigger Grand Canyon</em>, <br />
Offset Lithographic Poster</td></tr>
</tbody></table> <br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/hockney__nichols_canyon.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><em><img border="0" height="200" j8="true" src="http://denisbloch.com/pics/hockney__nichols_canyon.jpg" width="121" /></em></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em>Nichols Canyon</em><br />
Lithographic Poster</td></tr>
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<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Continuing to be influenced by American culture and the natural landscapes found in California and the Western United States, David Hockney's vivid palette became more striking and beautiful and in 1980 David Hockney painted "<strong>Nichols Canyon</strong>" after a well known canyon in the Hollywood Hills. In 1982 David Hockney traveled with friends through the American West and Hockney was inspired to create a large photocollage of the <strong>Grand Canyon</strong>. "A Bigger Grand Canyon" is one of David Hockney's most celebrated artworks, rich with brilliant colors that capture the cascading landscape of the Arizona desert. </div><br />
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<tr><td class="tr-caption" style="text-align: center;">David Hockney, <em>Hotel Well III,</em> <br />
Offset Lithographic Poster</td></tr>
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<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">During the 1980's David Hockney's palette became imbued with an array of saturated and vibrant colors making Hockney's artwork both dramatic and enticing. During a trip down to Mexico City, David Hockney was moved by the courtyard landscape of his <strong>Hotel in Acatlan, Mexico</strong>, and enthusiastically created a number of original prints known as the <strong>"Moving Focus" series</strong>. The "Moving Focus" print series from the mid 1980's is the culmination of Hockney’s experiments with Cubism. The constant shifting focus in Hockney's "<a href="http://www.denisbloch.com/object.php?name=David_Hockney&title=View_of_Hotel_Well_III&artist_id=34&object_id=326&cat=original print&catid=8">Hotel Well III</a>," brings together multiple and simultaneous perspectives, clearly feeding off of Hockney's work with photography and his "Joiner" pieces. Fascinated by the <strong>Hotel Well</strong> and courtyard, David Hockney revisited the subject in multiple lithographs, incorporating the passage of time and light in the concept of perspective as seen in artworks like "<strong>Hotel Acatlan, Second Day</strong>" and "<strong>Hotel Acatlan, Two Weeks Later</strong>."</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
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<tr><td class="tr-caption" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: center;">David Hockney, <em>Hotel Acatlan Second Day</em>, Offset Lithographic Poster</td></tr>
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<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">After working with California master printer Ken Tyler in the 1980s making etchings and lithographs, David Hockney explored ways of creating art with color photocopiers in 1986. “The works I did with the copying machine ...were not reproductions,” Hockney said later, “they were very complex prints.” Subject to the same curiosity about new technical methods, David Hockney began to experiment with the fax machine, and in 1989 sent work for the Sao Paulo Biennale to Brazil via fax. David Hockney began experiments using computers, composing images and colors on the screen and having them printed directly from the computer disk without preliminary proofing. David Hockney has had major retrospectives of his art in New York, Los Angeles and London. Technical experimentation has continued to inform and develop the art of David Hockney and his most recent artworks have been created on Hockney's iPad. David Hockney primarily works in his art studio in the Hollywood Hills near Los Angeles, California, where Hockney has lived permanently since 1978.</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><span style="font-size: large;">For more information on <strong>David Hockney Art Posters</strong> please visit our website: </span></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><a href="http://www.denisbloch.com/vintage_posters_artist.php?name=David_Hockney&cat=Vintage_Posters&aid=34"><span style="font-size: x-large;">David Hockney</span></a></div></div>Denis Bloch Fine Arthttp://www.blogger.com/profile/06132141931455877262noreply@blogger.com0tag:blogger.com,1999:blog-6970857924101518984.post-48137140104524618782011-02-19T16:04:00.000-08:002011-02-19T16:18:57.428-08:00RUFINO TAMAYO & MIXOGRAFIA PRINTS<div dir="ltr" style="text-align: left;" trbidi="on"><br />
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<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/tam__moon_dog.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="236" j6="true" src="http://denisbloch.com/pics/tam__moon_dog.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Perro de Luna, 1973 LITHOGRAPH</td></tr>
</tbody></table><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><a href="http://www.denisbloch.com/showall.php?artist=Rufino_Tamayo&id=11">Rufino Tamayo’s</a> legacy to the history of art is truly found in Tamayo’s oeuvre of graphic prints, in which Tamayo cultivated every technique. A truly innovative print-maker, <strong>Rufino Tamayo’s graphic work</strong> was produced between 1925 and 1991 and includes the mediums of <strong>woodcuts, lithographs, etchings, aquatints, and mixografia prints. </strong></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT8edQ1zXefj7M_Q9UUzBr8xKbuKGmeLKr-39kJDfskcMWYUykblVlof32c8yXflnr53EcaIFGFc6lPFjBnDbYuKwQlGFbPUc-OhOKTWfvSSZrsmwd97DA0CTHls_7OxeNFVCd-V8hvSSm/s1600/Nina.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" j6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT8edQ1zXefj7M_Q9UUzBr8xKbuKGmeLKr-39kJDfskcMWYUykblVlof32c8yXflnr53EcaIFGFc6lPFjBnDbYuKwQlGFbPUc-OhOKTWfvSSZrsmwd97DA0CTHls_7OxeNFVCd-V8hvSSm/s320/Nina.jpg" width="246" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Niña, 1981 MIXOGRAPH<br />
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</tbody></table>In the early 1970's, printer Luis Remba approached <a href="http://en.wikipedia.org/wiki/Rufino_Tamayo">Rufino Tamayo</a> to produce a series of lithographs. Although Tamayo was interested, he made it clear that he was looking for new horizons within the medium - particularly seeking ways to get more volume and texture into his original prints. Together Luis Remba & Rufino Tamayo expanded the technical and aesthetic possibilities of the graphic arts by developing a new genre of multiples, which they named <strong>Mixografia</strong>. <div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
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<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/tam__dos_hermanos__crop.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" j6="true" src="http://denisbloch.com/pics/tam__dos_hermanos__crop.jpg" width="260" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dos Hermanos, 1987 MIXOGRAPH</td></tr>
</tbody></table>The Mixografia technique is a unique fine art printing process that allows for the production of prints with three-dimensional texture. The quality of a <strong>Mixografia print</strong> is similar to that of a fresco or bas-relief, in which the surface of the paper has a kind of sculptural depth. The technique not only registered the texture and volume of Rufino Tamayo's design, but it also granted Tamayo the freedom to use any combination of solid materials in its creation. Rufino Tamayo was delighted with the Mixografia process, and Tamayo created some 80 Original Mixographs over his lifetime. <div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Due to the inability of commercial paper to withstand the stress of the <strong>Mixografia three-dimensional printing technique</strong>, a more resilient handmade paper was also invented. The paper of a Mixografia print has a heavy and thick consistency that further enhances the sculptural three-dimensionality of a Mixografia print. </div><br />
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<tr><td style="text-align: center;"><a href="http://upload.wikimedia.org/wikipedia/commons/6/63/Museo_del_sitio-_Palenque_Ruins.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" j6="true" src="http://upload.wikimedia.org/wikipedia/commons/6/63/Museo_del_sitio-_Palenque_Ruins.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Relief Sculpture from Pelenque Ruins</td></tr>
</tbody></table>Greatly influenced by his <strong>Mexican and Zapotec</strong> heritage, much of Rufino Tamayo’s artwork, particularly Tamayo’s Mixografia prints, illustrate the same weight and feel of <strong>Pre-Columbian</strong> stone reliefs and sculptures. Rufino Tamayo became interested in <a href="http://en.wikipedia.org/wiki/Pre-Columbian_art">Pre-Columbian</a> art as early as 1926, when Tamayo became the head of the department of ethnographic drawing at the National Museum of Archaeology in Mexico City.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFZkXt8aQvJBSoEp8yAqa85U0By9YB8RIKpHJctW5anZZ6GVt5wOHw6PLXc74PRDxCXlCgwomUebn8UG4YCRWyQx7MavAP16fMYWV4Fd6VPQeHdWrlN-VymRn2srs9y2Bi7DqeJf_VKS9M/s1600/Nocturno.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="248" j6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFZkXt8aQvJBSoEp8yAqa85U0By9YB8RIKpHJctW5anZZ6GVt5wOHw6PLXc74PRDxCXlCgwomUebn8UG4YCRWyQx7MavAP16fMYWV4Fd6VPQeHdWrlN-VymRn2srs9y2Bi7DqeJf_VKS9M/s320/Nocturno.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Nocturno, 1975 ETCHING</td></tr>
</tbody></table>Most of the compositions in Rufino Tamayo’s original graphics are extremely simple yet highly inventive in their technicality. Tamayo was known for taking an elementary drawing and filling it with structural elements, textures and colors obtaining striking <strong>etchings, lithographs and mixographs</strong> created with eloquent and economical expression. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGiVTORzhIaLgIMvSuckwZ3Cyyu77CRplArAL3gd8Fh6-9O2jiwXZWz9DF4qJ5zOdrBBYWMxdxV4CfTXOE7lmKfo3RlpX0Kdu_BLWw2myWFhR2_Dhrzqbrfr5xlcR_Erq5zNoOHWLU0wWP/s1600/Hombre.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" j6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGiVTORzhIaLgIMvSuckwZ3Cyyu77CRplArAL3gd8Fh6-9O2jiwXZWz9DF4qJ5zOdrBBYWMxdxV4CfTXOE7lmKfo3RlpX0Kdu_BLWw2myWFhR2_Dhrzqbrfr5xlcR_Erq5zNoOHWLU0wWP/s320/Hombre.jpg" width="277" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hombre, 1979 LITHOGRAPH</td></tr>
</tbody></table>Rufino Tamayo was one of the first artists in Latin America to interpret his roots without historicism, anecdote, or proclamation. In doing so, Rufino Tamayo formed one of the most brilliant chapters of the already rich and prestigious field of original graphic art in Mexico. <br />
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To view the gallery’s collection of available Rufino Tamayo <br />
Prints please visit our website:<br />
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<div style="text-align: center;"><a href="http://www.denisbloch.com/showall.php?artist=Rufino_Tamayo&id=11"><span style="font-size: x-large;">www.denisbloch.com</span></a></div><br />
</div>Denis Bloch Fine Arthttp://www.blogger.com/profile/06132141931455877262noreply@blogger.com0tag:blogger.com,1999:blog-6970857924101518984.post-33699514189583404542011-02-05T16:17:00.000-08:002011-09-27T14:50:37.005-07:00Marc Chagall - The Story of Exodus<div dir="ltr" style="text-align: left;" trbidi="on"> <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdngM1cqygIVsapAmFSEW-fYYjw4TQiLiFtYksDOxGe3yIZdWL5bF7b4Kz8RM6xX0fvYPnFMv7dBSHTG3R7lpjvp3jWzte1LSHTDXc5UvPz4YPrerpY6blvNUTkK2YKzvWxUo7zneYWbIy/s1600/Chagall+-+Exodus+M467.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" h5="true" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdngM1cqygIVsapAmFSEW-fYYjw4TQiLiFtYksDOxGe3yIZdWL5bF7b4Kz8RM6xX0fvYPnFMv7dBSHTG3R7lpjvp3jWzte1LSHTDXc5UvPz4YPrerpY6blvNUTkK2YKzvWxUo7zneYWbIy/s400/Chagall+-+Exodus+M467.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Exodus - "God parted the clouds... "(M467)</td></tr>
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<strong><span style="font-size: large;">Marc Chagall and Lithography</span> </strong><br />
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<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><strong>Marc Chagall</strong> was introduced to <a href="http://www.denisbloch.com/showall.php?artist=Marc_Chagall&id=5">original lithography</a> by <strong>Fernand Mourlot</strong>, owner of the renowned <strong>Mourlot Atelier lithographic studio</strong> located in Paris, France. Marc Chagall worked closely with Master Printer <strong>Charles Sorlier</strong> and over the next 35 years, Chagall created over 1,000 original lithographs at the Atelier Mourlot. The partnership between Marc Chagall and Charles Sorlier was extremely fruitful. . Charles Sorlier advised Chagall on all his future color lithograph projects and supervised their printing at the Mourlot Studio: <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWqQlQfRCIbxBqeMVCOHEKeP_K46w8shk2pR7vBDfZz9QXdvbff5loSF02bElHG18OFU-F-NSnLu1qFQ660vveOl2P2jHd7NMm86W6xlugKkYIBhZsiXfnxrUrpGpgRW3ddDiF4ZkCFHPp/s1600/Marc+Chagall.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" h5="true" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWqQlQfRCIbxBqeMVCOHEKeP_K46w8shk2pR7vBDfZz9QXdvbff5loSF02bElHG18OFU-F-NSnLu1qFQ660vveOl2P2jHd7NMm86W6xlugKkYIBhZsiXfnxrUrpGpgRW3ddDiF4ZkCFHPp/s320/Marc+Chagall.jpg" width="246" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Marc Chagall </td></tr>
</tbody></table>"Marc Chagall fabricated a mystical world of lovers, musicians and artists in his work. Chagall chose lithography as a print medium that could offer him almost unlimited painterly freedom to explore this world. Since lithography is a technique where the artist can work directly on the printing plate or lithostone, the resultant prints convey the spontaneity of Chagall’s brushstrokes and drawn lines. Lithography also allowed Chagall to work in lush color, which he viewed as his métier, and for which Chagall has become renowned. Chagall's lithographs are now among the most collected art works of the 20th century." <br />
– Charles Sorlier <br />
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While working with Charles Sorlier and Mourlot, Chagall completed many lithographic series including <em><strong>The Bible</strong></em>, <em><a href="http://www.denisbloch.com/object.php?name=Marc_Chagall&title=Exodus-_Puis_Moise_reunit_les_enfants_dIsrael...&artist_id=5&object_id=224&cat=original print&catid=8">The Story of Exodus</a></em>, <em><strong>The Circus, Daphnis and Chloe and The Odyssey</strong></em>. Chagall used up to 25 different lithographic plates per print to achieve the perfect expression of color. Over the course of his lifetime, Marc Chagall continued to be fascinated with color lithography as a printmaking medium and retained the Mourlot Atelier and especially Charles Sorlier as his creative collaborators. <br />
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<span style="font-size: large;"><strong>Marc Chagall and The Bible</strong></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGMoE-h7buK7GCVRWjFm-BNx_5SBTm-2cTuoIGc5KA8NhgX0Rw5KTx66YNkQX_6gX0kaslElHlmjwVvXA7UoigV5qjAlkjPXM1YoLNCwqoA837sG0-Ivrrol4yOmAIzlQTUHjO6WEgkOVP/s1600/CHA+-+Exodus+-+M447+Moses+and+the+burning+bush.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" h5="true" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGMoE-h7buK7GCVRWjFm-BNx_5SBTm-2cTuoIGc5KA8NhgX0Rw5KTx66YNkQX_6gX0kaslElHlmjwVvXA7UoigV5qjAlkjPXM1YoLNCwqoA837sG0-Ivrrol4yOmAIzlQTUHjO6WEgkOVP/s320/CHA+-+Exodus+-+M447+Moses+and+the+burning+bush.jpg" width="232" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Exodus "Moses and <br />
the Burning Bush" (M447)</td></tr>
</tbody></table>Raised in a remote village in present day Belarus, Marc Chagall’s Jewish heritage proved to be one of the major influences in Marc Chagall’s Art. Chagall’s art is characterized by imagery drawn from the quaint Jewish village including animals from Chagall’s childhood, his strong family heritage, and the Jewish faith and practice. Chagall endeavored to express the spiritual meaning and moral messages found in Biblical teachings through his pain<strong>tings, lithography, etchings, and original prints</strong>. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX_4aM6nniTovKDmaCr-ax-dekcXJ60ZaFm3EipClSlqG2kte3Cj2JESkXarghv9_kSYkqFOkrNEV1RJ8X26yTorzNMqZRLtNxDzukmlXMy-RypGEx0HTAP412bLtlGNNRmJPO1tfUf8Jo/s1600/Chagall-+Exodus+Bazaleel+Golden+Cherubs.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" h5="true" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX_4aM6nniTovKDmaCr-ax-dekcXJ60ZaFm3EipClSlqG2kte3Cj2JESkXarghv9_kSYkqFOkrNEV1RJ8X26yTorzNMqZRLtNxDzukmlXMy-RypGEx0HTAP412bLtlGNNRmJPO1tfUf8Jo/s200/Chagall-+Exodus+Bazaleel+Golden+Cherubs.jpg" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Exodus - "Bezaleel and <br />
his Golden Cherubim" (M464)</td></tr>
</tbody></table>“Ever since my earliest youth I have been fascinated by the Bible. The Bible is the echo of nature, and this I have endeavored to transmit. . . . In art everything is possible, so long as it is based on love.” – Marc Chagall <br />
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<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">In 1966, Marc Chagall created a series of original lithographs depicting the biblical <em><strong>Story of the Exodus</strong></em>. <strong><em>The Story of Exodus portfolio</em></strong> contained 24 large color lithographs. 23 of <strong><em>The Story of Exodus</em> Lithographs</strong> were printed on paper measuring 50 x 37 cm and the last original print was created as a double-size plate with a centerfold. <em>The Story of Exodus</em> was created in a limited edition consisting of 285 portfolios signed on the justification page by Marc Chagall: 250 on Velin d'Arches numbered from 1 to 250; 20 on Japon Nacre paper; and 15 hors commerce (not for sale) lettered A to O reserved for project collaborators.</div><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJKoeQ_de3GqGjQG3EhAIZzwdnfOISJ9aViDit8YILRFdxkZ7vqdvhtX8r7Rg4FNSzNtbviyNU90rNyzd8e21VWUbhwJ5vCy90jIGLW5w1ICeGIBSVfmQI6tbvdNbL-ZiErgRCPqEmK-r2/s1600/CHA+-+Exodus+-+M453+Moses+calls+the+waters+down+upn+the+Egyptian+army.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" h5="true" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJKoeQ_de3GqGjQG3EhAIZzwdnfOISJ9aViDit8YILRFdxkZ7vqdvhtX8r7Rg4FNSzNtbviyNU90rNyzd8e21VWUbhwJ5vCy90jIGLW5w1ICeGIBSVfmQI6tbvdNbL-ZiErgRCPqEmK-r2/s200/CHA+-+Exodus+-+M453+Moses+calls+the+waters+down+upn+the+Egyptian+army.jpg" width="146" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Exodus - "Moses Calls Down the<br />
Waters Upon the Eqyptians" (M453)</td></tr>
</tbody></table> The name Exodus means "going out" or “departure". It refers not only to one of the most important events of the book Exodus (the Exodus of the Israelites from Egypt), but also to other highly significant events as well, such as the call of Moses and God’s covenant with the nation Israel at Sinai - an experience culminating in God’s giving of the moral law (Ten Commandments) through Moses to the people. Portraying one of the most important stories of The Old Testament, and one of the central figures in the Jewish faith, <strong>Chagall’s Story of Exodus</strong> is a brilliant series with vivid color illuminating the spiritual and emotional nature of the story. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiRYCKVbPJ1AGMpD0FBv4v2gVXOFw3qdfT0outNdZsXHswU6BS2Ic1mcxZik8ZdI4_AG1ZpWR2yr1ajRTeqxI-_GkmK2MTl29tmqrk4iup2GILNIz4GEbbrg41K0Civ1zuaDuNqXkG68Ds/s1600/CHA+-+Exodus+-+M457+Moses+shows+the+Elders+the+Tablets+of+the+Law.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" h5="true" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiRYCKVbPJ1AGMpD0FBv4v2gVXOFw3qdfT0outNdZsXHswU6BS2Ic1mcxZik8ZdI4_AG1ZpWR2yr1ajRTeqxI-_GkmK2MTl29tmqrk4iup2GILNIz4GEbbrg41K0Civ1zuaDuNqXkG68Ds/s200/CHA+-+Exodus+-+M457+Moses+shows+the+Elders+the+Tablets+of+the+Law.jpg" width="140" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Exodus - "Moses Shows the <br />
Elders the Tablets of the Law" (M457)</td></tr>
</tbody></table>Often Marc Chagall would travel to foreign countries for inspiration for his artwork. Prior to creating <em>The Story of Exodus</em>, Chagall made a personal and spiritual journey to Palestine and present day Israel. Chagall wanted to experience the land and culture of the birthplace of Judaism. Chagall’s time spent in the Middle East influenced all of his biblically themed works, including the <strong>Exodus Series</strong> as well as the <strong>Bible Series</strong>. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjendPhn2OgkjZMyJ4FjLNZZ1Y_RPBxTvddJXEOFMKBTEGWdckdcMxHoUwZqoICGAdXk3afAMx7pr9qbvWZCt4flNVHFl7wNAtmMLhB9VkeMWqdN9kqCIcYo4dYeNLWMCO2w_pwQ5jQXDK/s1600/Chagall+-+Story+of+Exodus+-+Then+Came+Alamek.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" h5="true" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjendPhn2OgkjZMyJ4FjLNZZ1Y_RPBxTvddJXEOFMKBTEGWdckdcMxHoUwZqoICGAdXk3afAMx7pr9qbvWZCt4flNVHFl7wNAtmMLhB9VkeMWqdN9kqCIcYo4dYeNLWMCO2w_pwQ5jQXDK/s200/Chagall+-+Story+of+Exodus+-+Then+Came+Alamek.jpg" width="144" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Exodus - "Then <br />
Came Alamek" (M456)</td></tr>
</tbody></table> <br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">“I saw the hills of Sodom and the Negev, out of whose defiles appear the shadows of our prophets in their yellowish garments, the color of dry bread. I heard their ancient words. . . . Have they not truly and justly shown in their words how to behave on this earth and by what ideal to live?” – Marc Chagall</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Marc Chagall’s illustrations of <em>The Story of Exodus</em> are magnificent examples of Chagall’s masterful use of vibrant color to create lush depth, texture and emotion. The <strong>Exodus lithographs</strong> were highly acclaimed at their time of release and remain one of Chagall’s most popular series due to their expert use of color and fervent imagery.</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilCcZY1XCmw_Zw91svNYxsPg5V8GsEHN3V6FXkfHi2W1BIXqyGCrdCEID0yaXydDv9ARhUJyewb6TCajfWurZHJsXTUy0e4u529xks1ZiL7bJqMO5humgjVWG5Fl3WxqSRacRdS5BBMC8L/s1600/CHA+-+Exodus+-+M446+Moses+Sees+the+Suffering+of+his+People.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" h5="true" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilCcZY1XCmw_Zw91svNYxsPg5V8GsEHN3V6FXkfHi2W1BIXqyGCrdCEID0yaXydDv9ARhUJyewb6TCajfWurZHJsXTUy0e4u529xks1ZiL7bJqMO5humgjVWG5Fl3WxqSRacRdS5BBMC8L/s200/CHA+-+Exodus+-+M446+Moses+Sees+the+Suffering+of+his+People.jpg" width="146" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Exodus - "Moses Sees the <br />
Suffering of his People" (M446)</td></tr>
</tbody></table>“Changes in societal structure and in art would possess more credibility if they had their origins in the soul and spirit. If people read the words of the prophets with closer attention, they would find the keys to life.” <br />
- Marc Chagall <br />
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<br />
To view our collection of available Marc Chagall Prints <br />
please visit our website: <br />
<br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: center;"><a href="http://www.denisbloch.com/showall.php?artist=Marc_Chagall&id=5"><span style="font-size: x-large;">WWW.DENISBLOCH.COM</span></a></div><br />
<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"></div><div style="text-align: center;"><img height="96" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWqQlQfRCIbxBqeMVCOHEKeP_K46w8shk2pR7vBDfZz9QXdvbff5loSF02bElHG18OFU-F-NSnLu1qFQ660vveOl2P2jHd7NMm86W6xlugKkYIBhZsiXfnxrUrpGpgRW3ddDiF4ZkCFHPp/s320/Marc+Chagall.jpg" style="filter: alpha(opacity=30); left: 204px; mozopacity: 0.3; opacity: 0.3; position: absolute; top: 429px; visibility: hidden;" width="73" /></div></div>Denis Bloch Fine Arthttp://www.blogger.com/profile/06132141931455877262noreply@blogger.com0tag:blogger.com,1999:blog-6970857924101518984.post-42914587852837384952011-01-06T10:46:00.000-08:002011-01-06T11:02:26.874-08:00Tom Wesselmann - The Great American Nude<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/wesselmann__monica_in_robe_with_motherwell.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="205" n4="true" src="http://denisbloch.com/pics/wesselmann__monica_in_robe_with_motherwell.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Monica with Motherwell, 1994 Serigraph </td></tr>
</tbody></table> "Personality would only be distraction from the simple fact of nudity. When I create physical details like lips or nipples, they are of importance for the erotic simplification. From the beginning I never gave them faces. A face gives personal touch to a sexual act, makes it a portrait act. And that, I don´t like at all." <br />
– Tom Wesselmann<br />
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Tom Wesselmann, an American born painter, sculptor, and printmaker, was born in Cincinnati, Ohio in 1931. Tom Wesselmann studied psychology at the University of Cincinnati and also took art classes at the Art Academy of Cincinnati. Wesselmann had originally intended to become a cartoonist, but instead turned to painting. <br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/wes_claire_sitting.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" n4="true" src="http://denisbloch.com/pics/wes_claire_sitting.jpg" width="254" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Claire sitting Robe Half Off (Portfolio 90), 1993 Screenprint </td></tr>
</tbody></table> From 1956-1959 Tom Wesselmann continued his art studies at the Cooper Union in New York. While studying in New York, Wesselmann quickly informed himself about modern art by visiting the museums where the art of <strong>Robert Motherwell</strong> and <strong>Willem de Kooning</strong> made a lasting impact on Wesselmann. In 1957 Tom Wesselmann met Claire Selley, another Cooper Union student who was to become his friend, model, and later, his wife. After graduating, Tom Wesselmann became one of the founding members of the Judson Gallery, along with Marc Ratliff and artist <a href="http://www.denisbloch.com/showall.php?artist=Jim_Dine&id=12">Jim Dine</a>.<br />
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In 1961 Tom Wesselmann began working on his series the <strong>Great American Nude</strong>. After a dream concerning the phrase "red, white, and blue", Tom Wesselmann decided to paint a Great American Nude in a palette limited to those colors and any colors associated with patriotic motifs such as gold and khaki. Tom Wesselmann’s Great American Nude series incorporated representational images with an accordingly patriotic theme, such as American landscape photos and portraits of founding fathers. Often these nudes were collaged from magazines and discarded posters, and were very large scale. Tom Wesselmann had his first solo art show at the Tanager Gallery in New York later that year, representing both the large and small Great American Nude collages. <br />
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Tom Wesselmann would soon emerge as one of the leading figures in <a href="http://en.wikipedia.org/wiki/Pop_art">American Pop Art</a> along with fellow artists <a href="http://www.denisbloch.com/showall.php?artist=Roy_Lichtenstein&id=9">Roy Lichtenstein</a>, <a href="http://www.denisbloch.com/showall.php?artist=Andy_Warhol&id=38">Andy Warhol</a>, <a href="http://en.wikipedia.org/wiki/Jim_Dine">Jim Dine</a> and <a href="http://en.wikipedia.org/wiki/Alex_Katz">Alex Katz</a> among others. Tom Wesselmann never liked his inclusion in American Pop Art, pointing out how he made an aesthetic use of everyday objects and not a reference to them as consumer objects. <br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/wes__still_life_with_petunias_lilies_and_fruit__low_res.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="256" n4="true" src="http://denisbloch.com/pics/wes__still_life_with_petunias_lilies_and_fruit__low_res.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Still Life with Petunias, Lilies and Fruit, 1988 Screenprint </td></tr>
</tbody></table><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">In 1962, Tom Wesselmann participated in the New Realists art exhibition, which included art by the American Pop artists<strong> Jim Dine, Robert Indiana, Roy Lichtenstein, and Andy Warhol</strong>; and Europeans such as Arman and <a href="http://www.denisbloch.com/showall.php?artist=Christo&id=58">Christo</a>. Wesselmann contributed two Still Life collages to the art exhibition. That year, Wesselmann had begun working on a new series of Still Lifes, experimenting with assemblage as well as collage. </div> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/wes__still_life_with_liz__low_res.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" n4="true" src="http://denisbloch.com/pics/wes__still_life_with_liz__low_res.jpg" width="299" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Still Life with Liz (Portfolio 90), 1993 Screenprint<br />
</td></tr>
</tbody></table>Tom Wesselmann's subjects are characteristically overtly sexual and Wesselmann is best known for his artworks where the nude becomes a depersonalized sex symbol set in a commonplace environment. Wesselmann would emphasize the woman's nipples, mouth and genitals with the rest of the body depicted in flat, unmodulated color. <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/wesselmannbedroomblonde1998.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="276" n4="true" src="http://denisbloch.com/pics/wesselmannbedroomblonde1998.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bedroom Blonde, 1997 Serigraph</td></tr>
</tbody></table><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">During the late 1960s and early 1970s Tom Wesselmann worked constantly on the 'Bedroom Painting Series' in which elements of his <strong>'Great American Nude', 'Still Lifes' and 'Seascapes'</strong> were juxtaposed. With these artworks Wesselmann began to concentrate on a few details such as hands, feet and breasts surrounded by flowers and objects. A major motivation of the <strong>'Bedroom Paintings'</strong> was to shift the focus and scale of the attendant objects around a nude; these objects are relatively small in relation to the nude, but become major, even dominant elements when the central element is a body part.</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
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<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/wes_nude_bouquet.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="174" n4="true" src="http://denisbloch.com/pics/wes_nude_bouquet.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Nude with Bouquet and Stockings, 1992 Screenprint </td></tr>
</tbody></table><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Tom Wesselmann was a highly inventive printmaker who favored the screenprint or serigraph, but also worked in unconventional formats, such as blind embossing and mixograph relief prints. These large scale prints mirror the boldness of Wesselmann’s unique paintings and embody the vitality, openness and free spirit of the sixties.</div><br />
Following surgery for Wesselmann’s heart condition, Tom Wesselmann died on December 17, 2004.<br />
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Select Museum Collections:<br />
<a href="http://www.moma.org/collection/object.php?object_id=80004">Museum of Modern Art, New York</a><br />
<a href="http://www.artic.edu/aic/collections/artwork/artist/6146">Art Institute of Chicago, Chicago</a><br />
<a href="http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=2134">Tate Gallery, London</a><br />
<a href="http://tmja.org.il/Museum/Templates/showpage.asp?DBID=1&TMID=853&LNGID=1&FID=585&PID=1185&IID=1186">Haifa Museum, Israel</a><br />
<a href="http://americanart.si.edu/collections/search/artwork/?id=27554">Smithsonian Institution, Washington DC</a><br />
National Gallery of Art, Washington DC<br />
<a href="http://www.nortonsimon.org/collections/browse_artist.php?name=Wesselmann%2C+Tom">Norton Simon Museum, Pasadena</a><br />
<a href="http://collections.walkerart.org/item/object/428">Walker Art Center, Minneapolis</a>Denis Bloch Fine Arthttp://www.blogger.com/profile/06132141931455877262noreply@blogger.com3tag:blogger.com,1999:blog-6970857924101518984.post-33929938245115535902010-11-23T14:51:00.000-08:002010-11-23T15:03:22.348-08:00Le Repas Frugal (The Frugal Meal) by Pablo Picasso<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/picassorepasfrugal.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" ox="true" src="http://denisbloch.com/pics/picassorepasfrugal.jpg" width="292" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Le Repas Frugal, 1904 <br />
Etching <br />
Image: 46.3 x 37.7 cm </td></tr>
</tbody></table><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"> <div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Poised between Pablo Picasso’s two most significant periods, <strong>Le Repas Frugal (The Frugal Meal) by Pablo Picasso</strong> represents a pivotal point in the Pablo Picasso’s printmaking oeuvre. As part of Picasso’s first suite/series of etchings, entitled <strong><em>La Suite des Saltimbanques</em></strong>, <em><a href="http://www.denisbloch.com/object.php?name=Pablo_Picasso&title=Le_Repas_Frugal&artist_id=2&object_id=21&cat=original print&catid=8">Le Repas Frugal</a></em> contains elements of both <strong>Picasso’s Blue Period</strong>, marked by its melancholic introspection, and <strong>Picasso’s Rose Period</strong>, characterized by Pablo Picasso’s fascination with strolling acrobats or players. The bohemian life of those who lived on the edge of society was important to the young struggling Picasso as he too frequented the circus, the theater and music halls to escape from his impoverished lifestyle. </div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
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<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/pic_saltimbanques.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" ox="true" src="http://denisbloch.com/pics/pic_saltimbanques.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Les Pauvres (Saltimbanques Suite), 1905<br />
Etching<br />
23.6 x 18 cm <br />
</td></tr>
</tbody></table><strong><em>The Frugal Meal</em></strong> portrays an iconic image of a starving couple with a meager spread. The nearly skeletal man looks to the side as he comforts his female companion, perhaps denying their dire circumstance and blind with the hope of a better tomorrow. The woman stares with tired but tearless eyes, engaging an empathy that can only be acquired by a human diligently struggling to maintain dignity in the face of destitution. Other etchings from the <strong><a href="http://www.denisbloch.com/object.php?artist=Pablo_Picasso&title=Les_Pauvres&artist_id=2&object_id=368&cat=&medium_id=4&type_id=3">Saltimbanques Suite</a></strong> also portray these scenes of insolvent social outsiders. <div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
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</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; text-align: left;"><tbody>
<tr><td style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: center;"><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFSZpnk-mbo_NEm11H64DZMDaAb0d49sLsBVoVjzDgIY1-OGrQO94SOV4WsHpu2XVArIFk04BVQM90CdiDDWkO3wSBCYP3eS5B3FRme3iMaoKZuapOTx6ARP3J-6qvW9ijTP9n0_Xz2ADq/s1600/IMG_0131.JPG" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFSZpnk-mbo_NEm11H64DZMDaAb0d49sLsBVoVjzDgIY1-OGrQO94SOV4WsHpu2XVArIFk04BVQM90CdiDDWkO3wSBCYP3eS5B3FRme3iMaoKZuapOTx6ARP3J-6qvW9ijTP9n0_Xz2ADq/s320/IMG_0131.JPG" width="240" /></a></div></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em>The Frugal Meal </em><br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">displayed at the MOMA, April 2010</div></td></tr>
</tbody></table>Executed in only two states, <strong><em>The Frugal Meal</em></strong> etching possesses a remarkable confidence and skill that belies Picasso's lack of formal training in printmaking. Having just learnt the etching technique from Ricardo Canals, a fellow resident of Montmartre, it is astonishing that <strong>Pablo Picasso</strong> produced this icon in the history of printmaking at the age of only twenty-three. <strong><em>Le Repas Frugal</em></strong> is considered one of Pablo Picasso’s masterpieces as a printmaker and was only Picasso’s second work created in the medium. The medium of etching would fascinate Pablo Picasso for the remainder of his life. <div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">First printed in small numbers by the printer Eugene Delatre in 1905, <strong>The Saltimbanques</strong> etching plates were later acquired by art dealer and publisher Ambroise Vollard. Vollard had the fragile copper plates steel-faced and, in 1913, the edition of 250 was printed by Louis Fort. Together with an additional eleven drypoints and two etchings made by Picasso between 1904 and 1906, these early prints are commonly known as the <strong><em>Saltimbanques Suite</em></strong>.</div></div><br />
<strong><em>Le Repas Frugal</em></strong> was recently exhibited at the <strong>Pablo Picasso Prints and Paintings</strong> exhibition at The Museum of Modern Art, New York. <strong><em>The Frugal Meal</em></strong> is a part of the permanent collections of the following museums and institutions:<br />
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</div><a href="http://www.metmuseum.org/works_of_art/collection_database/drawings_and_prints/the_frugal_repast_pablo_picasso/objectview.aspx?collID=9&OID=90004093">The Metropolitan Museum of Art, New York</a><br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><a href="http://www.moma.org/collection/object.php?object_id=73115">The Museum of Modern Art, New York</a><br />
<a href="http://www.nga.gov/exhibitions/sixcenturiesinfo.shtm">The National Gallery, Washington, DC</a></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><a href="http://hammer.ucla.edu/exhibitions/detail/exhibition_id/100">The Hammer Museum, Los Angeles </a></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">The Musee Picasso, Paris <br />
<a href="http://www.bcn.cat/museupicasso/en/collection/mpb110-011.html">The Museo Picasso, Barcelona</a></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><a href="http://www.brooklynmuseum.org/opencollection/objects/46963/The_Frugal_Repast_Le_Repas_frugal">The Brooklyn Museum, New York</a></div><br />
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<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"></div>Denis Bloch Fine Arthttp://www.blogger.com/profile/06132141931455877262noreply@blogger.com0tag:blogger.com,1999:blog-6970857924101518984.post-49105525984414392882010-10-30T10:26:00.000-07:002010-10-30T10:29:55.039-07:00Georges Braque Biography“Once an object has been incorporated in a picture it accepts a new destiny.” – <strong>Georges Braque</strong><br />
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<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/braq__loiseau_blanc_ceramic.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="305" nx="true" src="http://denisbloch.com/pics/braq__loiseau_blanc_ceramic.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Oiseau Blanc, 1961 , Ceramic Plaque</td></tr>
</tbody></table><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Artist <strong>Georges Braque</strong> was born on May 13, 1882, in Argenteuil sur Seine, France. The son of a house decorator, Georges Braque received his first art lessons in painting from his father. In 1890 the Braque family moved to Le Havre, where Georges Braque would attend evening art classes at the Ecole des Beaux-Arts from about 1897 to 1899. At the age of 19, Georges Braque left for Paris to get a craftsman certificate. </div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">From 1902 to 1904, Georges Braque studied art at the Academie Humbert in Paris, where Braque met artists <a href="http://en.wikipedia.org/wiki/Marie_Laurencin">Marie Laurencin</a> and Francis Picabia. By 1906, Georges Braque had evolved his art from the Impressionist style into the bolder <a href="http://en.wikipedia.org/wiki/Fauvist">Fauvist</a> style. Georges Braque showed Fauvist works of art the following year in the Salon des Independants in Paris. Georges Braque had his first solo art show at Daniel-Henri Kahnweiler’s gallery in 1908. </div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div>In 1909, Georges Braque began to work very closely with artist and collegue <a href="http://www.denisbloch.com/showall.php?artist=Pablo_Picasso&id=2">Pablo Picasso</a>, as the two artists’ styles were becoming very similar. Both Braque and Picasso’s art showed an increased interest in geometry and simultaneous perspective, and by 1911 Georges Braque and Pablo Picasso had developed the artistic style of <a href="http://en.wikipedia.org/wiki/Cubism">Cubism</a>. One of Picasso's many pet names for Georges Braque was 'Vilbour' or 'Wilbourg', a reference to Wilbur Wright. <strong>Pablo Picasso</strong> saw in their 1908-1914 creative art partnership something that was akin to the brothers Wilbur and Orville Wright, the pioneers of sustained powered flight. In 1912, <strong>Georges Braque and Pablo Picasso</strong> started to incorporate collage elements into their art and to experiment with the papier colle (pasted paper) technique, in which Barque utilized a roll of wallpaper found in a local shop. Braque and Picasso’s productive collaboration continued until the outbreak of World War I in 1914. <br />
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</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Georges Braque served with honor in the French army during World War I and was seriously wounded in the head, leaving Braque temporarily blinded and unable to create art. Upon recovering in 1917, Georges Braque began a close friendship with cubist artist <a href="http://en.wikipedia.org/wiki/Juan_gris">Juan Gris</a>. </div> <br />
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<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/braquetheiereetfruits.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="192" nx="true" src="http://denisbloch.com/pics/braquetheiereetfruits.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em>Theiere et Fruits</em>, c. 1950 , Collotype</td></tr>
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</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">After the war <a href="http://www.denisbloch.com/showall.php?artist=Georges_Braque&id=4">Georges Braque</a> became freer and less schematic in his art, moving away from the harsher abstraction of Cubism. Braque painted many still life subjects during this time, maintaining an emphasis on structure. In 1922 Georges Braque had an art exhibition at the Salon d’Automne in Paris that brought Braque great fame and recognition. During the mid-1920s, Georges Braque designed the art decor for two Sergei Diaghilev ballets. By the end of the decade, Georges Braque had returned to a more realistic interpretation of nature, although certain aspects of Cubism always remained present in Braque’s art. </div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div> In 1931, Georges Braque created his first engraved plasters and began to portray mythological subjects. Georges Braque had his first important art retrospective in 1933 at the Kunsthalle Basel. In 1937 Braque won First Prize at the Carnegie International, in Pittsburgh.<br />
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<tr><td class="tr-caption" style="text-align: center;">Georges Braque at his studio with Mourlot and Master Printers, 1962</td></tr>
</tbody></table> <div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">During World War II, Georges Braque remained in Paris. During this period Braque primarily painted still-lifes and interiors, and Braque’s art became more and more somber as the war continued. From the late 1940s Georges Braque created numerous lithographs, engravings, and sculptures where, Braque utilized recurring themes of birds, ateliers, landscapes, and seascapes. Georges Braque, along with <a href="http://www.denisbloch.com/showall.php?artist=Henri_Matisse&id=8">Henri Matisse</a>, is credited for introducing Pablo Picasso to Fernand Mourlot, and most of the <strong>lithographs, illustrated books, and original prints</strong> Braque created in the 1940s and '50s were produced at the <strong>Mourlot Lithography Studios</strong>. In 1948 Georges Braque was awarded the main prize for painting at the Venice Biennale, and in 1951 Braque was made a Commander of the Legion of Honour. A few years later, Braque employed his skills as a craftsman, when Braque designed stained-glass windows for the church of Varengeville and painted the ceiling for the Etruscan Gallery at The Louvre. In 1961 George Braque had the distinction of being the first living artist to have his art exhibited at The Louvre. </div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
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<tr><td class="tr-caption" style="text-align: center;">Louvre I , c. 1955, Lithograph</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Louvre IV, c. 1955, Lithograph</td></tr>
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During the last few years of Braque’s life, ill health prevented Braque from undertaking further large-scale commissions, but Baroque continued to paint, create lithographs, and design jewelry. Georges Braque died on August 31, 1963, in Paris with his wife, Marcelle, at his side.<br />
<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"></div>Denis Bloch Fine Arthttp://www.blogger.com/profile/06132141931455877262noreply@blogger.com0tag:blogger.com,1999:blog-6970857924101518984.post-49762396136416567902010-10-16T12:22:00.000-07:002010-10-16T12:53:18.423-07:00Joan Miro and Carborundum Etchings<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRX9-ehauU-2Rg_0fCFp5DKOuWuJIlH_E5-7_CpSDpO6P-UZ8YFknlsFrzErFIoUZZ2KXJUdlou0RY0gQyy_p766VFb7X7O1RWE2tefymhu7Helb1AzMPQ1rnJi6Ab3vQyiYn8cJEj33RB/s1600/MIR+Trace+sur+la+Paroi+IV.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" ex="true" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRX9-ehauU-2Rg_0fCFp5DKOuWuJIlH_E5-7_CpSDpO6P-UZ8YFknlsFrzErFIoUZZ2KXJUdlou0RY0gQyy_p766VFb7X7O1RWE2tefymhu7Helb1AzMPQ1rnJi6Ab3vQyiYn8cJEj33RB/s320/MIR+Trace+sur+la+Paroi+IV.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: center;"><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><strong><em>Trace sur la Paroi IV</em>, 1967</strong></div>Etching, Aquatint with Carborundum<br />
73.5 x 104 cm</td></tr>
</tbody></table> Throughout his life, <strong>Artist Joan Miro</strong> worked in several printmaking processes, <a href="http://denisbloch.blogspot.com/2010/04/what-is-original-graphic-print.html" title="Click here to learn about Original Prints">including engraving, lithography and etching, as well as the use of stencils</a> (called pochoir). <a href="http://www.denisbloch.com/showall.php?artist=Joan_Miro&id=3"title="Click here to learn about Joan Miro">Joan Miro</a> stated that printmaking made his paintings richer, and gave him new ideas for his art. <br />
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<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/mir__lexile_vert.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" ex="true" height="320" src="http://denisbloch.com/pics/mir__lexile_vert.jpg" width="216" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><em>Exile Vert</em>, 1969</strong><br />
Etching, Aquatint with Carborundum<br />
102.5 x 70 cm </td></tr>
</tbody></table>A major breakthrough for Miro's graphic work arrived through an introduction, by renowned master printmaker Robert Dutrou, to carborundum (silicon carbide engraving) in 1967. The <strong>Carborundum printmaking</strong> process, pioneered by Henri Goetz, is an engraving technique requiring the use of an abrasive ground (carborundum) added to the etching plate to create a granulated or textured surface. Joan Miro found that by combining this new technique with other etching methods, especially aquatint (a painterly technique of engraving a resin ground on an etching plate rather than the plate itself), Miro could invent images to rival any painting, thereby ennobling the art of <a href="http://denisbloch.blogspot.com/2010/04/what-is-original-graphic-print.html" title="Click here to learn about Printmaking">printmaking</a>. The etchings and aquatints with carborundum, created from 1967 through 1969, set an incomparable standard for quality and indicated to the artist the incredible possibilities inherent to the carborundum technique, which Joan Miro would continue to explore throughout the balance of his career. The importance of this series of carborundum aquatints conceived from 1967 through 1969 was recognized by the <strong>Museum of Modern Art, New York</strong> in 1970 with a special exhibition devoted to them titled <strong>Joan Miro: Fifty Recent Prints</strong>. <br />
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<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/mirola_fronde.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" ex="true" height="320" src="http://denisbloch.com/pics/mirola_fronde.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><em>La Fronde</em>, 1969</strong><br />
Etching, Aquatint with Carborundum<br />
106 x 70 cm </td></tr>
</tbody></table><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">In the final decade of Joan Miro’s life, Miro devoted himself primarily to the <strong>art of printmaking</strong>, literally flinging himself headlong into project after project. Miro'sretreat from painting was not due to any weakening of his creative abilities or fertile imagination, but rather a focus especially on etching as the chosen means to an end. This was also a busy period for Robert Dutrou. From 1976 to 1981, Joan Miro created twenty-two compositions in <strong>etching, aquatint and carborundum</strong> with him, many on a large scale, as well as completing many engravings as illustrations for books. </div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Would you like to <strong>Collect Joan Miro Original Works of Art</strong>? Please visit our website to view our complete collection of <strong>Joan Miro Carborundum Etchings for sale</strong>. </div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: center;"><a href="http://www.denisbloch.com/showall.php?artist=Joan_Miro&id=3" title="Click here to view our Miro Collection"><span style="font-size: large;">DENIS BLOCH FINE ART</span></a></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"> </div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"></div>Denis Bloch Fine Arthttp://www.blogger.com/profile/06132141931455877262noreply@blogger.com0tag:blogger.com,1999:blog-6970857924101518984.post-2219028812761015062010-09-24T16:28:00.000-07:002014-06-14T12:14:39.094-07:00Wifredo Lam“With regard to life, modern painting is a revolutionary activity…We need it in order to transform the world into a more humane place where mankind can live in liberty…We must accept these things with passion. It means that we must live imaginatively.” – <a href="http://www.denisbloch.com/showall.php?artist=Wifredo_Lam&id=32">Wifredo Lam</a> <br />
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<tr><td class="tr-caption" style="text-align: center;">Le Regard Vertical, 1973 </td></tr>
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Wifredo Lam was born December 8, 1902, in Sagua la Grande, Cuba. Lam’s father was a Chinese immigrant, and Lam’s mother was of African, Indian, and European descent. From and early age Lam was exposed to rites of the African orishas, and Lam’s contact with African celebrations and spiritual practices proved to be Lam’s greatest artistic influence especially in his lithographs, etchings, aquatints, and engravings. </div>
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<tr><td class="tr-caption" style="text-align: center;">Demons Familiars (Pleni Luna Suite), 1974</td></tr>
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In 1916, the Lam family moved to Havana, where Wifredo Lam attended the Escuela de Bellas Artes. During the early 1920s, Lam exhibited at the Salón de la Asociación de Pintores y Escultores in Havana. In 1923, Lam moved to Madrid. While living in Madrid Lam studied at the studio of Fernando Alvarez de Sotomayor, the Director of the <a href="http://museoprado.mcu.es/">Museo del Prado</a> and the teacher of artist Salvador Dalí. <br />
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In 1929, Lam married Eva Piriz, who tragically died of tuberculosis two years later, as did Lam’s young son. This heartbreaking event may have contributed to the dark and brooding appearance of much of Lam’s later lithographs, etchings, and aquatints. </div>
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<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/lam__pleni_luna__lune_haute.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://denisbloch.com/pics/lam__pleni_luna__lune_haute.jpg" height="320" px="true" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lune Haute (Pleni Luna Suite), 1974</td></tr>
</tbody></table>
In the early 1930s, the influences of Surrealism were evident in Lam’s work, as was the influence of artists <a href="http://en.wikipedia.org/wiki/Matisse">Henri Matisse</a> and <a href="http://en.wikipedia.org/wiki/Picasso">Pablo Picasso</a>. Lam moved to Paris in 1938, where Picasso took Lam under his wing, introducing Lam to many of the leading artists of the time, such as Fernand Léger, Henri Matisse, Georges Braque and Joan Miró. Picasso encouraged Lam’s interest in African art and primitive masks, and Lam’s involvement with Santería, a religion rooted in African culture, would become integral to his work. During that year, Lam also traveled to Mexico, and stayed with artists Frida Kahlo and Diego Rivera. <br />
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By the late 1930s, Lam was associated with the Surrealists. Wifredo Lam had his first solo show at the Galerie Pierre Loeb in Paris in 1939, and Lam’s work was exhibited alongside Picasso’s at the Perls Galleries in New York.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-8UeftPntw6UMe9XgLqhNHcorP3EgFBfOgskIVtNbYkdz0hYWorZJUynl3HamMuL_vDtYiT5_5s_FsLxUwKcbJRCPVr7x_Grcl948kgcacEXk6clJ5F2u-8TAlTNjIJsiqFvLtfhcFWZU/s1600/jungle_large.jpg.scaled500%5B1%5D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-8UeftPntw6UMe9XgLqhNHcorP3EgFBfOgskIVtNbYkdz0hYWorZJUynl3HamMuL_vDtYiT5_5s_FsLxUwKcbJRCPVr7x_Grcl948kgcacEXk6clJ5F2u-8TAlTNjIJsiqFvLtfhcFWZU/s320/jungle_large.jpg.scaled500%5B1%5D.jpg" height="320" px="true" width="305" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Jungle, 1949</td></tr>
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During World War II, Lam spent most of his time in the Caribbean, along with Claude Lévi-Strauss, André Masson, and André Breton, whose poem “Fata Morgana” Lam illustrated in 1940. Lam eventually moved back to Havana in 1941. Lam’s first year in Cuba marked a pivotal point in Lam’s artistic development. In this year Lam was introduced to the theories of <a href="http://en.wikipedia.org/wiki/Carl_jung">Carl Jung</a>, and by the end of 1942 Lam began ‘The Jungle,’ one of Lam’s most powerful masterpieces. In “The Jungle” Lam’s exploration of mythic images paralleled that of the Abstract Expressionists. Lam created his own style by fusing <a href="http://en.wikipedia.org/wiki/Surrealism">Surrealism</a> and <a href="http://en.wikipedia.org/wiki/Cubism">Cubism</a> with the spirit and forms of the Caribbean, easily found in his graphic works. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiojksUD98Enia6qI4d-AbLU3SqZMjJTNgkWs3Q6RDWzZOjVLJ4wNe9c-8ISZrRN0dqfaKNn7GIisea62xUT9BOPt_ky0tNeJHSXIgBk3_okRZch5K_GT-98gcAwY8aviuanB_V1Ak5LWVc/s1600/LAM+1837.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiojksUD98Enia6qI4d-AbLU3SqZMjJTNgkWs3Q6RDWzZOjVLJ4wNe9c-8ISZrRN0dqfaKNn7GIisea62xUT9BOPt_ky0tNeJHSXIgBk3_okRZch5K_GT-98gcAwY8aviuanB_V1Ak5LWVc/s320/LAM+1837.jpg" height="320" px="true" width="238" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tree of Feathers, 1974</td></tr>
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Between 1942 and 1950, Wifredo Lam exhibited regularly at the Pierre Matisse Gallery in New York. In 1946, after a four-month stay in Haiti, Lam returned to France via New York. In 1960, Lam established a studio in Albisola Mare, on the Italian coast. The winter of that year Lam married Swedish painter Lou Laurin. Lam and Laurin would have three sons together. <br />
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In 1964, Wifredo Lam received the Guggenheim International Award, and in 1966–67 there were multiple retrospectives of Lam’s work at the Kunsthalle Basel; the Kestner-Gesellschaft, Hannover; the Stedelijk Museum, Amsterdam; the Moderna Museet, Stockholm; and the Palais des Beaux-Arts, Brussels. Wifredo Lam died September 11, 1982, in Paris.<br />
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<a href="http://www.denisbloch.com/showall.php?artist=Wifredo_Lam&id=32">See more works by Wifredo Lam.</a><br />
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Select Museum Collections:<br />
Museum of Modern Art, New York<br />
Guggenheim Museum, New York<br />
Tate Gallery, London<br />
Metropolitan Museum, New York<br />
Reina Sofia National Museum, Madrid<br />
Hirshhorn Museum and Sculpture Garden, Washington D.C.<br />
Art Institute of Chicago, Chicago<br />
Museo de Arte Moderno, Mexico City<br />
National Museum of Modern Art, Tokyo<br />
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Denis Bloch Fine Arthttp://www.blogger.com/profile/06132141931455877262noreply@blogger.com0tag:blogger.com,1999:blog-6970857924101518984.post-62003261921047862202010-09-11T11:32:00.000-07:002010-10-16T12:57:14.177-07:00Lithographic Vintage Posters<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/mat_pompadour_1951.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" ox="true" src="http://denisbloch.com/pics/mat_pompadour_1951.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Henri Matisse "Madame de Pompadour" 1951</td></tr>
</tbody></table><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><a href="http://www.denisbloch.com/vintage_posters.php">Vintage poster collecting</a> became fashionable at the turn of the 19th Century. Vintage posters were a vibrant and expressive form of advertising meant to attract the throngs of everyday consumers in cities both large and small. These vintage posters had to be visually striking and immediately convey their message in order to entice the viewer. Vintage posters were typically placed at street (eye) level, and often these vintage posters were positioned in prominent areas such as gallery windows, railway stations, street kiosks, or on the sides of buildings where the vintage posters could be easily seen. </div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
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<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/pic_gal_beyeler_bale.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" ox="true" src="http://denisbloch.com/pics/pic_gal_beyeler_bale.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pablo Picasso "Galerie Beyeler" 1967<br />
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</tbody></table><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">As vintage poster collecting grew more popular, vintage posters were burglarized from billboards at an alarming rate, and it became increasingly difficult for advertisers to keep their vintage posters on the streets. As a solution to the problem, vintage poster lithography workshops increased production and began selling the vintage posters to the public.</div><br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/chabaiedesanges.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" ox="true" src="http://denisbloch.com/pics/chabaiedesanges.jpg" width="199" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Marc Chagall "Le Baie des Anges" 1962</td></tr>
</tbody></table>These collectable vintage posters were created in lithography print workshops (also known as ateliers) that specialized in the print medium of Lithography. The <a href="http://en.wikipedia.org/wiki/Mourlot_Studios">Atelier Mourlot</a>, founded in 1852, was a lithography print studio located in Paris that produced a number of vintage posters. Originally a printer of fine wallpaper, the Atelier Mourlot became involved in the printing of illustrated books as well as high quality vintage posters for the French National Museums and major foreign institutions. By 1937 the Mourlot lithography studio had established a reputation as the largest print workshop of vintage posters by master artists.<br />
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</div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/mir__galerie_maeght_1948.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" ox="true" src="http://denisbloch.com/pics/mir__galerie_maeght_1948.jpg" width="249" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Joan Miro "Galerie Maeght" 1948</td></tr>
</tbody></table><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">The Atelier Mourlot lithography studio was generationally operated by the sons of founder Francois Mourlot. The Atelier Mourlot took a modern artistic turn when Fernand Mourlot invited the master artists of the time into the Mourlot lithography studios to learn the technique of lithography. The Atelier Mourlot lithography studio played host to many major 20th century master artists including: Picasso, Matisse, Braque, Miro, Chagall, Leger, Dubuffet, Moore, Le Corbusier, Calder, Kelly, Rauschenberg, Matta, Bacon, Ernst, Lichtenstein, and many more.</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
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<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/chagall_the_magic_flute.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" ox="true" src="http://denisbloch.com/pics/chagall_the_magic_flute.jpg" width="210" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Marc Chagall "The Magic Flute" 1967</td></tr>
</tbody></table><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Mourlot encouraged these master artists to work directly on the lithography stones or plates to create original vintage posters which would then be printed in small editions. The results of this artistic print collaboration between master artists and Mourlot were technically inventive, visually captivating and opened a unique realm of creative expression known as Fine Art lithography. Mourlot was proud of these vintage posters which bore the Mourlot family name and they became known worldwide for their originality, beauty and craftsmanship. </div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
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</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Original vintage posters by master artists of the 20th Century, have come to be recognized as a highly collectible form of art, whether for pleasure or for investment purposes. World-renowned museums exhibit vintage posters and many have permanent collections of vintage posters. Magnificent examples of such vintage poster collections can be found at the Louvre, Metropolitan Museum of Art, Museum of Modern, and the Library of Congress in Washington, D.C. </div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/corbu_tap_recentes_demeure.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" ox="true" src="http://denisbloch.com/pics/corbu_tap_recentes_demeure.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Le Corbusier "Tapisseries Recents" 1960</td></tr>
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</div>Denis Bloch Fine Arthttp://www.blogger.com/profile/06132141931455877262noreply@blogger.com0tag:blogger.com,1999:blog-6970857924101518984.post-5053058190903913162010-08-19T15:49:00.000-07:002010-10-16T13:06:14.543-07:00Henri Matisse Biography<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/mat_odal_coffret.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="312" ox="true" src="http://denisbloch.com/pics/mat_odal_coffret.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Odalisque au Coffret Rouge,1952<br />
Aquatint</td></tr>
</tbody></table>“What I dream of is an art of balance, purity and serenity devoid of troubling or disturbing subject matter…like a comforting influence, a mental balm—something like a good armchair in which one rests from physical fatigue.” <br />
– Henri Matisse<br />
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<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7TySsBeUdTuh5XrtrJ1veb2stMlr0akz-CtBwvU2iaD6MojFwe7Zw9Cgf8Lpy5IjdDRmfJdGp-DSByuGQKo7x_3p9SHv77pcEMmTjQQ5QulmtFlscsY1HIiKqJkp3kq1wGjM6wKj8mPDh/s1600/matisse-photo%5B1%5D.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7TySsBeUdTuh5XrtrJ1veb2stMlr0akz-CtBwvU2iaD6MojFwe7Zw9Cgf8Lpy5IjdDRmfJdGp-DSByuGQKo7x_3p9SHv77pcEMmTjQQ5QulmtFlscsY1HIiKqJkp3kq1wGjM6wKj8mPDh/s200/matisse-photo%5B1%5D.jpg" width="156" /></a><a href="http://en.wikipedia.org/wiki/Matisse">Henri Matisse</a> was born in Le Cateau-Cambrésis in northern France. Matisse first began painting in 1889, when Matisse’s mother gave him art supplies during a period of convalescence following an attack of appendicitis. Henri Matisse discovered “a kind of paradise” in painting, and Matisse abandoned his legal career, to the deep disappointment of Matisse’s father.</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">In 1891 Henri Matisse moved to Paris to study art at the Acadamie Julian. It was here that Henri Matisse achieved proficiency in academic painting in the classic reserved style. In 1897, Henri Matisse was exposed to the artwork of <a href="http://en.wikipedia.org/wiki/Van_Gogh">Van Gogh</a> and the palette of the Impressionists, which deeply changed Matisse’s understanding of color. Henri Matisse was greatly influenced by Neo-Impressionist artists: <a href="http://en.wikipedia.org/wiki/%C3%89douard_Manet">Eduard Manet</a>, <a href="http://en.wikipedia.org/wiki/Auguste_Rodin">Auguste Rodin</a>, <a href="http://en.wikipedia.org/wiki/Paul_C%C3%A9zanne">Cezanne</a>, <a href="http://en.wikipedia.org/wiki/Paul_Signac">Paul Signac</a> and <a href="http://en.wikipedia.org/wiki/Paul_Gauguin">Gauguin</a>. </div><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilCunEba0KOmNSVLecHrmikFYS4_BrCCzLiowgNbUoZuTDfj7gJ4vZiUzLd85AvcpbG6NvKpTFS_JPn-jGqQfMecmOZ5Ps6S5zAjaHtPMfxwStQ6DcM0pQ0mjBvzXzptXM1x2oCqExbaNy/s1600/422px-Matisse-Woman-with-a-Hat%5B1%5D.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilCunEba0KOmNSVLecHrmikFYS4_BrCCzLiowgNbUoZuTDfj7gJ4vZiUzLd85AvcpbG6NvKpTFS_JPn-jGqQfMecmOZ5Ps6S5zAjaHtPMfxwStQ6DcM0pQ0mjBvzXzptXM1x2oCqExbaNy/s200/422px-Matisse-Woman-with-a-Hat%5B1%5D.jpg" width="141" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Woman with a Hat, 1905<br />
Oil on canvas</td></tr>
</tbody></table>Henri Matisse had his first solo show at art dealer <a href="http://en.wikipedia.org/wiki/Ambroise_Vollard">Ambroise Vollard’s</a> gallery in 1904. At the 1905 Salon d’Automne, Henri Matisse and artists Andre Derain, Maurice de Vlaminck and Albert Marquet, exhibited together. Henri Matisse and his colleagues’ intensely vibrant, spontaneously painted works were jeered by the public, who deemed them exceedingly primitive, brutal and violent. The group of artists was dubbed <a href="http://en.wikipedia.org/wiki/Fauvism">“Les Fauves”</a> (the wild beasts) by art critic Louis Vauxcelles. Other Fauvist included: <a href="http://www.denisbloch.com/showall.php?artist=Georges_Braque&id=4">Georges Braque</a>, Raoul Dufy, and Maurice de Vlaminck. Matisse’s painting from the exhibition “Woman with a Hat” was bought by <a href="http://en.wikipedia.org/wiki/Gertrude_Stein">Gertrude Stein</a>, who would become an important collector and supporter of Matisse.<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/mat__le_buffet.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="243" ox="true" src="http://denisbloch.com/pics/mat__le_buffet.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Le Buffet, 1929<br />
Pochoir </td></tr>
</tbody></table>Gertrude Stein and her brother Leo were avid patrons of Matisse’s work and through Stein’s salons Henri Matisse was introduced to other important collectors as well as artists. In 1907 <a href="http://www.denisbloch.com/showall.php?artist=Pablo_Picasso&id=2">Pablo Picasso</a> and Henri Matisse met at one of Stein’s salons. This was the beginning of a creative association and rivalry between Picasso and Matisse. “No one has ever looked at Matisse's painting more carefully than I; and no one has looked at mine more carefully than Matisse.” stated Pablo Picasso. <br />
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After World War I, Henri Matisse had gained a high reputation and Matisse was awarded the French Legion of Honor in 1925. Henri Matisse was an internationally recognized artist by 1930. During the 1940s Henri Matisse also worked in the <a href="http://en.wikipedia.org/wiki/Mourlot_Studios">Mourlot Studio</a> in Paris, creating black-and-white prints for several illustrated books and over one hundred <a href="http://denisbloch.blogspot.com/2010_04_01_archive.html">original lithographs, woodcuts, linocuts, and etchings</a>. <br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/mat__decoupage.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" ox="true" src="http://denisbloch.com/pics/mat__decoupage.jpg" width="239" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Decoupage, 1954<br />
Lithograph</td></tr>
</tbody></table>In 1941 Henri Matisse had two major operations for duodenal cancer which had a devastating effect on Matisse’s health and ability to paint. The surgeries left Matisse unable to stand upright in front of an easel, and Henri Matisse was confined to either a bed or a wheelchair. Undaunted by this immobility, Matisse would tape a piece of charcoal to a long stick and Matisse would draw on mounted paper or directly on the walls or ceilings. Henri Matisse discovered a new kind of artistic creativity with papiers découpés, abstract shapes cut from colored paper. “The paper cut out” Matisse said “allows me to draw in the color. It is a simplification for me. Instead of drawing the outline and putting the color inside it—the one modifying the other—I draw straight into the color”. These artworks rank as some of the most joyous artworks ever created by an artist at an advanced age and Henri Matisse continued creating paper cutout works until his death. In 1947 Henri Matisse published Jazz, a limited-edition illustrated book containing original prints (lithographs, etchings and woodcuts) of colorful, paper cut collages.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://denisbloch.com/pics/mat__odalisque_sur_fond_rouge.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="278" ox="true" src="http://denisbloch.com/pics/mat__odalisque_sur_fond_rouge.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Odalisque Sur Fond Rouge, 1929<br />
Pochoir</td></tr>
</tbody></table><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Henri Matisse died on November 3, 1954 in Nice as an innovative artist who explored color and form through his paintings, lithographs, etchings, linocuts, illustrated books, sculpture and stain glass windows. Pablo Picasso once said about Matisse: "All things considered, there is only Matisse". </div>Denis Bloch Fine Arthttp://www.blogger.com/profile/06132141931455877262noreply@blogger.com0tag:blogger.com,1999:blog-6970857924101518984.post-51691452066668810432010-08-05T10:52:00.000-07:002010-10-16T13:06:14.545-07:00Picasso's Ceramics<div class="separator" style="clear: both; text-align: center;"><a href="http://denisbloch.com/pics/pic__chouette_mate.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" bx="true" height="320" src="http://denisbloch.com/pics/pic__chouette_mate.jpg" width="215" /></a></div>Pablo Picasso is considered an artistic master, partly because Picasso’s oeuvre extends far beyond traditional painting methods, and encompasses all artistic mediums including: lithography, etching, linocuts, and even pottery. Picasso gleaned a particular joy in creating ceramics, as evidenced by Picasso’s thousands of ceramic objects including: wittily decorated <a href="http://www.denisbloch.com/ceramics_artist.php?cat=Ceramics&name=Pablo_Picasso&medium_id=36&aid=2">terra cotta plates, <span id="goog_1000876586"></span>charming ceramic figures<span id="goog_1000876587"></span>, earthenware pitchers, clay masks, glazed plaques and hand-painted tiles</a>, all created with Picasso’s child-like whimsy. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://denisbloch.com/pics/picassoceramic_2.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" bx="true" height="200" src="http://denisbloch.com/pics/picassoceramic_2.jpg" width="198" /></a></div>By the late 1940's, Picasso was withdrawing from the pressures of Paris and spending more and more time at the Picasso home Galloise, a villa above the town of <a href="http://en.wikipedia.org/wiki/Vallauris">Vallauris in the south of France</a>. The town of Vallauris had been blessed with ground that yielded excellent clay, and Vallauris had been an important ceramics-producing center from Roman times to the 1920's. In 1946 Picasso was invited by George and Suzanne Ramie to visit the Madoura pottery factory, and in 1947 Picasso began to create his own ceramics at Madoura. Between 1947-1971 Pablo Picasso created more than 3,000 ceramic objects at the Madoura pottery factory, including: ceramic plates, ceramic pitchers, hand-painted ceramic tiles, enamel glazed ashtrays, ceramic vases, and ceramic plaques. <a href="http://www.denisbloch.com/object.php?name=Pablo_Picasso&title=Affiche_Vallauris_(Deuxieme)&cat=Vintage_Posters&type_id=2&medium_id=10&artist_id=2&object_id=330">For a decade Picasso would also produced linoleum-cut posters for Vallauris’ small summer Ceramics Festival</a>. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://denisbloch.com/pics/pic__sujet_poisson.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" bx="true" height="198" src="http://denisbloch.com/pics/pic__sujet_poisson.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="http://denisbloch.com/pics/pic__petit_soleil.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" bx="true" height="128" src="http://denisbloch.com/pics/pic__petit_soleil.jpg" width="200" /></a></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">While working in the ceramic medium, Picasso would deliberately mismatch or reposition handles or spouts in order to ingeniously create facial or anatomical features on the ceramic objects. Picasso would pick up discarded scraps of unfired clay to create seated or standing female figures, reiterating Picasso’s reflexive obsession with the female form. When is a vessel just a vessel for Picasso? Almost never. Along with Suzanne Ramie's technical tips, Picasso used unconventional tools for surface patterning such as kitchen knives or perforated cooking utensils. <a href="http://www.denisbloch.com/ceramics_artist.php?cat=Ceramics&name=Pablo_Picasso&medium_id=36&aid=2">The dominant themes of Picasso’s ceramics became: the face; still lifes, bucolic scenes evoking a mythical Mediterranean past, bullfights, and animals like birds and fish</a>. In short, many of Picasso’s life-long interests conveniently found new expression in the ceramic medium. </div><br />
<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKsRPATAWYsFK2ujIWOkeH2twayCv3iPKkDDrRA8YlFjSA-6PtggP4Sqab2tEJjNU8JN29gfX0Lj4t7T3s80a8d6dY4wvrtn_oktxuLR2qvMdZ9h2yk5ibK9srYakuoujs7733rnbzVD3K/s1600/pablo-picasso-artwork-large-65141%5B1%5D.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" bx="true" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKsRPATAWYsFK2ujIWOkeH2twayCv3iPKkDDrRA8YlFjSA-6PtggP4Sqab2tEJjNU8JN29gfX0Lj4t7T3s80a8d6dY4wvrtn_oktxuLR2qvMdZ9h2yk5ibK9srYakuoujs7733rnbzVD3K/s320/pablo-picasso-artwork-large-65141%5B1%5D.jpg" width="320" /></a></div>Denis Bloch Fine Arthttp://www.blogger.com/profile/06132141931455877262noreply@blogger.com0