Exposition Art Blog

Dennis Creffield - Artworks


Dennis Creffield (1931 –2018) was a British artist with work owned by major British and worldwide art collections, including the Tate Gallery, The British Museum, Arts Council of England, the Government Art Collection, The Los Angeles County Museum of Art, Leeds City Art Gallery, University of Leeds collection, Williams College Museum of Art, University of Brighton collection, Swindon Art Gallery collection and others.
In 1985, Creffield was commissioned by the Arts Council to draw every cathedral in England, a task undertaken by living in a camper van for two years. This resulted in the exhibition 'English Cathedrals' at the Hayward Gallery, London, which subsequently toured Britain (1988–1990),and a related book written by Creffield. Six of these drawings, including 'Peterborough: Approaching the West Front' and several views of Canterbury Cathedral were acquired by the Tate Gallery in 1990. A very positive review by the distinguished writer on art, Peter Fuller, of a touring exhibition of Creffield's drawings of English cathedrals appeared in the first issue of the journal, Modern Painters (then edited by Fuller, its founder), together with an essay by Roy Oxlade on their teacher, David Bomberg.
After the cathedrals of England, further series of drawings were commissioned, including the cathedrals of northern France, shown at the Albemarle Gallery in London in 1991. In 2005, Flowers Gallery, London, staged a major retrospective exhibition and published a catalogue including a foreword by novelist Howard Jacobson and a conversation between Dennis & Professor Lynda Morris. Creffield's importance as a contemporary draughtsman was also recognised in 2008 when he was included in the exhibition 'Drawn from the Collection, 400 Years of British Drawing' at Tate Britain.Wikipedia



















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Francesco Somaini


Francesco Somaini ( 1926  –  2005 ) was an Italian sculptor. Francesco Somaini was born in Lomazzo (Como) on 6 August 1926. He attended Giacomo Manzù's courses at the Academy of Fine Arts of Brera and debuted in 1948 at the National Exhibition of Figurative Arts, promoted by the Quadrennial of Rome. He graduated in law at the Pavia University in 1949. And in 1950, he took part in the Venice Biennale for the first time. After a period of reflection upon the experiences of the international contemporary sculpture, he became interested in abstractionism and, in the mid-1950s, achieved an autonomy of language with sculptures realized in "ferric conglomerate" (Canto Aperto, Forza del nascere), art work that marked his entrance in the Concrete Art Movement (MAC) and preluded the great informal period. He imposed himself upon critics' attention in 1956, thanks to his participation in the XXVIII Biennale of Venice. He reached success at a worldwide level in 1959 with the exhibition hall at the V Biennale of San Paolo of Brazil, where he gained the first international prize for sculpture: this international recognition allowed him to access the United States art market. In the 1960 he was invited to set up his own exhibition hall at the XXX Venice Biennale. In the following year, he participated in the Deuxième Biennale of Paris, where he was awarded the first prize of the French Art Criticism. During this period, his sculptures met the favor of critics like Giulio Carlo Argan and Michel Tapié. Being interested in experimenting with different materials, he cast his works also in iron, lead and pewter, attacking them with the blowtorch, and finally polishing their concave parts in order to accentuate their expressive drive. This was the time of Martirii and Feriti, presented in the various personal exhibitions set up at the National Gallery of Turin, at the Italian Cultural Institute of New York, at the Blu Gallery of Rome and in all the most important international collective exhibitions of sculpture.
From the mid-1980s onward, Somaini came back again to the execution of large scale works in Italy and Japan, where the dialectics of the mark brought the sculptor to deal with positive/negative shapes, as in Europe’s Gate, Como, 1995. This activity went on in successive works of great commitment like Fortunia (1988), in a series of Lotte con il serpente characterized by an organic nature overbearingly lively, as in Fortunia Vincitrice (2000). Some of the above-mentioned works were presented in the anthological exhibition set up in the Brera Palace of Milan in 1997, in the Quadrennial of Rome of 1999, in the Carrara Biennales of 1998 and 2000 and in the anthological exhibition at the Pergine Castle (Trento) in 2000. Wikipedia




















Susan Willemse


Susan Willemse  -  Australia.
"Prices for images on my website,I am happy to provide exchange rates if requested, all my artwork includes shipping, packing and warranty to any destination world wide unless otherwise stated on my website and details about the images can be found there too."
Details required for posting:

Artist name: Susan Willemse
Australian birds Art Gallery, Canberra
Email:
s_willemse@yahoo.com



Spinebill on Kangaroo Paw 20“x 16” 2018

Peacock 24“x 24” 2018

“Hope” Rainbow Lorikeet 18”x 14” 2017

Green Catbird 16“x 12” 2019



Hillary Lusanji


Drawing






André Thomkins - European Abstract Art


André Thomkins (1930 - 1985) was a Swiss painter, illustrator, and poet.
"André Thomkins belongs to the most versatile Swiss artists of the 20th century. One of his most self-willed inventions is the Lackskins: A way of painting with liquid paint on water.
André Thomkins (1930-1985) is known as a superb draughtsman and word artist. Like no other he mastered all the classical image media. At the same time, however, he also experimented with different techniques and materials. In the middle 1950s, for example, he developed his Lackskins, in which he painted and drew on water with lacquer paint, and created pictures of enormous imaginative impact. The lacquer falls as drops or runs in a string onto the water and forms a skin, which continuously changes and at the same time can be manipulated. At a certain point Thomkins fixed the movement by lifting off the floating image onto a piece of paper. In this way the Lackskins offer themselves to both chance and artistic exploration. They require patience and willingness on the part of both the artist and the viewer, to take in the play of forms created by the paint and to discover the rich world of images therein.
With his Lackskins André Thomkins drew on old techniques such as the manufacture of marble paper and then expanded on these. During the heyday of abstract painting he concurrently found his own way and created links to the discussions among the artistic avant-garde of his time. For the first time ever, this magnificent body of work is shown in a comprehensive way in an exhibition. It reveals the surprisingly numerous facets of André Thomkins’ art and opens up a new approach to this fascinating œuvre. “Seen geographically”, said André Thomkins, “Lackskin floats just off the land of milk and honey…”(buendner-kunstmuseum.ch)

















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