Australian Aboriginal Art Makinti Napanangka

Makinti Napanangka (c. 1930 – 9 January 2011) was a Pintupi-speaking Indigenous Australian artist from Australia's Western Desert region. She was referred to posthumously as Kumentje.The term Kumentje was used instead of her personal name as it is customary among many indigenous communities not to refer to the deceased by their original given name for some time after their death. She lived in the communities of Haasts Bluff, Papunya, and later at Kintore, about 50 kilometres (31 mi) north-east of the Lake MacDonald region where she was born, on the border of the Northern Territory and Western Australia.
Makinti Napanangka began painting Contemporary Indigenous Australian art at Kintore in the mid-1990s, encouraged by a community art project. Interest in her work developed quickly, and she is now represented in most significant Australian public art galleries, including the National Gallery of Australia. A finalist in the 2003 Clemenger Contemporary Art Award, Makinti won the National Aboriginal & Torres Strait Islander Art Award in 2008. Her work was shown in the major indigenous art exhibition Papunya Tula: Genesis and Genius, at the Art Gallery of New South Wales.






 Working in synthetic polymer on linen or canvas, Makinti's paintings primarily take as their subjects a rockhole site, Lupul, and an indigenous story (or "dreaming") about two sisters, known as Kungka Kutjarra. She was a member of the Papunya Tula Artists Cooperative, but her work has been described as more spontaneous than that of her fellow Papunya Tula artists.
Makinti's works, including her Clemenger Award and NATSIAA paintings, are created with synthetic polymer on linen or canvas.
Many paintings by artists of the Western Desert relate to water, while the story (or "dreaming") most frequently portrayed by Western Desert women is Kungka Kutjarra, or Two Women, concerning the travel of two sisters.Makinti's works reflect those themes, and are particularly associated with a rockhole site, Lupul, and with Kungka Kutjarra. Her untitled painting in the Genesis and Genius exhibition was based on Kungka Kutjarra, while the painting that won the 2008 Telstra award related to Lupul. The iconography of her paintings includes the use of lines representing paths and ceremonial hair-string skirts, and circles representing water-holes.






According to Art Gallery of New South Wales indigenous art curator and NATSIAA judge Hetti Perkins, Makinti and her work are "very dynamic and charismatic". Although a member of the Papunya Tula Artists, Makinti's work has been described as taking "a more spontaneous approach in illustrating the traditional iconography than that done by previous artists painting at Papunya".Her style evolved over time, beginning with gestural brush strokes in ordered compositions, and developing into more closely interwoven representations of the hair-string skirts and designs reflecting those used in body painting. Throughout this evolution, her colour palette has consistently included a subtle range of yellows and pinks, through to oranges and whites.
Judith Ryan, senior curator at the National Gallery of Victoria, described Makinti's entry in the 2003 Clemenger Contemporary Art Award as:
    concerned with touching and sensing with fingers, rather than purely visual. The repetition of colour chords and textured striations, which closely echo each other, has a rhapsodic effect akin to many bodies in dance and reveals the inner or spiritual power, the essence, of Makinti Napanangka's country and cultural identity. The energetic lines invoke body paint for women’s business, and more particularly represent spun hair-string, which is used to make belts worn by women during ceremonies associated with the rockhole site of Lupulnga, a Peewee Dreaming place.
Reviewing the same exhibition, Robert Nelson described Makinti's work as "sensual and chromatically effusive painting".The work of the "Kintore ladies" has created "some of the most richly textured surfaces in the history of the (Papunya Tula) company";Makinti's painting for Genesis and Genius was hailed as "a painterly celebration of colour and form"Wikipedia





Romana Hałat

Romana Hałat, also Roma Hałat (born January 3, 1937 in Bydgoszcz, May 27, 2012 in Lodz) - Polish contemporary painter, long-time lecturer at the Academy of Fine Arts in. On Strzemiński in Łódź.









Lyrical abstraction Gary Hudson

Gary Hudson 1936-2009
"Gary Hudson, Artist-Painter Born, 1936 Auburn, New York Master of Fine Arts, Yale School of Art and Architecture, 1966.
Gary Hudson is best known as a "Lyrical Abstractionist". His work is on collections at the Whitney Museum of American Art, New York, NY and San Diego Museum of Art, San Diego, CA, The Georgia Museum, Athens, GA among many others. He exhibited in group exhibits along side artists such as Franz Kline, Robert Motherwell, Al Held... Gary Hudson was also a visiting artist and instructor at many respected school in the USA and abroad... from Yale, University of California, Pratt to Victoria and Albert College of Art in Melbourne Australia."(garyhudsonartist.com)











Abstract sculptore Dorothy Gillespie

Dorothy Gillespie (June 29, 1920–September 30, 2012) was an American artist and sculptor who became known for her large and colorful abstract metal sculptures. Her works are featured at her alma mater (Radford University) in Virginia, where later returned to teach, as well as in New York (where she was artist in residence for the feminist Women's Interart Center),Wilmington, North Carolina and Florida.
On June 5, 1943, aged 23, Gillespie moved to New York City. There she took a job at the B. Altman department store as assistant art director. She also joined the Art Students League where she was exposed to new ideas about techniques, materials, and marketing. She also created works at Atelier 17 printmaking studio, where Stanley William Hayter encouraged to experiment with her own ideas.
She and her husband, Bernard Israel, opened a restaurant and night club in Greenwich Village to support their family. She returned to making art in 1957, and worked at art full-time after they sold the nightclub in the 1970.






 In 1977 Gillespie gave her first lecture series at the New School for Social Research, and she would give others there until 1982. She taught at her alma mater as a Visiting Artist (1981-1983) and gave Radford University some of her work to begin its permanent art collection. Gillespie then served as Woodrow Wilson visiting Fellow (1985-1994), visiting many small private colleges to give public lectures and teach young artists. She returned to Radnor University to teach as Distinguished Professor of Art (1997-99). She also hosted a roadio program, the "Dorothy Gillespie Show" on Radio Station WHBI in New York from 1967-1973.
Gillespie also maintained a studio in Florida and served on the Board of Trustees of the Maitland Art Center in Maitland, Florida (1996-1999) and on the Broward County Cultural Affairs Council (1993-1994).






 Gillespie began moving away from realism and into the abstraction that marked her career. Gillespie returned to New York City in 1963 to continue her career. She maintained a studio through the 70s and advocat worked towards feminist goals in the art industry, picketing the Whitney Museum, helping to organize the Women's Interart Center, curating exhibitions of women's art, and writing articles raising awareness of her cause.
By the 1980s, Gillespie's work had come to be known internationally. She completed many commissions for sculptures in public places, including the Lincoln Center and Epcot Center in Orlando, Florida.
Her work is unique in its use of ribbon-like shape and use of bright colors. Her sculptures are crafted out of aluminum covered in enamel. Her “Colorfall,” is a 40-foot tall sculpture hanging in the lobby of Wilmington's Thalian Hall Center for the Performing Arts.Wikipedia





Images - Mila Smagliy








Bram Bogart - Avant-garde visual art

Bram Bogart (July 12, 1921 – May 2, 2012) was a Dutch born Belgian expressionist painter most closely associated with the COBRA group.Abraham van den Boogaart was born in Delft, the Netherlands, the son of Abraham van den Boogaart, a blacksmith. He attended a technical school, and trained for a career as a decorator, while taking a correspondence class in drawingFollowing his education Bogart took a job with an advertising concern in Rotterdam. Subsequent to World War Two the then twenty-five-year-old painter settled in Paris, France where he was among the founders of Art Informel. At first he experimented with cubism and figurative drawing, depicting flowers, still life and self-portraits. In the 1950s he began to concentrate on working with impasto. With thick layers of boldly applied and colourful paint, he developed an expressionist style which became more abstract with time.
In 1961 he and his later to be wife Leni permanently relocated to Belgium and in 1969 he became a Belgian citizen. Here he began to experiment with a more three-dimensional medium, a mix of mortar, siccative, powdered chalk, varnish, and raw pigment, applied to large, heavy wooden backing structures.Wikipedia








 "Bogart got on with Appel and his Cobra associates but fell out with the Dutch cultural establishment over what he perceived as its obsession with Cobra at the expense of any other style. It may not have been coincidence that in 1960 he moved to Belgium, first to Brussels, then for the rest of his life to Ohain, in the province of Walloon Brabant. He took Belgian citizenship in 1969.
During these years, he laid on pigment and cement mixture so thickly that he had to arrange for metal stretchers to bear the weight of his work. Bogart's art entered collections all over Europe and he had shows at galleries including the Boijmans Van Beuningen in Rotterdam, the Guggenheim in New York and the Louvre and Pompidou Centre in Paris.No public gallery in Britain picked up on him but there were several exhibitions in London over the years, culminating in two shows at Bernard Jacobson in Mayfair, in 2007 and 2009, showing late paintings of great beauty. The early drawing lessons paid off too. At the end of his life he was said to be still able, like Giotto, to draw a perfect circle, freehand."(theguardian.com)







André Cottavoz

André Cottavoz (French, 1922–2012)
"André Cottavoz was born on July 22nd, 1922, in Saint Marcellin in Isère, first child of the young Marguerite (she is hardly 18 years old then) and of her husband Paul Cottavoz. André, called « Doudou » by his grandmother (nickname that he will assume all his life) expresses his passion for painting as soon as he is a teenager. Indeed, he is 14 when his mother surprises him copying a landscape from the « Illustration » gazette. Practicing herself watercolour, she encourages him in this way, buys colors to him and takes him to paint in the nature with her.She gives him a precious advice which he will never forget : « Paint what you like, a bridge, a tree, a reflection on the water and forget the rest. » He also benefits from Michel Gaudet’s advice, a friend of Renoir living in the area, and regularly works « sur le motif » (from nature) with him, to the great displeasure of his father opposed to a future career as an artist.





 At the age of 18, against the advice of his father, but supported by his mother, he enrolled at The Fine Arts School in Lyon to continue his learning. But he is quickly disappointed with academic teaching and frustrated by some « worthy teachers » (it is forbidden to pronounce the name of Cézanne), he does not understand why before painting a nude, he should first have drawn its skeleton, and is excluded from a workshop on the day he arrives, exhibiting a reproduction of Van Gogh in whom he recognizes a Master. His regular attendance is nevertheless rewarded with a mention « for the amount of work performed » !
In 1942, he is obliged to spend two years in the “STO” (forced labour services) in Austria. There, he carried on painting and drawing. He met a talented young artist, the humorist Paul Philibert Charrin. This latter straight away recognizes him as a master and dedicates him an admiration that, according to Frédéric Dard, will become detrimental to his own career. They organize exhibitions of their works together. These pieces unfortunately will be destroyed or lost because of the war.





 When he comes back from “STO”, he cumulates studies, drawings and paintings. He knows that he cannot escape from his destiny : he is a painter. However without resources, living by his own wits (but always supported by his mother), he « goes up » to Paris to follow the courses of Paris’ Art School, in order to obtain a diploma and a vacation as a drawing teacher. His passionate temperament, on top of his way of conceiving pictorial art closer to the emotion, does not match with the academic requirements of the school, and he does not obtain the diploma which could have ensured him a regular income. At the same time, he attends the courses of the « Grande Chaumière », where he is reproached to do his own « Cottavoz way ».
In 1946, he exhibits a sight of Paris at the « salon of the young painting », La place d’Ivry which will make him recognized as a rather wellknown figurative painter in the line of Bonnard.
The same year, is held the first salon of non-figuration painting called « les Réalités Nouvelles ». At that time, being qualified of « Bonnardish » painter, is a true disavowal, because times are not ideal for figurative painting. However, faithful to himself, Cottavoz refuses any fashion influences or labels and is more than ever obstinate by his own way of painting, as close as possible to “his own emotion”, will he entrust to Jacques Zeitoun later on.





 In 1950, André Cottavoz obtains a price at the Biennale of Menton. Therefrom in 1952, he presents his paintings at the “Art Vivant” gallery, boulevard Raspail in Paris, and becomes friend with Raymond Cogniat and Georges Besson, respectively director of “Art” newspaper, and art critic for several other papers. At last, in 1953, he receives the first price at « Fénéon reward » which reveals him to the general public and contributes to his fame abroad, particularly in the United States and Japan for his engraved work. His relations with painters such as Garbell, Lanskoy, Saboureau and Tereskovitch make easier his introduction in the circle of the Parisian Art galleries. He then signs up his first contract with the gallery of « Art Vivant », ardently supported by the unfailing Jacques Zeitoun, Art director.From 1962, a turning point occurs in his life. Further to a conjugal disagreement, he leaves Ste Foy-les-Lyon. He settles down in his own artist studio at Sicard street in Vallauris. Leaving Lyon also means that he has to leave the artists’ circle of his friends and amateurs, but it also signifies that he is extracted from competitions in between artists worried to get a place in the world of Art. A necessary insulation for his way of conceiving painting will follow that period, when the Abstract Art has the favour of the media, galleries and art amateurs.





 In 1990, André meets Hélène, his third wife who shares his life in his Vallauris’ house, until the painter’s death on July 8, 2012. She accompanies him to Japan, Bali, Morocco, Hong Kong, etc… as many sites which renew, not only his inspiration, but also a kind of liberation of the tension, to finally succeed in a pictorial apotheosis, synthesizing his accurate look, linked with the emotion and power of the gesture.
At last, it should be noted that in 2005, the municipality offered to the painter (discreet citizen of Vallauris for nearly 50 years), already rewarded by the Knight of Arts and Letters Academy and internationally recognized, a major retrospective of his entire work at the Magnelli Museum of the city."(andre.cottavoz.com)