Ukrainian contemporary artist living in Belgrade
Painting is like silent poem, said Simonides, poet from ancient Greece.Paintings are icons, doors to the Platonian world above the heavens. Paintings on my blog are just those icons, which lead a viewer into the magic world of harmony and beauty. Artists who present their achievements on my blog have a very different cultural and national background, they represent variety of artistic traditions and schools
Showing posts with label European paintings. Show all posts
Showing posts with label European paintings. Show all posts
Marcial Gomez Parejo - Magical Realism
Marcial Gomez Parejo (1930 - 2012) was an Andalusian painter and illustrator known for his imaginative work and magical realism
In his artistics beginnings, between 1949 and 1953, he was influenced by the American comic artist Alex Raymond, creator of Flash Gordon. The panel, he said, began his connection with artistic expression.In the 1960s he began working for the textile industry in Barcelona, where he created series of gouache with influences of geometric constructivism, with plant motifs and other ornamental arts of Northern Europe and the Soviet Union, places he visited in this decade.From the 1970s left the world of stamping and started a figurative oil painting with surrealist infiltrations in dialogue with a type of very personal magic realism and began to exhibit at various galleries.Wikipedia
In his artistics beginnings, between 1949 and 1953, he was influenced by the American comic artist Alex Raymond, creator of Flash Gordon. The panel, he said, began his connection with artistic expression.In the 1960s he began working for the textile industry in Barcelona, where he created series of gouache with influences of geometric constructivism, with plant motifs and other ornamental arts of Northern Europe and the Soviet Union, places he visited in this decade.From the 1970s left the world of stamping and started a figurative oil painting with surrealist infiltrations in dialogue with a type of very personal magic realism and began to exhibit at various galleries.Wikipedia
Ian Stephenson
Ian Stephenson (1934 – 2000) was an English abstract artist.
Stephenson trained at King's College, Durham along with Noel Forster and had his first solo show in London at the New Vision Centre in 1958. An exhibition of his work was exhibited at the Hayward Gallery in 1977 and his work can be found in the collections of the Tate, the British Council and Whitworth Art Gallery. His work was also featured in the 1966 film, Blow-Up by Michelangelo Antonioni.
Stephenson's work was characteristically made by splattering droplets of paint onto paper or canvas and repeating this with many different colours. Because the layers are applied quite widely the effect created in the finished paintings is determined not only by the colour and quantity of the spots of paint, but by the order in which they were applied.
"I love the tradition of an albion art and really my paintings have more to do with Constable’s snow than Tobey’s white writing. I have always known how I was to make pictures and speculations about the nature of painting stem from the style. The practice of painting is a defined discipline and desirably difficult.
Annealing and concealing colour. All of painting is camouflage, not least of all by means of subject matter whatever the sentiment. It is within the freaked skin of camouflage that the art resides. To be blessed with the contradictory nature of things. If there is no alternative to the way things are, then the picture must be more and more of what it is. Neural and neutral, the greyness scintillates. Overlapping and obliterated. Oblivion. Such is the practice of palimpsestial painting. Alas, it is as dilemmic as remembering to forget."( Ian Stephenson /ianstephenson.net)
Stephenson trained at King's College, Durham along with Noel Forster and had his first solo show in London at the New Vision Centre in 1958. An exhibition of his work was exhibited at the Hayward Gallery in 1977 and his work can be found in the collections of the Tate, the British Council and Whitworth Art Gallery. His work was also featured in the 1966 film, Blow-Up by Michelangelo Antonioni.
Stephenson's work was characteristically made by splattering droplets of paint onto paper or canvas and repeating this with many different colours. Because the layers are applied quite widely the effect created in the finished paintings is determined not only by the colour and quantity of the spots of paint, but by the order in which they were applied.
"I love the tradition of an albion art and really my paintings have more to do with Constable’s snow than Tobey’s white writing. I have always known how I was to make pictures and speculations about the nature of painting stem from the style. The practice of painting is a defined discipline and desirably difficult.
Annealing and concealing colour. All of painting is camouflage, not least of all by means of subject matter whatever the sentiment. It is within the freaked skin of camouflage that the art resides. To be blessed with the contradictory nature of things. If there is no alternative to the way things are, then the picture must be more and more of what it is. Neural and neutral, the greyness scintillates. Overlapping and obliterated. Oblivion. Such is the practice of palimpsestial painting. Alas, it is as dilemmic as remembering to forget."( Ian Stephenson /ianstephenson.net)
Gillian Ayres - British Abstract Art
Gillian Ayres (3 February 1930 – 11 April 2018) was an English painter. She is best known for abstract painting and printmaking using vibrant colours, which earned her a Turner Prize nomination. Gillian Ayres' early works are typically made with thin vinyl paint in a limited number of colours arranged in relatively simple forms, but later works in oil paint are more exuberant and very colourful, with a thick impasto being used.One of Ayres' early projects was a 1957 commission by architect Michael Greenwood to decorate the South Hampstead high school dining hall in north London. The murals, described as "the only true British contribution to American abstract expressionism", were quickly covered over with wallpaper before being rediscovered in 1983 in nearly perfect condition.
“The paintings are not a direct response to any particular moment or subject,” the artist has noted. “I don’t expect people to all have the same feeling when looking at them. Like looking at art, what inspires one is very personal, and sometimes one doesn’t know or doesn’t want to reveal where it comes from.” (G.Ayres)
“The paintings are not a direct response to any particular moment or subject,” the artist has noted. “I don’t expect people to all have the same feeling when looking at them. Like looking at art, what inspires one is very personal, and sometimes one doesn’t know or doesn’t want to reveal where it comes from.” (G.Ayres)
Ernst Wilhelm Nay - Art Informel
Ernst Wilhelm Nay (1902, Berlin – 1968, Cologne) was a German abstract painter influenced by L'Art Informel.Ernst Wilhelm Nay studied under Karl Hofer at the Berlin Art Academy from 1925 until 1928. His first sources of inspiration resulted from his preoccupation with Ernst Ludwig Kirchner and Henri Matisse as well as Caspar David Friedrich and Nicolas Poussin. Nay's still lifes, portraits and landscapes were widely acclaimed. In 1931 Nay received a nine-months' study bursary to the Villa Massimo in Rome, where he began to paint in the abstract Surrealist manner. On the recommendation of the Lübeck museum director, C.G. Heise, Nay was given a work grant financed by Edvard Munch, which enabled Nay to spend time in Norway and on the Lofoten Islands in 1937. The "Fischer- und Lofotenbilder" represented a first pinnacle of achievement. That same year, however, two of his works were shown in the notorious exhibition of "Degenerate art" and Nay was forbidden to exhibit any longer. He wasn't even allowed to paint nor buy ready made colours.
Conscripted into the German armed forces in 1940, Nay went with the infantry to France, where a French sculptor placed his studio at Nay's disposal where Nay could paint in secret. In the "Hekatebildern" (1945–48), featuring motifs from myth, legend and poetry, Nay worked through his war and postwar experiences. The "Fugale Bilder" (1949–51) proclaim new beginnings in a fiery palette and entwined forms. In 1950 the Kestner Gesellschaft Hannover mounted a first retrospective of Nay's work. The following year the artist moved to Cologne, where, with the "Rhythmischen Bildern" he took the final step towards entirely non-representational painting. In them he began to use colour purely as figurative values.From 1955 Nay's painted "Scheibenbilder", in which round colour surfaces organize subtle modulations of space and colour. These are developed further in 1963/64 in what are known as the "Augenbilder". A first one-man-show in America at the Kleeman Galleries, New York, in 1955, participation in the 1956 Venice Biennale and the Kassel documenta (1955, 1959 and 1964) are milestones marking Nay's breakthrough on the international art scene.Wikipedia
Conscripted into the German armed forces in 1940, Nay went with the infantry to France, where a French sculptor placed his studio at Nay's disposal where Nay could paint in secret. In the "Hekatebildern" (1945–48), featuring motifs from myth, legend and poetry, Nay worked through his war and postwar experiences. The "Fugale Bilder" (1949–51) proclaim new beginnings in a fiery palette and entwined forms. In 1950 the Kestner Gesellschaft Hannover mounted a first retrospective of Nay's work. The following year the artist moved to Cologne, where, with the "Rhythmischen Bildern" he took the final step towards entirely non-representational painting. In them he began to use colour purely as figurative values.From 1955 Nay's painted "Scheibenbilder", in which round colour surfaces organize subtle modulations of space and colour. These are developed further in 1963/64 in what are known as the "Augenbilder". A first one-man-show in America at the Kleeman Galleries, New York, in 1955, participation in the 1956 Venice Biennale and the Kassel documenta (1955, 1959 and 1964) are milestones marking Nay's breakthrough on the international art scene.Wikipedia
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