Cascais, Portugal
R. de Campolide, Lisboa, Portugal
Material: Blue tiles [Azulejos azuis]
Tags: Edifício Edifício com azulejos azuis Urban Building Urban building with blue tiles Blue tiles [Azulejos azuis] R. de Campolide Lisboa Portugal Arquitectura Architecture
Museu de Arte Popular, Lisboa, Portugal
Material: Wood-engraving (18x17 cm)
Collection: The Escher Foundation Collection
WORK DESCRIPTION
At the top of this print, the spatial nature of a globe is brought out as strongly as possible. Yet it is not a globe at all, merely the projection of one piece of paper with could be cut out as a disc. In the middle, just such a paper disc is illustrated but folded in two halves, one part vertical and the other horizontal, with the top sphere resting this latter. At the bottom, another such disc is shown, but unfolded this time, and seen in perspective as a circular tabletop.
BIOGRAPHY
Maurits Cornelis Escher (1898-1972) is one of the world's most famous graphic artists. His art is enjoyed by millions of people all over the world, as can be seen on the many websites on the internet.
He is most famous for his so-called impossible constructions, such as Ascending and Descending, Relativity, his Transformation Prints, such as Metamorphosis I, Metamorphosis II and Metamorphosis III, Sky & Water I or Reptiles.
But he also made some wonderful, more realistic work during the time he lived and travelled in Italy.
Castrovalva for example, where one already can see Escher's fascination for high and low, close by and far away. The lithograph Atrani, a small town on the Amalfi Coast was made in 1931, but comes back for example, in his masterpiece Metamorphosis I and II.
M.C. Escher, during his lifetime, made 448 lithographs, woodcuts and wood engravings and over 2000 drawings and sketches. Like some of his famous predecessors, - Michelangelo, Leonardo da Vinci, Dürer and Holbein-, M.C. Escher was left-handed.
Apart from being a graphic artist, M.C. Escher illustrated books, designed tapestries, postage stamps and murals. He was born in Leeuwarden, the Netherlands, as the fourth and youngest son of a civil engineer. After 5 years the family moved to Arnhem where Escher spent most of his youth. After failing his high school exams, Maurits ultimately was enrolled in the School for Architecture and Decorative Arts in Haarlem.
After only one week, he informed his father that he would rather study graphic art instead of architecture, as he had shown his drawings and linoleum cuts to his graphic teacher Samuel Jessurun de Mesquita, who encouraged him to continue with graphic arts.
After finishing school, he travelled extensively through Italy, where he met his wife Jetta Umiker, whom he married in 1924. They settled in Rome, where they stayed until 1935. During these 11 years, Escher would travel each year throughout Italy, drawing and sketching for the various prints he would make when he returned home.
Many of these sketches he would later use for various other lithographs and/or woodcuts and wood engravings, for example, the background in the lithograph Waterfall stems from his Italian period, or the trees reflecting in the woodcut Puddle, which are the same trees Escher used in his woodcut "Pineta of Calvi", which he made in 1932.
M.C. Escher became fascinated by the regular Division of the Plane, when he first visited the Alhambra, a fourteen-century Moorish castle in Granada, Spain in 1922.
During the years in Switzerland and throughout the Second World War, he vigorously pursued his hobby, by drawing 62 of the total of 137 Regular Division Drawings he would make in his lifetime.
He would extend his passion for the Regular Division of the Plane, by using some of his drawings as the basis for yet another hobby, carving beech wood spheres.
He played with architecture, perspective and impossible spaces. His art continues to amaze and wonder millions of people all over the world. In his work, we recognize his keen observation of the world around us and the expressions of his own fantasies. M.C. Escher shows us that reality is wondrous, comprehensible and fascinating.
SOURCE:
www.mcescher.com/about/biography/Museu de Arte Popular, Lisbon, Portugal
Tags: Maurits Cornelis Escher M.C. Escher Three spheres I Três esferas I Super Photos
Material: Bordado sobre pano de linho com lã, fio metálico, fio de seda frouxa e missangas [Embroidery work, linen with woolen thread, metalic loose
silk thread and beads]
Colecção[Colection]: Friquette Demoustier
Tags: Sarah Affonso Sem título[Amor] Untitled[Love] Bordado sobre pano de linho com lã, fio metálico, fio de seda frouxa e missangas Embroidery work, linen with woolen thread, metalic loose silk thread and beads Colecção[Colection]: Friquette Demoustier rosary vases Madonna with Child Amor
"Calouste Gulbenkian Museum", Lisboa, Portugal
Material: Pastel on paper mounted on aluminium
Collection: Calouste Gulbenkian Foundation
Inv.: o6P1372
BIOGRAPHY
Desmontar jogos de poder, denunciar o autoritarismo político, a hipocrisia, expor o sofrimento no amor e a sexualidade encapotada, exaltar o poder feminino, não menos violento, perante todas as agressões, são alguns dos princípios subjacentes a uma obra, que desde a primeira exposição em Lisboa (SNBA, 1965/66), até hoje, continua a suscitar tanto a admiração quanto o embaraço.
Considerada durante décadas como “artista marginal”, porque indiferente às artes conceptual e performativa dominantes na Inglaterra, obtém o reconhecimento do establisment artístico britânico quando, em 1990, aceita ser a primeira “artista associada” da National Gallery, em Londres.
Se tivesse ficado em Portugal possivelmente teria sido «uma bêbada profissional» afirmou numa entrevista a Marco Livingstone, comissário da retrospectiva realizada no Museo Nacional Centro de Arte Reina Sofía, Madrid, 2007. A ida para Inglaterra foi decisiva, de outra forma nunca poderia ter faltado às aulas da Slade School of Art para ir ao cinema ou conhecido Victor Willing (1928-1988), intelectual, pintor, marido cúmplice da sua obra, cuja morte lenta inspirou novas metáforas, trevas e sombra que apreciava comentar.
Em criança, na companhia do pai, Paula Rego sentia um prazer especial em ver as gravuras de Gustave Doré, publicadas no livro “O Inferno”, de Dante. Sem o menosprezo «snob das belas artes» relativo à ilustração, a sua pintura privilegia contar uma história, o suspense, ultrapassando a obra na qual se inspira, seja ela proveniente da literatura oral ou escrita, pictórica, musical ou cinematográfica.
Conseguir passar «da cabeça para a mão» a corrente torrencial de imagens, sem censura, é um objectivo constante, muito embora, desde a série a pastel “A mulher-cão” (1994) utilize com frequência modelos, sobretudo Lila Nunes, antiga enfermeira de Victor Willing.
O prazer físico de cortar e colar desenhos, modus operandi de finais dos anos 50 até ao início da década de 80 – gerando quadros abstractos e viscerais, numa clara inspiração em Jean Dubuffet, defensor da Arte Bruta – foi assimilado à pintura a pastel das últimas décadas.
Criadora de fábulas, Paula Rego desenvolve um trabalho prévio de metteur en scène. Em Londres, o atelier é um palco secreto, no qual contracenam «fantasmas», alguns deles nascidos de esculturas que a pintora constrói. Longe de Portugal, a pátria que os inspira, submetem-se. Aqui «eles não virão mordê-la no rabo», lembra Nicholas Willing, o filho cineasta. Como a pintura é uma forma de «magia poderosa», esses fantasmas correm somente para dentro de quem os teme.
SN
Maio de 2010
Source: CAM
BIOGRAPHY
Rego was born on 26 January 1935 in Lisbon, Portugal.[5] Her father was an electrical engineer who worked for the Marconi Company. Although this gave her a comfortable middle-class home, the family was divided in 1936 when her father was posted to work in the United Kingdom. Accompanied by Rego's mother, they left Rego behind in Portugal in the care of her grandmother until 1939. Her grandmother was to become a significant figure in Rego's life as she learnt many of the traditional folktales that would one day make their way into her artwork from her grandmother and the family maid.[6]
Rego's family were keen Anglophiles, and Rego was sent to the only English language school in Portugal at the time, Saint Julian's School in Carcavelos from 1945 to 1951. Although nominally a Catholic and living in a devoutly Catholic country, St Julian's School was Anglican and this combined with the hostility of Rego's father for the Catholic Church to create a distance between her and full-blooded Catholic belief. Rego has described herself as having become a "sort of Catholic," but equally she possessed as a child a sense of Catholic guilt and a very real belief that the Devil is real.
In 1951, Rego was sent to the United Kingdom to attend a finishing school called The Grove School, in Sevenoaks, Kent. Unhappy here, Rego attempted in 1952 to start studies in art at the Chelsea School of Art in London, but this was thwarted by her legal guardian in Britain, David Phillips, who feared her parents might not approve of their daughter mixing with art students. Returning to Portugal for the holidays that summer Rego discovered quite the opposite was true, and so she applied to study art in London again, this time at the Slade School of Fine Art. She attended the Slade School of Fine Art from 1952 to 1956.
At the Slade Rego met her future husband, Victor Willing, who was also a student at the Slade. In 1957 Rego and Willing left London to live in Ericeira, Portugal.[5] They were able to marry in 1959 following Willing's divorce from his first wife, Hazel Whittington. Three years later Rego's father bought the couple a house in London, at Albert Street in Camden Town and Rego's time was spent divided between Britain and Portugal. In 1966 Rego's father died, and the family electrical business was taken over, unwillingly, by Rego's husband, although he had himself been diagnosed with multiple sclerosis. The company failed in 1974 during the Portuguese Revolution that overthrew the country's right-wing Estado Novo dictatorship, with the production works taken over by the revolutionary forces, even though Rego's family had been supporters of the political left. As a result, Rego, Willing and their children moved permanently to London and spent most of their time there until Willing's death in 1988.
CAREER
Although Rego was commissioned by her father to produce a series of large scale murals to decorate the works' canteen at his electrical factory in 1954 whilst she was still a student, Rego's artistic career effectively began in early 1962 when she began showing with The London Group, a long-established artists' organization which included David Hockney and Frank Auerbach among its members. In 1965 she was selected to take part in a group show, Six Artists, at the Institute of Contemporary Arts (ICA) in London.[10] That same year she had her first solo show at the Sociedade Nacional de Belas Artes (SNBA) in Lisbon.[6] She was also the Portuguese representative at the 1969 São Paulo Art Biennial.[11] Between 1971 and 1978 she was to have seven solo shows in Portugal, in Lisbon and Oporto, and then a series of solo exhibitions in Britain, including at the AIR Gallery in London in 1981, the Arnolfini in Bristol in 1983, and the Edward Totah Gallery, London in 1984, 1985 and 1987.[12]
In 1988, Rego was the subject of a retrospective exhibition at the Calouste Gulbenkian Foundation in Lisbon and the Serpentine Gallery in London. This led to Rego being invited to become the first Associate Artist at the National Gallery, London in 1990, in what was the first of a series of artist-in-residence schemes organized by the gallery. From this emerged two sets of work. The first was a series of paintings and prints on the theme of nursery rhymes, which was toured around Britain and elsewhere by the Arts Council of Great Britain and British Council from 1991 to 1996. The second was a series of large scale paintings inspired by the paintings of Carlo Crivelli in the National Gallery, known as 'Crivelli’s Garden' which are now housed in the main restaurant at the gallery.
Other exhibitions include a retrospective at Tate Liverpool in 1997, Dulwich Picture Gallery in 1998, Tate Britain in 2005 and Birmingham Museum and Art Gallery in 2007. A major retrospective was also held of her work at the Museo Nacional Centro de Arte Reina Sofia, Madrid in 2007, which travelled to the Museum of Women in the Arts, Washington, the following year.
In 2008, Rego showed at Marlborough Chelsea in New York and staged a retrospective of her graphic works at the Ecole Superieure des Beaux-Arts, Nîmes. As well as showing at Marlborough Fine Art in London in 2010, the art critic Marco Livingstone organised a retrospective of her work at the Museum of Contemporary Art, Monterrey, Mexico, which was later shown at the Pinacoteca de São Paulo, Brazil.
Rego's artwork can now be seen at public and private institutions around the world. The artist has 43 works in the collection of the British Council, 10 works in the collection of the Arts Council of England, 46 works in the Tate Gallery, London, as well as many other institutions.
STYLE AND INFLUENCES
Rego is a prolific painter and printmaker, and in earlier years was also a producer of collage work.[15] Her most well-known depictions of folk tales and images of young girls, made largely since 1990, bring together the methods of painting and printmaking with an emphasis on strong and clearly drawn forms, in contrast to Rego's earlier more loose style paintings.
Yet in her earliest works, such as Always at Your Excellency's Service, painted in 1961, Rego was strongly influenced by Surrealism, particularly the work of Joan Miró. This manifested itself not only in the type of imagery that appeared in these works but in the method Rego employed which was based on the Surrealist idea of automatic drawing, in which the artist attempts to disengage the conscious mind from the making process to allow the unconscious mind to direct the image-making.
At times these paintings almost verged on abstraction, but as proven by Salazar Vomiting the Homeland, painted in 1960, even when her work veered toward abstraction a strong narrative element remained in place, with Salazar being the right-wing dictator of Portugal in power at the time.[18]
There are two principal causes for Rego adopting a semi-abstract style in the 1960s. The first is the simple dominance of abstraction in avant-garde artistic circles at the time, which set figurative art on the defensive. But Rego was also reacting against her training at the Slade School, where a very strong emphasis had been placed on anatomical figure drawing. Under the encouragement of her fellow student and later husband Victor Willing, Rego kept a 'secret sketchbook', alongside her official school sketchbooks, whilst at the Slade, in which she made free form drawings of a type that would have been frowned upon by her tutors. This apparent dislike of crisp drawing techniques in the 1960s manifested itself not only in the style of works such as Faust and the Red Monkey series of the 1980s, which resemble expressionistic comic book drawing but in her acknowledged influences at the time, which included Jean Dubuffet and Chaim Soutine.
A notable change of style emerged in 1990 following Rego's appointment to be the first 'Associate Artist' of the National Gallery, London, which was effectively an artist-in-residence scheme. Her brief was to ' work in whatever way she wished around works in the collection.' As the National Gallery is overwhelmingly an Old Master collection Rego seems to have been pulled back towards a much clearer, or tighter, linear style that is reminiscent of the highly wrought drawing technique she would have been taught at the Slade. The result of this was a series of works that came to characterise the popular perception of Rego's style, comprising strong clear drawing, with depictions of equally strong women in sometimes disturbing situations. Works like Crivelli's Garden have clear links to the paintings by Carlo Crivelli in the National Gallery, but other works made at the time, like Joseph's Dream and The Fitting, also draw spatially and in their subject matter from Old Master works by artists such as Diego Velázquez.
Having given up college in the late 1970s, Rego began using pastels as a medium in the early 1990s and continues to use this medium to this day, almost to the exclusion of oil paint.
Amongst the most notable works made in pastel are those of her Dog Women series, in which women are shown sitting, squatting, scratching and generally behaving as if they are dogs. This antithesis of what is considered feminine behaviour, and many other works in which there appears to be either the threat of female violence or its actual manifestation, has associated Rego with feminism, and she has acknowledged reading Simone de Beauvoir's The Second Sex, a key feminist text, at a young age and this made a deep impression on her.] Her work also chimed with the interest of feminist writers on art such as Griselda Pollock in Freudian criticism in the 1990s, with works such as Girl Lifting up her Skirt to a Dog of 1986, and Two Girls and a Dog of 1987 appearing to have disturbing Freudian sexual undertones. However, Rego has been known to slap down critics who read too much sexual connotation into her work.
Another explanation for Rego's depiction of women as unfeminine, animalistic or brutal beings is that this reflects the physical reality of a woman as a human being in the physical world and not idealised types in the minds of men.
SOURCE: FROM WIKIPEDIA, THE FREE ENCYCLOPEDIA
Tags: Paula Rego vanity roses liquor yellow dress