Caroline Bouteiller-Laurens, Art Questions
Histoire de l'Art, Art History
In the 1920s, Frank Lloyd Wright designed a school for the Rosenwald Fund, a philanthropic organization which built over 5,000 schools for African American students who, under Jim Crow laws, were required to pay for their own educational facilities despite paying taxes. Mabel Wilson explores Wright’s plans for the Rosenwald School as well as the architect’s interest in progressive education reform throughout his career.
Watch more videos from MoMA Architecture & Design
http://bit.ly/2rB1Xov
Voici un site sur lequel les amoureux de l’art et les collectionneurs trouveront des informations sur leurs artistes favoris, mais pourront également faire des découvertes par sérendipité et association d’images.
Ce site se présente à première vue comme un site commercial mais il contient des petites pépites, en particulier ce qui me tient particulièrement à cœur, leur section “Education“. Les pages des artistes (modernes et contemporains) sont assez bien conçues, avec un dernier onglet “Related Artists” qui permet de rebondir sur des artistes proches par leur travail ou leur concept.
Malheureusement pour les non-anglophones, le site est exclusivement en anglais.
Here is a site on which art lovers and collectors will find informations about their favourite artists, but will aslo make discoveries by serendipity and images associations.
This site opens at a first sight like a commercial site, but it contains nuggets, like the ‘Education‘ section, which is particularly important to me. Related artists pages (modern and contemporary) are well conceived, with the last tab ‘Related Artsits’ which allow to jump on near artists by work or concept.
Just too bad for not English-speakers that it is only in English.
Visit https://www.artsy.net/
If you thought Piet Mondrian’s art was all abstract geometric forms and primary colours, a new exhibition in the Gemeentemuseum will have you reconsidering this notion. Upon entering the first room, you spot the still life of a dead hare and faithful recreation of an early morning view of Amsterdam’s famed Singel canal.
The next few halls continue in the same vein, showing dozens of bucolic and, at first glance, traditional landscapes and depictions of the sea, dunes and windmills. In total some 300 of the artist’s works – a quarter of his entire output and almost the entirety of the museum’s Mondrian collection – are on show in the exhibition titled ‘The Discovery of Mondrian.’ Many of them have never seen before by the public, but rediscovered by the museum staff during a massive restoration project between 2009 and 2015.
The little-known early work is important believes curator Hans Janssen, as it shows just how innovative and modern the artist truly was.’ He speaks of the ‘sense of depth’ that carried through to his later work, the visibly sophisticated brushwork techniques (‘the working of the paint’) but also of something else: ‘At first glance some of them look like 19th century rubbish but they have a quality that is very hard to describe and that has to do with a sense of inner self’. Indeed there is a sense of quiet spirituality and optimism that is a constant in all the work, as well as a potent luminosity that lifts the work out of the mundane. (…)
Read more : The Discovery of Mondrian at The Gemeentemuseum | Wallpaper*
Exposition du Collectif Multi-Prises
Du 09/06/2017 au 23/07/2017 de 14h00 à 19h00
Exposition Galerie du Faouëdic, 2 boulevard général Leclerc 56100 Lorient, 02 97 02 22 57
L’association Multi-Prises a carte blanche pour s’emparer des murs de la galerie du Faouëdic en proposant une installation immersive. L’exposition vient en contrepoint d’un projet artistique mené auprès des élèves des classes à horaires aménagés musique et danse du collège Anita Conti, en partenariat avec le conservatoire de Lorient.Artistes du collectif engagés dans ce projet : Simon Augade, Thomas Daveluy, Nicolas Desverronières, Nastasja Duthois, Arnaud Goualou, Sylvain Le Corre, Jérémy Leudet, Claire Vergnolle.
Consulter le site du collectif Multi-Prises : http://multi-prises.fr/association/
Du 9 juin au 23 juillet
Du mercredi au dimanche
De 14h à 19h à la galerie du Faouëdic.
Visites commentées par les artistes
11 juin à 17h
4 juillet à 12h30
22 juillet à 17h
Entrée libre
The advocate of the philosophy he called Art-as-Art, Ad Reinhardt was a prominent painter, writer, critic and educator whose work has been associated with the Abstract Expressionism although it had its origins in Geometric Abstraction, announcing the Minimal and Conceptual Art and Monochrome Painting. As a member of the American Abstract Artists, he was a part of the group gathered at Betty Parsons Gallery that became known as Abstract Expressionism. Recognizable for his cartoons that made fun of the art, Reinhardt is also remembered for the Black or Ultimate Paintings that he claimed to be the “last paintings” that anyone can paint.
Ad Reinhardt – Abstract Painting, 1948, photo via cavetocanvas.com
Adolph Frederick Reinhardt was born on December 24, 1913, in Buffalo, New York. He showed an interest in art from his early childhood, working as an illustrator for the school’s newspapers. Rejecting several scholarships from art schools, he chose to study art history at Columbia University in New York, under the famous Meyer Shapiro who gave him a solid background in theory and humanities through latest trends and contemporary approaches. Shapiro also had a great influence on Reinhardt’s political views, introducing him to the radical leftist Marxist believing that he adhered for the rest of his life. In 1935, he began artistic training at the national Academy of Design and at the American Artists School in New York, falling under the influence of two prosperous painters, Carl Holty and Francis Criss who worked under the postulates of the Cubism and Constructivism.
Reinhardt studied art history at Columbia University in New York under the famous Meyer Shapiro
Ad Reinhardt – Abstract Painting, 1960, photo via art-agenda.com (Left) – Red Abstract, 1952, photo via quotesgram.com
During the late 30’s Reinhardt was among the artists employed by the government WPA project, which proved to be important for his further career, considering his acquaintance with Willem de Kooning and Arshile Gorky with whom he became a life-long friend. Creating in a realm of the geometric abstraction, his work starting to show the aspects of gestural abstraction. In this period, he worked a freelance illustrating job for several New York publications. Constantly striving for an absolute form of abstraction deprived of narratives or any kind of reference to anything outside the canvas, Reinhardt could no longer find himself in Abstract Expressionism, charging it for the opulence of emotional indications and a cult of the ego. Highly influenced by the art of Kazimir Malevich and Russian Suprematist theories, he became occupied with solid fields of color arranged in geometric forms of squares and rectangles, directly inspired by Malevich’s Black Square (1915). In his theoretical writings Reinhardt has brought these ideas into connection with complex philosophies, as Neo-Platonism, Negation Theology and Zen Buddhism.
Reinhardt was highly influenced by the art of Kazimir Malevich and Russian Suprematist theories
Ad Reinhardt – Untitled, 1966, photo via cavetocanvas.com (Left) – Abstract Painting Blue, photo via mutualart.com
Believing in an absolutely pure, ordered and balanced abstract art, in 1950’s Reinhardt began his experiments using the single color in the series of paintings. He started with Red paintings, then the Blue ones and finally came to the Black that marked his career for the rest of his life. Bringing the medium of painting to its limits of expression, he tended to create absolute zero, the end of the light. Challenging the viewer’s patience, making him stunned by the complete absence of narrative, palette, or any other element that everybody was used to, Reinhardt explained that everything is on the move, so the art should be still. He created collaborative art pieces, the ones whose existence were impossible without the viewer’s presence. As our experience of particular painting alters, instead of the inert images, these works became events. They change in every different feeling of their audience. Read more (…) : Ad Reinhardt | WideWalls
He was in a constant search for the pure and balanced abstract art
Top Image : Ad Reinhardt portrait, 1966, photo via mythgallery.com
