Aaron Siskind , Young men Playing with Toy Swords , Harlem, New York, 1930's.

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Aaron Siskind (American "Conceptual Expressionist" Picture taker, 1903-1991) (left) New York , 24 x 20", gelatin silver print, 1951 (right) look at Franz Kline , Siskind , oil on canvas, 1959 Aaron Siskind , Young men Playing with Toy Swords , Harlem, New York, 1930's Siskind , Chicago 25 , 1957
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Aaron Siskind (American “Abstract Expressionist” Photographer, 1903-1991) (left) New York , 24 x 20“, gelatin silver print, 1951 (right) look at Franz Kline , Siskind , oil on canvas, 1959

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Aaron Siskind , Boys Playing with Toy Swords , Harlem, New York, 1930’s

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Siskind , Chicago 25 , 1957 "For the first run through in my life, topic, as being what is indicated, had stopped to be of essential significance. Rather, I discovered myself included in the connections of these items, to such an extent that these photos ended up being profoundly moving and individual experiences." Siskind moved from Social Realism to de-politicized formalist deliberation of the Chicago Institute of Design and second era Abstract Expressionism (1950s)

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European Postwar Existentialism 1949 – an establishing women\'s activist content established in existential questions about the genuine way of Being. 1943 Jean-Paul Sartre Simone de Beauvoir 1938 Paris

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Jean Fautrier (French, 1898-1964) Art Informel, Head of a Hostage , 20," oil on board, 1944, one of more than thirty “hostage” artworks and figures that he made amid the control of Paris insinuating the Nazi outrages. “These works of art tended to the most vital issue of their time, encapsulating \'another human purpose\' against the revulsions of war." (Fautrier)

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Jean Fautrier , Large Tragic Head , bronze, 1943

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Germaine Richier (French, 1904-1959) , Crucified Christ, 1950, Notre-Dame de Tour Grã¢ce d\'Assy, France. Post-humanist? (lower right) Richier’s instructor, Emile-Antoine Bourdelle , Hercules , 1909

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Richier , The Shepherd of Landes, 1951; (right) Le Griffu, 1952 Bronze, 98 x 94 x 74 cm

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Alberto Giacometti (Swiss, 1901-1966), (left) City Square , 1948, bronze, c. 8 x 25 x 17“ (right) Giacometti , Portrait of a Seated Man (Diego), 1949, oil on canvas, 80 x 64 cm. 2 of 5 throws. Guggenheim gathering photograph, lower, shows favored perspective (eye-level, close up) which changes the viewer’s impression of scale Portraits are the ceasing purpose of an anguished battle with recognition as verification of presence

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Giacometti , The Palace at 4 a.m., 1932, development in wood, glass, wire, and string, 25 x 28 x 15 in. Prewar Surrealist work Artist’s sketch, 1932

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Giacometti , Woman with Her Throat Cut , bronze, 1932, prewar Surrealist work drawing from the artist’s dreams and imaginings MoMA New York, 2005

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(left) Poseidon , Greek, c. 575 BC, bronze, found in the Aegean Sea in 1926: god as effective warrior male (right) Giacometti, Man Pointing , 1947, bronze, 70 creeps high, Existential man: “thrown stripped into the void” (Heidegger, German WWII time existential rationalist). The Poseidon was a hotspot for Giacometti Sac State Student, 2005

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Jean Dubuffet [French, 1901-1985] “Art Brut,” Large Sooty Nude , 1944, o/c, 64”H; (right) Tree of Fluids , 1952; analyze (focus) Willem de Kooning , Woman I, 1952 “Art addresses the psyche, not the eyes.” (Dubuffet)

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Jean Dubuffet , Art Brut, Fleshy Face with Chestnut Hair, 1951, Oil & blended media, 28”H

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Brassai , (Gyula Halasz, French b. Romania, 1899 - 1987) (left) Swastika Graffiti ; (right) Passion Graffiti , both Paris, 1939

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Francis Bacon (British, 1909 - 1992), (left) Painting , 1946, oil and pastel on cloth, 6\' 6" x 52“; (right) Head Surrounded by Sides of Beef , oil on canvas, 1954 Black umbrella was the image of British Prime Minister Neville Chamberlain’s strategy of Nazi conciliation

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Francis Bacon, Study after Velazquez\'s Portrait of Pope Innocent X , 5 x 4 ft, 1953 (right top) source: Velazquez , Pope Innocent X , 1650; (directly beneath) Still from Sergei Eisenstein’s 1925 The Battleship Potemkin , Odessa steps grouping NOTE: Study for Portrait II , 1956, from Bacon’s arrangement of ecclesiastical pictures sold at Christie’s February, 2007 closeout for $27.51 million

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Francis Bacon , Three Studies for Figures at the Base of a Crucifixion , 1944, oil and pastel on canvas, triptych on wood fiberboard, each 37 x 29 inches. The torturous killing was for Bacon an image of humanity’s perversion (lower right) source: Picasso , On the Beach (La Baignade), 1937 Aeschylus’ The Eumenides : “the merciful ones,” The Furies , the dull shrouded side of the human mind, with Orestes

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(left) Francis Bacon , Three Studies of figures on Beds , 1972, oil and pastel on canvas, triptych, every board 6’6” x 4’ 10” (right) source: Eadweard Muybridge , photo from The Human Figure in Motion , 1887 Exhibit

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