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Fernando Botero Angulo (born April 19,1932) is a Colombian figurative artist.
Tamara de Lempicka (Łempicka) (May 16, 1898–March 18, 1980), born Maria Górska in Warsaw, in partitioned Poland,[1] was a Polish Art Deco painter.
An introduction to modernism Until recently, the word "modern" used to refer generically to the contemporaneous; all art is modern at the time it is made. As an art historical term, "modern" refers to a period dating from roughly the 1860s through the 1970s and is used to describe the style and the ideology of art produced during that era. It is this more specific use of modern that is intended when people speak of modern art. The term "modernism" is also used to refer to the art of the modern period. More specifically, "modernism" can be thought of as referring to the philosophy of modern art.
Botero's work includes still-lifes and landscapes, but Botero tends to primarily focus on situational portraiture. His paintings and sculptures are united by their proportionally exaggerated, or "fat" figures, as he once referred to them.[8]
Botero explains his use of these "large people", as they are often called by critics, or obese figures and forms thus:
"An artist is attracted to certain kinds of form without knowing why. You adopt a position intuitively; only later do you attempt to rationalize or even justify it."[citation needed]
Botero is an abstract artist in the most fundamental sense of the word, choosing what colors, shapes, and proportions to use based on intuitive aesthetic thinking. Though he currently spends only one month a year in Colombia, he considers himself the "most Colombian artist living" due to his insulation from the international trends of the art world.[9]
Botero gained considerable attention in 2005 for his Abu Ghraib collection, which began as an idea he had on a plane, finally culminating in more than 85 paintings and 100 drawings.[10]
The Circus collection followed in 2008, with 20 works of oil and watercolor.
The term modernism for oil paintnig on favoritearts.info is used to refer to the art of this ‘modern period’. More specifically, modernism oil painting and masterpiece can be thought of as referring to the ‘philosophy’ of ‘modern art’. It is generally acknowledged that Modernism in America did not really have a ‘mainstream’, but rather was a multiplicity of ‘isms’ that embraced a fairly wide variety of styles and expressions originating in different parts of the country. ‘Isms’ such as Post-Impresionism, Fauvism, Cubism, and later Dadaism and Futurism all had somewhat porous boundaries. What tied them together was a desire to break away from the conventions of representational art. |
| Fauvism- modernism oil painting and masterpiece
Fauvism, French Fauvisme, was a style of modernism oil painting and masterpiece that flourished in France from 1898 to 1908 and used pure, brilliant color, applied straight from the paint tubes in an aggressive, direct manner to create a sense of an explosion on the canvas on favoritearts.info. The Fauves painted directly from nature as the Impressionists had before them, but their works were invested with a strong expressive reaction to the subjects they painted. The leader of the group was Henri Matisse.
Dadaism- modernism oil painting and masterpiece
The brief but influential Dada movement, whose central figures in New York were French émigrés Francis Picabia (1879-1953) and Marcel Duchamp (1887-1968), viewed technology as a key metaphor of modern society. Dadaists responded to industrial technology with subversive playfulness. Duchamp conveyed a sardonic humor in his masterpiece ‘The Bride Stripped Bare by Her Bachelors, Even’ (1915-23), an assemblage of oil, wire, lead foil and ‘dust’ on a couple of glass panes. Absurdity is part of the experience, shocking at the time, meant to subvert the viewer’s expectations. Even more notorious in the regard was Duchamps’’Fountain’ (1917) –a porcelain urinal that he submitted to a supposedly open show by the Society of Independent painters. Orphism - modernism oil painting and masterpiece
In 1925, Lempicka painted her iconic work Auto-Portrait (Tamara in the Green Bugatti) for the cover of the German fashion magazine Die Dame. As summed up by the magazine Auto-Journal in 1974, "the self-portrait of Tamara de Lempicka is a real image of the independent woman who asserts herself. Her hands are gloved, Lempicka is helmeted, and inaccessible; a cold and disturbing beauty [through which] pierces a formidable being—this woman is free!"[5] De Lempicka won her first major award in 1927, first prize at the Exposition Internationale de Beaux Arts in Bordeaux, France for her portrait of Kizette on the Balcony.
During the Roaring 20s Paris, Tamara de Lempicka was part of the bohemian life: Lempicka knew Pablo Picasso, Jean Cocteau, and André Gide. Famous for her libido, Lempicka was bisexual, and her affairs with both men and women were carried out in ways that were scandalous at the time. Lempicka often used formal and narrative elements in her portraits and nude studies to produce overpowering effects of desire and seduction.[6] In the 1920s Lempicka became closely associated with lesbian and bisexual women in writing and artistic circles, such as Violet Trefusis, Vita Sackville-West, and Colette. Lempicka also became involved with Suzy Solidor, a night club singer at Boîte de Nuit, whom Lempicka later painted.[7] Her husband eventually tired of their arrangement; he abandoned her in 1927, and they were divorced in 1928.
The term Surrealism was coined by Guillaume Apollinaire in 1917, and created into a movement by poet Andre Breton in 1924. “Surrealism: pure, psychic automatism, through which one seeks to express the real course of one's thinking... Instinctive thinking without any control by reason and outside all aesthetic or ethical considerations." Surrealism has a lot in common with Sigmund Freud's philosophy in that it deals with dreams and depth psychology. The most famous Surrealists were the French painter Max Ernst (1891-1976), who came to the United States in the 1940s, and Spanish painter Salvador Dali (1904-1989), who also worked in California, New York, and other parts of the U.S. Others American painters who created Surrealist works were Armenian American Arshile Gorky (1904-1948) and Man Ray. |
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Cubism- modernism oil painting and masterpiece
European Cubism had a strong impact on the painteric evolution of a key group of American painters working in the period from 1909-1936. Cubism left few modernist styles untouched and permeated the intellectual debate and the popular culture on favoritearts.info of this country. It was, as the critic Henry McBride proclaimed in 1914, “the movement of the day––and still moving.” A notable Cubist is New York painter Max Weber (1881-1961) who created the early Cubist 1913 masterpiece, ‘Woman in Tents’. Weber, who was present in Paris at the dawn of Cubism, played a critical role in the early dissemination of knowledge of European Cubism in the United States. Over the course of his early career he created among the most inventive and significant examples of Cubism by any American modernist.
Precisionism- modernism oil painting and masterpiece
If the Dadaists responded to industrial technology with subversive playfulness, then it might be said that the work of painters like Charles Sheeler (1883-1965) and Charles Demuth was about using ‘the machine’ to restore a ‘classical’ sense of order. Drawing on technology as both metaphor and subject, they rendered images of factories, warehouses, bridges and other works of industrial architecture in a flat, mechanical style with little evidence of expressive gesture. Sheeler called it Precisionism, and its resemblance to photo-realism was no coincidence. He was a photographer as well as a painter, and the two media were in constant dialogue in his work. Abstract Expressionism- modernism oil painting and masterpiece
With the outbreak of World War II, the influence of Paris on modern art declined, to the benefit of New York City. Long absent Americans in Paris returned home, and with them came an influx of European painters. “The probability is that the future of painting lies in America” art dealer Sam Kootz wrote in a letter to the New York Times in 1941, “and all you have to do is get a new approach.” The ‘new approach’ that Kootz was looking for was already taking shape among a loose affiliation of painters in Greenwich Village. It wasn’t until the early 1950s, however, that they were given a name –the Abstract Expressionists, or, more generally, the New York School. Although many had apprenticed under the WPA in the 1930s, they rejected Regionalism and Social Realism, which they regarded as provincial and tainted by nationalistic overtones. Nor were they satisfied with geometric abstraction, which they felt was academic and emotionally detached. They wanted a mode of expression that sprang from the most elemental urges and emotions-anxiety, terror, rage, ecstasy. |
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