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Om den spanske maler Antonio Tàpies, født 1923
The author has condensed hundreds of hours of her conversations with Spain's leading contemporary artist, and neatly assembled them in thematic chapters.
An extensive survey of Antoni Tàpies' work, revisiting the period the Catalan artist lived under Franco's dictatorship, between 1946 and 1977. In works that occupy a unique midground between painting and sculpture, Catalan artist Antoni Tàpies (1923-2012) fused the material vocabulary of Arte Povera and the gestural energy of Abstract Expressionism with the mystical sensibility of Iberian Catholicism. Tàpies showed a preference for an austere palate and unconventional materials reflecting the limited resources of his political environment. He spent three decades of his long productive career in Barcelona, where he lived and died, under the dictatorship of Francisco Franco. In that time, Tàpies confronted many of the paradoxes a creative artist faces under an authoritarian and anti-intellectual regime. In painting, sculpture, writing and other mediums, his work existed in conversation with the currents of contemporary art in the West while within the strictures of an oppressive state. Antoni Tàpies: Political Biography illuminates the artist's responses to the conditions of his native Catalonia, reproducing documents such as letters, manifestoes and samples of the media reception Tàpies generated over the years alongside reproductions of works from across his career. Texts by artists, curators and critics discussing Tàpies and the context of his oeuvre, plus a comparative chronology, are also included.
Footmarks and handprints, sand, wood, earth, rope, words and letters: Tapies, repertoire is infinite. Miro encouraged him to use forms and materials of every kind, all the more so in an environment devoid of meaning-Spain in the post-war years-in which official reality bore no relation to the situation as it really was. Imperceptibly, true reality asserted its pre-eminence and the expressiveness of increasingly organic materials, endowing his painting with greater materiality than signification. 130 illustrations
From his childhood on, Mallorca was to be a second home for Joan Miro. His mother hailed from the island, as did his wife Pilar Juncosa. It became his permanent place of abode from the mid-fifties onwards, after he acquired a plot of land upon which he commissioned his friend Josep Lluris to build a large studio. He died there on the 25th of December 1983 at the age of 90. This study concerns itself primarily with the varied themes and techniques of the artist's later works painting, sculpture, prints and ceramics - which were all created, with the exception of the latter, in the four workshops of his residence Son Abrines. It was the clear light of Mallorca which especially fascinated Miro - the poetic blues of the sky and sea. In his sculpture, he was especially inspired by the artistic creativity of the island inhabitants, not to mention the agriculture and precipitous cliffs which give the landscape of Mallorca its unique quality. "A pitchfork, a fork that has been carefully made by peasants - that's very important to me", he once commented. From his youth on he was to collect objects typical of island life: ceramics, woven baskets and simple household pottery. Above all, he loved the rustic style of the old Mallorcan house with its characteristic furniture. Such things were to influence his art more than any fluctuating fashions. "Folk art always moves me ... In this art their are no tricks ... it is so rich with possibilities." Barbara Catoir is the author of "Conversations with Antoni Tapies". Miro was born in Barcelona in 1893 and studied there at the Lonja School of Fine Arts from 1912 onwards, and in the private school of Francesc Gall. Miro lived on and off in Paris from 1920 to the outbreak of World War II; there he became friends with poets and artists within Surrealist and Dadaist circles. He exhibited alongside Picasso, Gonzales and Alexander Calder in the Spanish Pavilion of the World Exhibition in Paris during 1937. With the first major exhibition of his oeuvre at the Museum of Modern Art in New York in 1941, Miro was to see the blossoming of a fruitful relationship with the American art scene, which was to last until his death. Numerous works of his are to be found in American museums and private collections.
A collection of forty interviews by Michael Peppiatt with artists from 1966 to 2012.
European narratives of the Atlantic New World tell stories of people and things: strange flora, wondrous animals, and sun-drenched populations for Europeans to mythologize or exploit. Yet between 1500 and 1700 one region upended all of these conventions in travel writing, science, and, most unexpectedly, art: the Arctic. Icy, unpopulated, visually and temporally “abstract,” the far North – a different kind of terra incognita for the Renaissance imagination – offered more than new stuff to be mapped, plundered, or even seen. Neither a continent, an ocean, nor a meteorological circumstance, the Arctic forced visitors from England, the Netherlands, Germany, and Italy, to grapple with what we would now call a “nonsite,” spurring dozens of previously unknown works, objects, and texts – and this all in an intellectual and political milieu crackling with Reformation debates over art’s very legitimacy. Into the White uses five case studies to probe how the early modern Arctic (as site, myth, and ecology) affected contemporary debates of perception and matter, of representation, discovery, and the time of the earth – long before the nineteenth century romanticized the polar landscape. In the far North, this book contends, the Renaissance exotic became something far stranger than the marvelous or the curious, something darkly material and unmasterable, something beyond the idea of image itself.