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Género

Géneros en las Artes Visuales

En el vasto mundo de las artes visuales, los artistas se embarcan en un viaje de expresión creativa que a menudo los lleva a explorar una amplia gama de géneros y estilos. Aunque muchos artistas son versátiles y se aventuran más allá de los límites de un solo género, la historia del arte tiende a identificarlos con un género particular en el que han dejado una huella indeleble.

Antony van Dyck, conocido por su maestría en el retrato, es un ejemplo destacado de esta clasificación. Aunque también experimentó con otros géneros artísticos, como la pintura histórica y la religiosa, su renombre se cimentó en la habilidad magistral con la que retrataba a sus sujetos. Sus retratos son testimonios de la elegancia y la sofisticación de la alta sociedad de su época.

Alfred Sisley, por su parte, se ganó el reconocimiento como pintor paisajista. A lo largo de su carrera, inmortalizó la belleza de los paisajes naturales en Francia y el Reino Unido. Sus obras transmiten una conexión profunda con la naturaleza y la atmósfera única de cada lugar que retrataba.

Piet Mondrian, conocido como un pionero del arte abstracto, es otro artista cuyo nombre está estrechamente ligado a un género específico. Aunque su evolución artística lo llevó desde el impresionismo hasta el neoplasticismo, su contribución más influyente fue en la abstracción geométrica. Sus pinturas con líneas rectas y colores primarios son iconos del arte abstracto y han dejado una marca perdurable en la historia del arte.

Si bien estos artistas son conocidos por un género en particular, es importante recordar que su creatividad y visión trascendieron las etiquetas. A través de sus exploraciones artísticas, contribuyeron de manera significativa a la riqueza y diversidad del mundo de las artes visuales.

Géneros:

Arquitectura
Autorretrato
Bijinga
Caligrafía
Capricho
Caricatura
Cartel
Comercial
Desnudo
Dibujo y boceto
Digital
Diseño
En miniatura
Escena de género
Escultura
Foto
Grafiti
Icono
Ilustración
Instalación
Interior
Joyería
Libro-arte
Mangaka
Marina
Mosaico
Mural
Naturaleza muerta
Paisaje
Paisaje nube
Paisaje urbano
Pastoral
Performance
Pintura abstracta
Pintura alegórica
Pintura de animales
Pintura de aves y flores
Pintura de batallas
Pintura de flores
Pintura de historia
Pintura de vida silvestre
Pintura figurativa
Pintura literaria
Pintura mitológica
Pintura religiosa
Pintura simbólica
Pin-up
Quadratura
Retrato
Shan shui
Tapiz
Trampantojo
Tronie
Urushi-e
Utensilio
Vanitas
Vedutismo
Video
Yakusha-e

Movimientos artisticos

Movimientos artisticos: Explorando la Diversidad del Arte Mundial

Los historiadores del arte desempeñan un papel crucial en la comprensión y la apreciación del arte mundial. Utilizan diversos métodos de clasificación para organizar la vasta producción artística que abarca el tiempo y el espacio. Cada método de clasificación se basa en la idea de que ciertas obras de arte comparten cualidades específicas que las hacen significativas. Esta significación puede estar relacionada con aspectos formales, estilísticos, iconográficos, temáticos u otros elementos artísticos.

La agrupación de obras de arte en movimientos es una de las formas más comunes de organización en la historia del arte. Estos movimientos se definen por la percepción de que las obras de arte incluidas comparten una calidad particular que refleja el enfoque único de los artistas que las crearon. Estos movimientos pueden estar arraigados en criterios culturales, estéticos o incluso políticos.

En el contexto de las artes occidentales, los movimientos artísticos han sido una herramienta fundamental para entender la evolución del arte a lo largo del tiempo. Cada movimiento representa una época o un período en la que los artistas compartieron ideas y enfoques similares. Desde el Renacimiento hasta el Impresionismo y el Cubismo, estos movimientos nos permiten explorar la diversidad del arte occidental y cómo ha respondido a cambios culturales y sociales a lo largo de la historia.

Por otro lado, en las artes orientales, la clasificación se basa más en períodos definidos por eventos político-dinásticos. Esto refleja cómo las culturas orientales a menudo se han organizado en torno a dinastías gobernantes y cómo esto ha influido en la producción artística a lo largo de los siglos.

En última instancia, la organización del arte por movimientos o períodos no solo nos ayuda a comprender mejor las obras de arte en sí, sino que también arroja luz sobre el contexto más amplio en el que se crearon. Cada movimiento artístico es un testimonio de la creatividad humana y cómo los artistas han respondido a su tiempo y lugar en la historia.

Arte del Antiguo Egipto
Periodo Dinástico Temprano
Antiguo Reino
Período de Transición 1
Medio Reino
Segundo Período Intermedio
Nuevo Reino
Período de Amarna
Tercer Período Intermedio
Período Tardío
Período Ptolemaico
Período Romano
Arte de la Antigua Grecia
Período Geométrico
Período Arcaico
Período Clásico
Período Helenístico
Arte Medieval
Arte Bizantino
Arte Prerrománico
Arte Románico
Arte Gótico
Arte Medieval
Arte Copto
Arte del Renacimiento
Proto Renacimiento
Bajo Renacimiento
Alto Renacimiento
Manierismo (Final del Alto Renacimiento)
Renacimiento del Norte
Arte Moderno
Naturalismo
Simbolismo
Impresionismo
Arte Naíf (Primitivismo)
Artes and Crafts
Tonalismo
Neoimpresionismo
Posimpresionismo
Nuevo Realismo (Realismo Americano)
Expresionismo
Realismo Social
Arte Nuevo
Sezession
Esteticismo
Cubismo
Arte Abstracto
Suprematismo
Vanguardismo
Futurismo
Dadaísmo
Constructivismo
De Stijl (Neoplasticismo)
Pintura Metafísica
Modernidad
Realismo Mágico
Rayonismo
Art Decó
Sincromismo
Vorticismo
Surrealismo
Purismo
Precisionismo
Renacimiento de Harlem (Movimiento del Nuevo Negro)
Las Artes Incoherentes
Indigenismo
Regionalismo
Realismo Social
Pictorialismo
Nuevo Medievialismo
Muralismo
Neorromanticismo
Existencialismo
Letrismo
Joven Polonia
Expresionismo Abstracto
Pintura Espacial de la India
Orfismo (Simultanismo)
Informalismo
Tachisme
Haute Pâte (Pintura de la Materia)
Cubo-Futurismo
Neo-Concretismo
Accionismo Vienés
Performance
Neosurrealismo
Transautomatismo
Sots Art
Abstracción Pospictórica
Abstract Illusionism
Arte Feminista
Modernismo
Fiber Art
Realismo Analítico
Arte Postal
Nueva Objetividad (Neue Sachlichkeit)
Arte Marginal (Art Brut)
Art Singulier
Arte Concreto
Neoexpresionismo
Neodadaísmo
Neofiguración
Arte Cinético
Espacialismo
Arte Povera
Arte Disidente Soviético
Op Art
Arte Pop
Nuevo Realismo
Nueva Generación de Escultura
Realismo Clásico
Arte Contemporáneo
Arte Conceptual
Excesivismo
Minimalismo
Posminimalismo
Luz y Espacio
Arte Ambiental
Junk Art
Kitsch
CyberArt
Arte Relacional
Arte Funk
Fotorrealismo (Superrealismo, Hiperrealismo)
Arte del Póster Realista
Neoconceptualismo
Realismo Contemporáneo
P&D (Patrón y Decoración)
Nueva Pintura de Imágenes
Transavantgarde
Pittura Colta
Arte Confesional
Nueva Pintura Europea
Neo-Pop Art
Neominimalismo (Neo-Geo)
Maximalismo
Neo-Ortodoxismo
Arte Urbano
Arte Lowbrow
Stuckismo
Pintura Provisional (Nuevo Casualismo)
Arte Fantástico
Arte en Internet (Net Art)
Arte Futurotecnológico
Arte de la Red
Arte Digital
Arte de los Nuevos Medios
Arte Postcolonial
Crítica Institucional
Postinternet
Arte Contemporáneo
Movimiento de Arte Chicano
Movimiento de las Artes Negras
Arte de China
Dinastía Tang
Cinco Dinastías y Diez Reinos (907-960)
Dinastía Song del Norte (960-1126)
Dinastía Song del Sur (1127-1279)
Dinastía Yuan
Dinastía Ming
Dinastía Qing
República de China
Movimiento de la Nueva Cultura
República Popular de China (1949-presente)
Nuevo Arte de la Tinta
Arte Coreano
Dinastía Joseon
Arte Informal Coreano
Dansaekhwa (Pintura Monocromática Coreana)
Arte de Japón
Muromachi period (1392–1573)
Azuchi-Momoyama period (1573–1603)
Período Edo 23
Meiji Period (1868–1912)
Era Taishō
Era Shōwa
Ero-guro
Arte islámico
Abbasid Period (750–1258)
Ilkhanid Period (1256–1353)
Timurid Period (c.1370–1507)
Ottoman Period (before 1600)
Süleyman the Magnificent Period (1520–1566)
Mughal Period (after 1600)
Ottoman Period (after 1600)
Safavid Period (before 1600)
Safavid and Qajar Periods (after 1600)
Native Art
Native Art
Yoruba Art
Arte folclórico
Arte precolombino
Post-classic (c.900-1580)

CONCURSO INTERNACIONAL AMAZINE

SEGUNDA EDICION DEL CONCURSO INTERNACIONAL AMAZINE

SEGUNDA EDICION DEL CONCURSO INTERNACIONAL AMAZINE

La asociación Watunna Venezuela convoca al Concurso Internacional de Cortometrajes  Amazine, en su segunda edición, cuya temática “Ambiente en Venezuela, Crisis y soluciones“, cuyas inscripciones podrán realizarse hasta el 15 de octubre de 2023.

Orientado a apoyar y fomentar el desarrollo de talentos en el ámbito de la creación audiovisual y cinematográfica, el concurso tiene por objeto promover la conservación ambiental en nuestro país en una temática ecológica amplia que refleje desde la deforestación, contaminación de ríos, cambio climático que ocasionan sequias, lluvias y deslaves sin prevención de riesgos hasta los proyectos de recuperación, biodiversidad  y sustentabilidad en áreas urbanas.

Para la organización Watunna y su presidente Ana María Méndez Schreier son enormes los desafíos ambientales de Venezuela  cuyo problemas que se agravan y se hacen más recurrentes.

“Con iniciativas como AMAZINE se busca obtener información a través de imágenes y testimonios en un país como Venezuela en el cual no existen publicaciones oficiales que muestren cifras y datos en el tema ambiental. Sin esa data es muy complicado hacer predicciones y hacer un plan de acciones”, comenta.

Podrán participar cortometrajes realizados a partir del año 2015 hasta la fecha límite de las inscripciones, deberán tener una duración máxima de 30 minutos incluidos los títulos de crédito, y podrán estar grabados con cualquier dispositivo de grabación: cámara de teléfono móvil, cámara fotográfica digital, cámara de acción, Tablet, videocámara etc., pudiendo luego, si se desea, editarse con herramientas externas, deberán con una mínima calidad HD para su parcial o total reproducción y proyección

Asimismo, el creador debe tener todos sus derechos sobre la obra, y cada cortometraje presentado deberá estar subtitulado en inglés, así como también, tener título, autor, guionista, director y todos los derechos de propiedad. Podrán presentarse trabajos tanto de ficción como de animación, documentales o entrevistas narrativas; los formatos de archivo pueden ser MOV, MPEG4, AVI, WMV, MP4.

El jurado, compuesto por los cineastas Alejandra Szeplaki, Jon  Márquez y el Doctor en ecología Alex Fergusson, otorgará un premio único de 2.000 Euros.

Las inscripciones estarán abiertas hasta el 15 de octubre de 2023 y deben efectuarse a través de la web del concurso www.watunna.org, rellenando el formulario de inscripción y enviando el cortometraje a través de la misma. En caso de que el corto a presentar supere los 2 GB deberá ser enviado directamente a la organización del concurso a través de WeTransfer o a través de correo postal a la dirección: Association Watunna Venezuela: 86 Avenue de la Madeleine, Res. Grand Angle, A43, 34070 Montpellier, Francia.

Venezuela posee un valioso “Capital Sociambiental” que requiere rápida intervención, mostrarlo, entenderlo y defenderlo es uno de los grandes retos de AMAZINE. Este proyecto cuenta con el apoyo  del Circuito Gran Cine, la Asociación Diálogo por Venezuela y las plataformas Embajadores del Orinoco, VenEuropa, Diáspora Venezolana, La Red Global, Programa Somos Caura,  Alianza Climática por Venezuela, Clima 21Ddhh y Radio Arte Venezuela.

Color Field Painting

mark rothko artwork
Mark Rothko Artwork

Color field painting is a style of abstract painting that emerged during the 1940s and 1950s in New York City, United States. It was inspired by European modernism and closely related to abstract expressionism, while many of its notable early proponents were among the pioneering abstract expressionists. Color field is characterized primarily by large fields of flat, solid color spread across or stained into the canvas creating areas of unbroken surface and a flat picture plane. It is associated with abstract expressionism and is characterized by large fields of flat, solid color that cover the entire canvas. The movement sought to emphasize the emotional and sensory power of color, focusing on the interaction between color and the viewer’s perception.

The term “color field painting” was first used by art critic Clement Greenberg in the 1950s to describe the work of Mark Rothko, Clyfford Still, Mark Rothko, and Barnett Newman. It rejected the gestural brushwork and expressive qualities of earlier abstract expressionist painters. Instead, they sought to create a contemplative and immersive experience through the use of simplified forms and expanses of color. The artists often employed careful color choices and variations in tone and saturation to evoke different moods and provoke emotional responses.

These artists were all interested in exploring the expressive potential of color and how it could be used to create a sense of space, depth, and emotion. They often used large, simplified shapes and limited palettes to create paintings that were both visually striking and emotionally resonant.

Other important figures in the color field movement include Helen Frankenthaler, Morris Louis, Kenneth Noland, and Alma Thomas. These artists developed their own unique styles within the color field idiom, and their work helped to broaden the movement’s appeal.

Color field painting had a significant impact on the development of abstract art in the 20th century. It helped to move abstract expressionism away from its gestural roots and towards a more formal and geometric approach. Color field painting also influenced later movements such as minimalism and conceptual art.

Color Field Painting aimed to create a sense of presence and to engage the viewer on a profound level. The large-scale canvases allowed for an immersive experience, as viewers were enveloped by the expansive fields of color. The movement marked a departure from representational art and focused on the power of color as the primary means of expression.

Color Field Painting had a significant influence on subsequent art movements, including minimalism and post-painterly abstraction. Its emphasis on color as a central element of artistic expression and its exploration of the relationship between color and space continue to resonate with artists and viewers today.

Today, color field painting is considered to be one of the most important and influential art movements of the 20th century. It continues to be a major force in contemporary art, and its influence can be seen in the work of many artists working today.

Here are some of the key characteristics of color field painting:

Large, simplified shapes
Limited palettes
Flat, unbroken surfaces
Emphasis on color
Use of space and depth to create emotional impact
Some of the most famous color field paintings include:

Mark Rothko’s “No. 10 (1950)”
Barnett Newman’s “Vir Heroicus Sublimis (1950-51)”
Clyfford Still’s “1948-C (1948)”
Helen Frankenthaler’s “Mountains and Sea (1952)”
Morris Louis’s “Alphabet (1959)”
Kenneth Noland’s “Homage to the Square: Blue (1960)”
Alma Thomas’s “The Desert” (1972)

Mark Rothko and the Emergence of Color Field Painting
The American modern arts landscape owes much to the innovations of Mark Rothko (1903-1970). After emigrating from Russia to the United States, Rothko managed to solidify his influence within the bustling New York art scene of the Abstract Expressionists of the 20th century. With his iconic color field paintings, Rothko challenged both representational utilization of paint as well as the more physical and gestural styles of other Abstract Expressionists, instead opting for contemplative use of color across imposing rectangular compositions.

Rothko’s formal exploration of the arts began at the Parsons The New School for Design, where he was taught by the likes of Arshile Gorky. It was in New York that Rothko explored several facets of abstract painting, from urban scenes to “multiforms,” before expertly developing his color field compositions in 1951. This signature technique of Rothko’s involved overwhelming rectangular divisions of color, ultimately aimed to elicit an emotional response from the canvases’ viewers.

Critics of Rothko’s work argued that these large-scale color compositions lacked substance and skill, in spite of Rothko’s rigorous consideration of balance, shape, depth, and color. However, he largely avoided acknowledging such skepticisms with specificity, instead emphasizing the personal and untold emotions fundamental to the greater human condition which he poured out onto the canvas. In fact, one may recognize the influence of such emotions as Rothko neared the end of his life and painted the Black on Grays series, somber canvases which many associate with his depression and eventual suicide in 1970.

As such, Mark Rothko’s compositional strategy and intuitive understanding of mortal drama radiated through his work as he experimented with the infinite possibilities of fields of color. Check out these Rothko-inspired Saatchi Artists who have developed their own approach to color and emotion in their own distinct style.

Source: https://canvas.saatchiart.com/art/art-history-101/mark-rothko-and-the-emergence-of-color-field

Geometric abstraction

Geometric abstraction

Geometric abstraction is a form of abstract art based on the use of geometric shapes such as squares, circles and triangles, emphasize the visual relationships between shapes, colors, and lines to create non-representational artworks. These forms are often arranged in non-representational (non-objective) compositions, meaning that they do not represent any recognizable objects from the natural world. Geometric abstraction can be traced back to the early 20th century, when artists such as Piet Mondrian and Kazimir Malevich began to explore the expressive potential of geometric forms.
Geometric abstraction aims to explore the inherent qualities of geometric shapes, such as their symmetry, balance, and precision. It often rejects the depiction of recognizable objects or subjects in favor of pure abstraction. Artists working in this style may employ various mediums, including painting, sculpture, and graphic design, to create their artworks.

Geometric abstraction is an artistic style that emerged in the early 20th century, it reached its peak in the 1950s and 1960s, when it was embraced by a number of influential artists, including Ellsworth Kelly, Josef Albers, and Agnes Martin. During this period, geometric abstraction was often associated with the Minimalist movement, which emphasized the use of simple, geometric forms and the elimination of unnecessary detail.

Today, geometric abstraction continues to be a popular form of abstract art. It is often used in graphic design, architecture, and fashion, and it can be found in the work of artists from around the world.

Key figures associated with geometric abstraction include artists such as:

Kazimir Malevich
Piet Mondrian
Wassily Kandinsky
László Moholy-Nagy
Josef Albers
Ellsworth Kelly
Agnes Martin
Bridget Riley
Sol LeWitt
Frank Stella

These artists sought to create art that emphasized the spiritual, universal, and timeless aspects of visual language, breaking away from traditional representational forms.

Geometric abstraction continues to be influential and is celebrated for its emphasis on form, color, and composition. It has had a significant impact on various art movements and continues to inspire contemporary artists today.

Here are some of the most famous works of geometric abstraction:

Piet Mondrian, Composition with Red, Blue, Yellow, and Black (1921)
Catalogue no. SCH-1957-0071 0333329     Piet Mondriaan     Title: Composition with Large Red Plane, Yellow, Black, Gray and Blue Painting scan van neg juni 2006

Piet Mondrian, Composition with Red, Blue, Yellow, and Black (1921)

Mondrian’s Composition with Red, Blue, and Yellow demonstrates his commitment to relational opposites, asymmetry, and pure planes of color. Mondrian composed this painting as a harmony of contrasts that signify both balance and the tension of dynamic forces. Mondrian viewed his black lines not as outlines but as planes of pigment in their own right; an idea seen in the horizontal black plane on the lower right of the painting that stops just short of the canvas edge (see image above). Mondrian eradicates the entire notion of illusionistic depth predicated on a figure in front of a background. He achieves a harmonious tension by his asymmetrical placement of primary colors that balance the blocks of white paint. Notice how the large red square at the upper right, which might otherwise dominate the composition, is balanced by the small blue square at the bottom left. What’s more, when you see this painting in a person you can discern just how much variation is possible using this color scheme—and that Mondrian used varying shades of blacks and whites, some of which are subtly lighter or darker. Seen up close, this variety of values and textures create a surprising harmony of contrasts. Even the visible traces of the artist’s brushwork counter what might otherwise be a rigid geometric composition and balance the artist’s desire for a universal truth with the intimately personal experience of the artist.

“Composition with Red, Blue, and Yellow” by Piet Mondrian: This iconic painting is a prime example of Mondrian’s exploration of geometric forms and primary colors. It features a grid of rectangles filled with solid red, blue, and yellow, accompanied by intersecting black lines.


Kazimir Malevich, Suprematist Painting (1916-17)

This abstract art style explores pure color and pure light, representing a new realism in painting according to Malevich. The painting features geometric shapes such as squares, rectangles and circles in black, white and various shades of red against a white background.

“Black Square” by Kazimir Malevich: Malevich’s “Black Square” is considered a pioneering work of geometric abstraction. It consists of a simple black square painted on a white background, representing a rejection of traditional representation and a quest for pure form.

Wassily Kandinsky, Composition VII (1913)

“Composition VII” (1913) by Wassily Kandinsky is considered by many abstract art aficionados to be the most important painting of the 20th Century—perhaps even the most important abstract painting ever created. Yet frequently when someone looks at it for the first time they react negatively, expressing anger, frustration, or even disgust. Undeniably, it is a difficult painting, especially for those who are new to abstract art. First of all, it is massive, measuring 200 x 300 centimeters. Secondly, the surface is entirely covered with countless overlapping amorphous forms, seemingly random lines, and a minefield of colors, some vivid and some blurred. Nothing references the known natural world. Only the illusion of depth is perceptible, but the space into which it recedes bears no semblance to reality. The painting could easily look like nonsense to anyone unwilling to work towards unravelling its mysteries. But for those willing to study it with an open mind, “Composition VII” can pay enough intellectual, visual, and even spiritual dividends to last a lifetime. And I am not being hyperbolic. This painting truly is that important to some people—not only because of its visual, physical, or formal qualities either, but because for Kandinsky and those who appreciate him, “Composition VII” has come to be understood as a concrete embodiment of spiritual purity in art.

“Composition VII” by Wassily Kandinsky: Kandinsky’s “Composition VII” is a complex and dynamic painting featuring intersecting lines, geometric shapes, and vibrant colors. It showcases his interest in the spiritual and emotional power of abstract art.


László Moholy-Nagy, Untitled (1923-25)

In “Untitled” (1923-25), Moholy-Nagy explores the principles of geometric abstraction. The composition consists of intersecting lines, shapes, and planes, creating a dynamic and visually engaging arrangement. Moholy-Nagy’s use of geometric forms reflects his interest in the relationship between art, technology, and society.

This artwork exemplifies Moholy-Nagy’s innovative approach to art-making and his exploration of the possibilities of abstraction. Through his use of geometric elements, he sought to create a visual language that conveyed the energy and dynamism of the modern world. “Untitled” (1923-25) stands as a testament to Moholy-Nagy’s contributions to the development of geometric abstraction and his lasting influence on the art world.


Josef Albers, Homage to the Square: With Red (1950)

Homage to the Square: Apparition, painted in 1959, is a disarmingly simple work, composed of four superimposed squares of oil color applied with a palette knife directly from the tube onto a white, primed Masonite panel. It is part of a series that Albers began in 1950 and that occupied him for 25 years.

“Homage to the Square” series by Josef Albers: Albers’ series of paintings explores the interaction of colors within nested squares. These works demonstrate the artist’s meticulous study of color relationships and optical illusions.


Ellsworth Kelly, Red Blue Green (1959)
Agnes Martin, The Tree (1959)
Bridget Riley, Movement in Squares (1961)
Sol LeWitt, Wall Drawing #1180 (1979)
Frank Stella, Die Fahne Hoch! (1959)

Geometric abstraction has produced numerous notable works that have made a significant impact on the art world. Here are some of the most famous works associated with this artistic style:

John McLaughlin (1898-1976)

John Dwyer Mclaughlin
John Dwyer Mclaughlin

Geometric abstract art american artists

John Dwyer Mclaughlin (1898-1976)

John McLaughlin’s work fuses Zen painting, Constructivism, and hard-edged Minimalism in geometric compositions of lines, squares, and rectangles rendered in a palette of primary colors. Exploring harmonies of color, shape, and composition, McLaughlin sought to “communicate only to the extent that the painting will serve to induce or intensify the viewer’s natural desire for contemplation without the benefit of a guiding principle,” he said. His paintings can be understood as descending from the work of seminal abstractionists Kasimir Malevich and Piet Mondrian, pioneers in the exploration of the sublime potential of pure color and form. McLaughlin first studied painting in Japan while serving as an intelligence officer during World War II, and he later settled in California. His body of work served as inspiration for the artists of the California Light and Space Movement.

John McLaughlin was a self-taught American painter known for his austere geometric abstractions based in the Zen Buddhist notion of the void. Employing precisely painted rectangular and gridded forms of beige, warm black, marigold yellow, and deep indigo, McLaughlin’s works intended to provoke a meditative state. “My purpose is to achieve the totally abstract,” he once reflected. “I want to communicate only to the extent that the painting will serve to induce or intensify the viewer’s natural desire for contemplation without the benefit of a guiding principle.” Born on May 21, 1898 in Sharon, MA, McLaughlin’s parents fostered his interest in Asian art throughout his childhood. Serving in World War I as a young man, he later lived with his wife in Japan during the mid-1930s. Returning to the United States three years later, McLaughlin and his wife opened a gallery in Boston that specialized in Japanese prints. Recruited as a Japanese translator in World War II, he began producing art full time after his service ended in 1946. Influenced by the paintings of Kazimir Malevich and Piet Mondrian, as well as those of 16th-century Japanese painters, McLaughlin’s earliest mature works were abstractions. In 1952, the artist had his first solo exhibition at the Felix Landau Gallery in Los Angeles, later gaining recognition as one of the preeminent artists in California, alongside Robert Irwin and Billy Al Bengston. McLaughlin died on March 22, 1976 in Dana Point, CA. In 2016, the Los Angeles County Museum of Art opened a long overdue retrospective of his work titled “John McLaughlin: Total Abstraction.” Today, the artist’s works are held in the collections of the San Francisco Museum of Modern Art, the Whitney Museum of American Art in New York, and the Albright-Knox Gallery in Buffalo, among others.

Abstract geometric

Timeline

1898 Born in Sharon, Massachusetts, USA

1961 Bachelor of Fine Arts, San Francisco Art Institute, San Francisco, CA, USA

1962 Master of Fine Arts, San Francisco Art Institute, San Francisco, CA, USA

1963 Tamarind Fellowship

1964 Visual Arts Award for individual artists by the National Endowment for the Arts and Humanities

1976 Died in Dana Point, California, USA

Geometric abstraction & minimalism artist

2013 John Mclaughlin: Paintings 1947-1974, Van Doren Waxter, New York, NY (solo)

2012 ED RUSCHA JOHN McLAUGHLIN LEWIS BALTZ, Galerie Thomas Zander, Cologne, Germany

2012 Pacific Standard Time. Kunst in Los Angeles 1950-1980, Martin-Gropius-Bau, Berlin, Germany

2011 Constructive Spirit: Abstract Art in South and North America, 1920s – 50s, Newark Museum, Newark, NJ

2010 Kissed by Angels: A Selection of Work from Southern California, The Menil Collection, Houston, TX

2010 Colorscope: Abstract Painting, 1960-1979, Santa Barbara Museum of Art, Santa Barbara, CA

2010 Collection: MOCA’s First Thirty Years, The Museum of Contemporary Art, Los Angeles, CA

2010 John McLaughlin: Hard Edge Classicist , Greenberg Van Doren Gallery, New York, NY (solo)

2009 The Third Mind: American Artists Contemplate Asia: 1860-1989, Solomon R.

2009 Guggenheim Museum, New York, NY

2009 Stripes/Solids, Paula Cooper Gallery, New York, NY

2009 Exploring Black and White: The 1930’s through the 1960’s, D. Wigmore Fine Art, Inc., New York, NY

2008 Modernism and the Wichner Collection, Long Beach Museum of Art, Long Beach, CA

2008 Síntesis – muestra colectiva, Galería Cayón, Madrid, Spain

2007 Birth of the Cool: California Art, Design, and Culture at Midcentury, Orange County Museum of Art, Newport Beach, CA; traveled to Addison Gallery of America Art, Phillips Academy, Andover, MA; Oakland Museum of California, Oakland, CA; Blanton Museum of Art, The Unviersity of Texas at Austin, Austin, TX

2007 John McLaughlin: The Tamarind Prints, Palm Springs Art Museum, Palm Springs, CA (solo)

2006 John McLaughlin: The Complete Prints, Susan Sheehan Gallery, New York, NY (solo)

2006 Color and line; Selections from The Menil Collection, The Menil Collection, Houston, TX

2006 Geometric Abstraction and Color Function: Two Generations, D. Wigmore Fine Art, Inc., New York, NY

2006 California Modern, Orange County Museum of Art, Newport Beach, CA

2006 La Dolce Vita – Selections from the Ruth and Murray Gribin Collection, Museum of Contemporary Art San Diego, La Jolla, CA

2006 Los Angeles, 1955-1985: naissance d’une capitale artistique/sous la direction de Catherine Grenier, Centre Pompidou, Paris, France

2005 Wilder: A tribute to the Nicholas Wilder Gallery, Los Angeles 1965-1979, Franklin Parrasch Gallery, New York, NY

2005 Into The Unknown – Abstraction From The Collection, MOCA Grand Avenue, Los Angeles, CA

2005 John McLaughlin, Ameringer & Yohe Fine Art, New York, NY (solo)

2004 Specific Objects – The Minimalist Influence, MOCA, San Diego, CA

2004 Art, Artists, and the Addison, Addison Gallery of American Art, Andover, MA

2004 Group Show, Western Project, Culver City, CA

2003 On the Edge: Contemporary Art from the DaimlerChrysler Collection, The Detroit Institute of Arts, Detroit, MI

2003 Guest Art. Das Kunsthaus mit Leihgaben zu Gast , Haus Konstruktiv, Stiftung für konstruktive und konkrete Kunst, Zurich, Switzerland

2003 The DaimlerChrysler Collection, Zentrum für Kunst und Medientechnologie Karlsruhe, Karlsruhe, Germany

2003 Minimalism and After II, Daimler Contemporary, Berlin, Germany

2002 Samadhi, The Contemplation of Space, Chelsea Art Museum, New York, NY

2002 Flatline, Cirrus Gallery, Los Angeles, CA

2002 Ameringer & Yohe Fine Art, New York, NY (solo)

2001 Substitute Cities, The Power Plant, Toronto, ON

2001 A Room of Their Own From Arbus to Gober, The Geffen Contemporary at MOCA, Los Angeles, CA

1998 John McLaughlin: Paintings, Paula Cooper Gallery, New York, NY (solo)

1996 John McLaughlin: Western Modernism, Eastern Thought, Laguna Art Musuem, Laguna Beach, CA; traveled to Baltimore Museum of Art, Baltimore, MD and Joslyn Museum, Omaha,NE (solo)

1993 The Institute for Contemporary Art/Clocktower Gallery, New York, NY (solo)

1992 Annely Juda Fine Art, London, UK (solo)

1991 André Emmerich Gallery, New York, NY (solo)

1991 John McLaughlin: Collages, Daniel Weinberg Gallery, Santa Monica, CA (solo)

1990 Daniel Weinberg Gallery, Los Angeles, CA (solo)

1990 Long Beach Museum of Art, Long Beach, CA (solo)

1983 John McLaughlin: Paintings 1951-1966, Gatodo Gallery, Tokyo, Japan

1982 John McLaughlin, Ulmer Museum, Stadt Ulm, West Germany

1981 John McLaughlin: Black and White, Galerie Andre Emmerich, Zurich, Switzerland

1981 John McLaughlin: Paintings, 1950-1975, Annely Judya Fine Art, London

1981 Quadrat Bottrop – Modern Gallerie, Bottrop, West Germany

1978 Quadrat Bottrop – Modern Gallerie, Bottrop, West Germany

1974 John McLaughlin, Whitney Museum of American Art, New York

1973 John McLaughlin – A Retrospective Exhibition, La Jolla Museum of Contemporary Art, CA

1971 John McLaughlin – Recent Paintings 1970-1971, University of California, Irvine

1968 Occidental College, Los Angeles, CA

1963 Retrospective Exhibition – John McLaughlin, Pasadena Art Museum, CA

1960 Long Beach Museum of Art, CA

1958 University of California, Riverside, CA

1956 Pasadena Art Museum, Pasadena, CA

Cubism geometric abstraction

2012 ED RUSCHA JOHN McLAUGHLIN LEWIS BALTZ, Galerie Thomas Zander, Köln, 2012

1996 Larsen, Susan. John McLaughlin, Western Modernism, Eastern Though: Essays, Distributed Art Publishers, 1996

1993 Four Abstract Classicists, San Francisco Museum of Art; Los Angeles County Museum

1992 Paintings and Prints – 1950-1975, London, 1992

1987 Joslyn Art Museum. Paintings and Sculpture from the European and American Collections. University of Nebraska Press, Omaha, Nebraska

1981 John McLaughlin, Quadrat Bottrop – Morderne Galerie, Bottrop, 1981

1977 California – 5 Footnotes to American Art History, Los Angeles, 1977

1973 John McLaughlin Retrospective Exhibition, Museum of Contemporary Art, La Jolla, 1973

1970–1971 John McLaughlin Recent Paintings – 1970/1971 University of California, Irvine

1963 John McLaughlin A Retrospective Exhibition, Pasadena Art Museum, 1963

Public Collections

Santa Barbara Museum of Art, Santa Barbara, CA

Sheldon Memorial Art Gallery

University Art Museum, University of California, Berkeley, CA

University Art Museum, University of New Mexico, Albuquerque, NM

Wadsworth Atheneum, Hartford, CT

Whitney Museum of American Art, New York City, NY

National Collection of Fine Arts, Smithsonian Institution, Washington D.C.

Oakland Museum of Art, Oakland CA

Pasadena Museum of Modern Art, Pasadena, CA

Portland Art Museum, Portland, OR

Pasadena Museum of Modern Art, Pasadena, CA

Portland Art Museum, Portland, OR

Pasadena Museum of Modern Art, Pasadena, CA

Portland Art Museum, Portland, OR

San Diego Museum of Art, San Diego, CA

San Francisco Museum of Modern Art

Los Angeles County Museum of Art

Long Beach Museum of Art, Long Beach, CA

Marion Koogler McNay Art Museum, San Antonio, TX

Massachusetts Institute of Technology, Cambridge, MA

Mead Art Gallery, Amherst College, Amherst, MA

The Metropolitan Museum of Art, NY

Miami Art Museum, Miami, FL

Museum and Art Gallery, Stanford University, Stanford, CA

Museum of Contemporary Art, Los Angeles, CA

Museum of Modern Art, NY

Addison Gallery, Phillips Academy, Andover, MA

Albright-Knox Gallery, Buffalo, NY

Bowdoin College Museum of Art, Brunswick, ME

The Corcoran Gallery of Art, Washington D.C.

Daimler Chrysler, Berlin, Germany

Everson Museum of Art, Syracuse, NY

Indianapolis Museum of Art, Indianapolis, IN

Inverleith House, Royal Botanical Garden Edinburgh, Scotland

Joslyn Art Museum, Omaha, NE

Laguna Art Museum, Laguna Beach, CA

Martini Studio D’Arte

Martini Studio d’Arte team
Martini Studio d’Arte team

Martini Studio D’Arte

+39 030 242 5709

E-mail. [email protected]

Borgo Pietro Wuhrer, 125, 25123 Brescia BS, Italy

“Conveying the value of artists” is what inspires and guides us to always give our best at work.

We want to move art lovers deeply in order to create value. That’s why we are committed to promoting international artists and discovering the young talents of the future.

We love anticipating market trends and passing on exciting stories through the works we select. We are art collectors and, as such, we seek out unique, rare and original pieces.

We have been working in the sector for more than 25 years, close to our clients, to whom we always offer the best of the modern and contemporary art scene.

Team

Paolo Martini
the Founder

Giovanni Martini
General Manager

Angelo Martini
Senior Specialist

Michele Martini
Senior Specialist

Alice
Junior Specialist

Veronica
Operating Officer
The art auction house with the soul of a collector

The art auction house with the soul of a collector

We are a family-run auction house, based in Brescia (Northern Italy). Perhaps the small size of our company is our biggest advantage, as we are able to provide our clients with tailor-made assistance throughout the entire buying and selling process.

Specialized in figurative art, our focus is on modern and contemporary art. We act as direct intermediaries between the seller, who decides to entrust us with his works, and the buyer, who, understanding their value, purchases them safely and easily during our auction sessions or private negotiations.

Those who rely on us recognise our passion, appreciate our professionalism and modus operandi, which concentrate on quality rather than quantity.

Our history

The Foundation

Martini Studio d’Arte was born as an exhibition space at the beginning of the ‘90s, thanks to the initiative of Paolo Martini, who transformed his passion for art into a real profession, founding an art gallery.

Paolo showed his interest in artwork at the age of 15, when, working for a framer in Brescia, he came into contact with the first paintings.

His love for art, his ambitious personality and his desire to emerge made him stand out: he began selling his first lots independently right from the start.

From art gallery to auction house

Over the years, his experience and contacts grew exponentially, as did his collaborations with some important Italian auction houses.

The sales volume was so high that Paolo came up with the idea of transforming his wonderful art gallery into a dynamic auction house.

This became reality on 12 June 2006, the date of the first auction.

Today

In order to satisfy market needs and deal with the constant changes of technologies, Paolo now works with his three sons, Giovanni, Angelo and Michele. They inherited from their father the idea that trust, transparency and honesty are fundamental to build lasting relationships with clients.

Today Studio d’Arte Martini has become a point of reference for art lovers. Our auction house has achieved important successes over the years thanks to the specialization in modern and contemporary art, the multi-year experience in the sector, the strategic use of the web and social media, and the qualified staff, who guarantee a high standard of service.

We have always selected works that can never be taken for granted and with which you fall in love at first glance.

Artists:

Alberto Abbati (Italian, 1923–2011)
Carla Accardi (Italian, 1924–2014)
Valério Adami (Italian, born 1935)
Afro (Italian, 1912–1976)
Soshana Afroyim (Austrian, 1927–2015)
Josef Albers (American/German, 1888–1976)
Sandro de Alexandris (Italian, born 1939)
Adriano Altamira (Italian, born 1947)
Robert Alvarez Rios (born 1932)
Franco Angeli (Italian, 1935–1988)
Rodolfo Aricò (Italian, 1930–2002)
Stefano Arienti (Italian, born 1961)
Edmondo Bacci (Italian, 1913–1979)
Enrico Baj (Italian, 1924–2003)
Eduard Bargheer (German, 1901–1979)
Gianfranco Baruchello (Italian, born 1924)
Gabriele Basilico (Italian, 1944–2013)
Davide Benati (Italian, born 1949)
Vasco Bendini (Italian, 1922–2015)
Giacomo Benevelli (Italian, born 1925)
Mirella Bentivoglio (Italian, 1922–2017)
Cesare Berlingeri (Italian, born 1948)
Carlo Bernardini (Italian, born 1966)
Joseph Beuys (German, 1921–1986)
Domenico Bianchi (Italian, born 1955)
Remo Bianco (Italian, 1922–1988)
Alberto Biasi (Italian, born 1937)
Mario Bionda (Italian, 1913–1985)
Alighiero Boetti (Italian, 1940–1994)
Luigi Boille (Italian, 1926–2015)
Agostino Bonalumi (Italian, 1935–2013)
Beppe Bonetti (Italian, born 1951)
Arturo Bonfanti (Italian, 1905–1978)
Enzo Brunori (Italian, 1924–1993)
Günter Brus (Austrian, born 1938)
Antonio Bueno (Italian, 1918–1985)
Enzo Cacciola (Italian, born 1945)
Nino (Antonio Calogero) Calos (Italian, 1926–1990)
Pier Paolo Calzolari (Italian, born 1943)
Massimo Campigli (Italian, 1895–1971)
Giovanni Campus (Italian, born 1929)
Robert Capa (Hungarian, 1913–1954)
Carmelo Cappello (Italian, 1912–1996)
Arturo Carmassi (Italian, 1925–2015)
Eugenio Carmi (Italian, 1920–2016)
Federico Casati (Italian, born 1968)
Vincenzo Cecchini (born 1934)
Giuseppe Chiari (Italian, 1926–2007)
Henri Chopin (French, 1922–2008)
Christo (Bulgarian, 1935–2020)
Giorgio Ciam (Italian, 1941–1996)
Josep Ucles Cifuentes (Spanish, 1925–2013)
Marco Cingolani (Italian, born 1961)
Carlo Cioni (Italian, born 1930)
Antonio Corpora (Italian, 1909–2004)
Toni Costa (Italian, 1935–2013)
Franco Costalonga (Italian, 1933–2019)
Roberto Crippa (Italian, 1921–1972)
Carlos Cruz-Diez (Venezuelan, 1923–2019)
Dadamaino (Italian, 1935–2004)
Karl Fred Dahmen (German, 1917–1981)
Salvador Dalí (Spanish, 1904–1989)
Sergio Dangelo (Italian, 1932–2022)
Marina Davydova (Russian, born 1951)
Lucio Del Pezzo (Italian, born 1933)
Mario Deluigi (Italian, 1901–1978)
Giuseppe Desiato (Italian, born 1935)
Pierre Dmitrienko (French, 1925–1974)
Noël Dolla (French, born 1945)
Hisao Domoto (Japanese, 1928–2013)
Piero Dorazio (Italian, 1927–2005)
Gillo Dorfles (Italian, 1910–2018)
Angelo Dozio (Italian, born 1941)
Marcello Fantoni (Italian, 1915–2011)
Agostino Ferrari (Italian, born 1938)
Tano Festa (Italian, 1938–1988)
Lucio Fontana (Argentine/Italian, 1899–1968)
Ruth Francken (American, 1924–2006)
Horacio Garcia Rossi (Argentine, 1929–2012)
Franco Garelli (Italian, 1909–1973)
Alberto Garutti (Italian, born 1948)
Luciano Gaspari (Italian, born 1913)
Winfred Gaul (German, 1928–2003)
Franco Gentilini (Italian, 1909–1981)
Quinto Ghermandi (Italian, 1916–1994)
Luigi Ghirri (Italian, 1943–1992)
Mario Giacomelli (Italian, 1925–2000)
Piero Gilardi (Italian, born 1942)
Hans Jörg Glattfelder (Swiss, born 1939)
Giorgio Griffa (Italian, born 1936)
Riccardo Guarneri (Italian, born 1933)
Elisabetta Gut (Italian)
Hans Hartung (French/German, 1904–1989)
Thomas Hoepker (German, born 1936)
Hsiao Chin (Taiwanese, born 1935)
Ralph Humphrey (American, 1932–1990)
Paolo Icaro (Italian, born 1936)
Emilio Isgrò (Italian, born 1937)
Ray Johnson (American, 1927–1995)
Joe Jones (American, 1934–1993)
Ioannis Kardamatis (Greek, b. after 1916–d. after)
Ellsworth Kelly (American, 1923–2015)
Jan Knapp (born 1949)
Robert Knight
Jiri Kolár (Czech, 1914–2002)
Martin Krampen (German, born 1928)
Ketty La Rocca (Italian, 1938–1976)
Edoardo Landi (Italian, born 1937)
Julio Le Parc (Argentine, born 1928)
Jean-Jacques Lebel (French, born 1936)
Felice Levini (Italian, born 1956)
Sol LeWitt (American, 1928–2007)
Riccardo Licata (Italian, 1929–2014)
Osvaldo Licini (Italian, 1894–1958)
Umberto Lilloni (Italian, 1898–1980)
Marcello Lo Giudice (Italian, born 1957)
Francesco Lo Savio (Italian, 1935–1963)
Richard Long (British, born 1945)
Boris Lurie (American/Russian, 1924–2008)
Urs Lüthi (Swiss, born 1947)
Luigi Magnani (Italian, 1917–1984)
Luigi Mainolfi (Italian, born 1948)
Man Ray (American, 1890–1976)
Pompilio Mandelli (Italian, 1912–2006)
Elio Marchegiani (Italian, born 1929)
Paolo Masi (Italian, born 1933)
Vittorio Matino (Italian, born 1943)
Galliano Mazzon (Italian, 1896–1978)
John McLaughlin (American, 1898–1976)
Juan Mele (Argentine, 1923–2012)
Fausto Melotti (Italian, 1901–1986)
Mario Merz (Italian, 1925–2003)
Edouard Léon Théodore Mesens (Belgian, 1903–1971)
Yves Millecamps (French, born 1930)
Aldo Mondino (Italian, 1938–2005)
Carmen Gloria Morales (Chilean, born 1942)
Marcello Morandini (Italian, born 1940)
François Morellet (French, 1926–2016)
Philippe Morisson (French, 1924–1994)
Ennio Morlotti (Italian, 1910–1992)
Ursula Mosbach (German, b. after 1922–d. after 2002)
Zoran Antonio Mušic (Slovenian, 1909–2005)
Otto Muehl (Austrian, 1925–2013)
Bruno Munari (Italian, 1907–1998)
Edo Murtic (Croatian, 1921–2004)
Magdalo Mussio (Italian, 1925–2003)
Gualtiero Nativi (Italian, 1921–1999)
Matteo Negri (Italian, born 1982)
Aurélie Nemours (French, 1910–2005)
Shirin Neshat (Iranian, born 1957)
Nguyen Tuan (Vietnamese, born 1963)
Davide Nido (Italian, 1966–2014)
Hermann Nitsch (Austrian, 1938–2022)
Georges Noël (French, 1924–2010)
Claudio Olivieri (Italian, 1934–2019)
Luigi Ontani (Italian, born 1943)
Dennis Oppenheim (American, 1938–2011)
Giulio Paolini (Italian, born 1940)
Antonio Paradiso (Italian, born 1936)
Adriano Parisot (Italian, 1912–2004)
Robert & Shana ParkeHarrison (American)
Olivia Parker (American, born 1941)
Claudio Parmiggiani (Italian, born 1943)
Luc Peire (Belgian, 1916–1994)
Alessandro Pessoli (Italian, born 1963)
Giuseppe Pinot Gallizio (Italian, 1902–1964)
Jorge Piqueras (Peruvian, 1925–2020)
Fabrizio Plessi (Italian, born 1940)
Arnaldo Pomodoro (Italian, born 1926)
Dolores Previtali (Italian, born 1949)
Marc Quinn (British, born 1964)
Arnulf Rainer (Austrian, born 1929)
Rudolph Rainer (born 1950)
Tomas Rajlich (Czech, born 1940)
Carol Rama (Italian, 1919–2015)
Saverio Rampin (Italian, b. after 1930–1992)
Gerhard Richter (German, born 1932)
Franz Ringel (Austrian, 1940–2011)
Emilio Rodríguez-Larraín (Peruvian, 1928–2015)
Bruno Romeda (Italian, born 1933)
Mimmo Rotella (Italian, 1918–2006)
Claudio Rotta Loria (Italian, born 1949)
Piero Ruggeri (Italian, 1930–2009)
Bruno Saetti (Italian, 1902–1984)
Niki de Saint Phalle (French, 1930–2002)
Salvo (Italian, 1947–2015)
Giuseppe Santomaso (Italian, 1907–1990)
Franco Sarnari (Italian, born 1933)
Sergio Sarri (Italian, born 1938)
Antonio Scaccabarozzi (Italian, 1936–2008)
Emilio Scanavino (Italian, 1922–1986)
Mario Schifano (Italian, 1934–1998)
Gérard Ernest Schneider (Swiss, 1896–1986)
Luigi Senesi (Italian, 1938–1978)
Rino Sernaglia (born 1936)
Gino Severini (Italian, 1883–1966)
Gianni Emilio Simonetti (Italian, born 1940)
Mario Sironi (Italian, 1885–1961)
Richard Smith (British, 1931–2016)
Jesús Rafael Soto (Venezuelan, 1923–2005)
Giuseppe Spagnulo (Italian, 1936–2016)
Ettore Spalletti (Italian, 1940–2019)
Aldo Spinelli (Italian, born 1948)
Daniel Spoerri (Swiss, born 1930)
Alessandra Spranzi (born 1962)
Henryk Stazewski (Polish, 1894–1988)
Nunzio Di Stefano (Italian, born 1954)
Gaston Suisse (French, 1896–1988)
Emilio Tadini (Italian, 1927–2003)
Tancredi (Italian, 1927–1964)
Giorgio Teardo (born 1932)
Rirkrit Tiravanija (Thai, born 1961)
Jorrit Tornquist (Austrian, born 1938)
Tomonori Toyofuku (Japanese, 1925–2019)
Giulio Turcato (Italian, 1912–1995)
Giuseppe Uncini (Italian, 1929–2008)
Maurice Utrillo (French, 1883–1955)
Tino Vaglieri (Italian, 1929–2000)
Valentino Vago (Italian, 1931–2018)
Walter Valentini (Italian, born 1928)
Nanni Valentini (Italian, 1932–1985)
Grazia Varisco (Italian, born 1937)
Victor Vasarely (French/Hungarian, 1906–1997)
Ben Vautier (French, born 1935)
Emilio Vedova (Italian, 1919–2006)
Arturo Vermi (Italian, 1928–1988)
Claudio Verna (Italian, born 1937)
Luigi Veronesi (Italian, 1908–1998)
Renzo Vespignani (Italian, 1924–2001)
Andy Warhol (American, 1928–1987)
Adolfo Wildt (Italian, 1868–1931)
Joel-Peter Witkin (American, born 1939)
Gianfranco Zappettini (Italian, born 1939)
Giancarlo Zen (Italian, born 1929)
Robert Zeppel-Sperl (Austrian, 1944–2005)
Carlo Zinelli (Italian, 1916–1974)

D. Wigmore Fine Art

photo by Peter Dressel
photo by Peter Dressel

D. Wigmore Fine Art

Gallery Statement

D. Wigmore Fine Art, Inc. was established in 1980 to specialize in the major historic styles of American art. Over the past three decades the gallery has acquired, developed exhibitions, and sold the Hudson River School, American Impressionism, the Ashcan School, and Turn-of-the-Century Modernism. The current focus of the inventory, exhibitions, and sales are realist and abstract art from 1900 to 1980.

Realism of the 1930s and 1940s:

We handle the paintings of Aaron Bohrod, Charles Burchfield, John Steuart Curry, Adolf Dehn, William Gropper, Peter Hurd, Joe Jones, Rockwell Kent, Doris Lee, Luigi Lucioni, Reginald Marsh, Kenneth Hayes Miller, Dale Nichols, Paul Sample, Ben Shahn and Isaac, Raphael, and Moses Soyer. The gallery is the exclusive agent for the estates of Doris Lee (1904-1983) and Henry Varnum Poor (1887-1970).

Abstraction of the 1930s and 1940s:

The gallery has a broad inventory of the non-objective styles of the 1930’s-1940’s pioneers of Geometric Abstraction, such as Ilya Bolotowsky, Burgoyne Diller, Werner Drewes, John Ferren, Suzy Frelinghuysen, Balcomb and Gertrude Greene, Carl Holty, Paul Kelpe, George L.K. Morris, Irene Rice Pereira, and Rolph Scarlett. The gallery represents the estates of Charles Green Shaw (1892-1974) and Charles Biederman (1908-2002).

Post-War Abstraction:

Our inventory also contains examples of abstraction from the 1950s through the 1970s, including Abstract Expressionism, Op Art, Washington Color School and California Hard Edge Painting. The Abstract Expressionist Paul Jenkins (1923-2012) is a particular focus for the gallery and we have offered major examples of his paintings in our two Space, Color, and Light exhibitions with two catalogues documenting his art from 1955-1960 in 2007 and 1960-1979 in 2009. Our Op Art inventory centers on the American artists included in the Museum of Modern Art’s 1965 exhibition The Responsive Eye. Artists included in that exhibition who we focus on are: Richard Anuszkiewicz, Tadasky (Tadasuke Kuwayama), Mon Levinson, and Ernst Benkert and Francis Hewitt of the Anonima Group. We offer fine examples by the California Abstract Classicists: John McLaughlin (1898-1976), Karl Benjamin (b.1925), Lorser Feitelson (1898-1987), and Frederick Hammersley (1919-2009). Of the Washington Color School, our inventory is rich in works by Gene Davis (1920-1985), Thomas Downing (1928-1985), Howard Mehring (1931-1978), and Paul Reed (1919-2015).

In each area of focus, we make every effort to select paintings, works on paper and sculpture that are in excellent condition and from each artist’s best period. Both time and money are spent on necessary conservation to both art and frames using well recognized specialists for the work. D. Wigmore Fine Art strives for a high level of professionalism, and our staff enjoys sharing its love and knowledge of art. D. Wigmore Fine Art serves both private and museum clients. We provide exhibitions and information which create a historical context for artists and their art, and we follow up with clients as more information on an artist that interests them becomes available. The gallery works with scholars to facilitate their research and to make possible connections to our clients for information regarding reproduction and/or exhibition of works in their collections. Our goal is to help clients create meaningful collections of American art.

We welcome inquiries regarding the sale and purchase of American art.

Business Principles

1. We provide paintings with price ranges for both novice and established collectors. We listen to our customers and respond to their needs.

2. We love and deal only in fine art.

3. We offer uncommon value. The paintings we offer are the result of an intensive screening process. We own most of them or represent the artists’ estates. Our prices are fair because our costs are well controlled. We avoid fads and strive to present all of our art professionally. We expect to provide lifetime service to our customers.

4. We have a team effort that is open, communicative and shares its knowledge. We offer a happy, positive, and supportive work atmosphere. We eschew sales pressure.

5. Our staff members are expected to be intense and hard working, self-disciplined, and dedicated to professional growth through gallery experience, reading, and attendance at exhibitions and shows. Each person is expected to move into selling, sourcing, and presenting our art.

6. We work well with dealers, art consultants, decorators, and other art professionals without infringing on their client relationships.

7. We keep all gallery affairs confidential, especially those of our clients.

8. While we may never become the biggest gallery, we expect to grow steadily in good times and bad, and to become one of the very best.

Gallery Personnel

Deedee Wigmore, President

Emily Lenz, Director

Richard Jefferson, Registrar

Jashar Awan, Designer

Conservation and Framing by Julius Lowy

Website Design: John Cedric Pedersen, JCP: PC & Mac, Inc.

HOMAGE TO THE SQUARE

Midnight and Noon VIII, 1964
Josef Albers (1888-1976) Midnight and Noon VIII, 1964

HOMAGE TO THE SQUARE: ALBERS’ INFLUENCE ON GEOMETRIC ABSTRACTION

American Paintings – D.Wigmore Fine Art

Essay by Emily Lenz

By 1950 Josef Albers (1888-1976) settled on an arrangement of concentric squares to investigate the interaction of colors in his series Homage to the Square. Albers saw the nested squares as pure containers of color that standardized the experiments he continued for 25 years. Albers defined his color theories in Interaction of Color in 1963. The book reproduced the courses he taught at the Yale School of Art. The book’s purpose was to establish an understanding of color’s relativity and instability in its interaction with other colors. Albers’ wrote in his introduction, “In order to use color effectively it is necessary to recognize that color deceives continually.”

Albers’ teaching impacted his own students, particularly Richard Anuszkiewicz and Julian Stanczak, and his paintings and book reached many young artists, including Paul Reed in DC, Al Loving in Detroit, and Tadasky in Tokyo. Across the styles of Op, Hard Edge, Color Field, and Constructions in our exhibition, we demonstrate how geometric artists of the 1960s were impacted by Albers and Homage to a Square.

Until the 20th century, the square was an unusual canvas shape in painting. The horizontal rectangle depicted landscapes and the vertical rectangle was used for figuration. For Albers, squares were neutral shapes that offered simple borders between colors. Depending on Albers’ color selection, his squares project, recede, or blend together under certain lighting and distance. In Interaction of Color, Albers laid out how artists could intuitively understand why we see what we do. The square format also allowed artists to play with symmetry- either with complex arrangements that required an equally divided canvas (like Richard Anuszkiewicz’s Quiet Center) or a bold arrangement of color blocks that have movement (like Karl Benjamin’s #36 and Bill Komodore’s Meander). Our exhibition presents three ways artists used the square: to emphasize color interactions; to explore the tension of symmetry; and to put Albers’ exercises into three dimensions in plastic constructions and shaped canvases.

COLOR EFFECT

Artists Richard Anuszkiewicz (1930-2020), Julian Stanczak (1928-2017), Tadasky (b.1935), and Francis Celentano (1928-2016) were impacted by Josef Albers’ studies in color relativity and his use of a single form as his subject. In the 1960s Anuszkiewicz worked with a limited palette of red, green, and blue. These contrasting colors in matched intensity led his work to buzz, making him the leader of the American Op Art movement. In Anuszkiewicz’s Quiet Center (1962) a solid field of red appears as three different colors due to thin lines of olive green, kelly green, and periwinkle blue. The thin lines themselves form a diamond projecting out of a centered square. After seeing one of Albers’ paintings in reproduction, Tadasky (b.1935) came to America to paint geometric shapes, a style considered taboo in Japanese art schools. While Tadasky is known for his concentric circles, the square is always present in the canvas’s boundaries. Tadasky considered the circle in the square to be a universal composition. In D-101 (1966), concentric squares of orange and two shades of blue border concentric circles in the same colors. Francis Celentano (1928-2016) began a deliberate exploration of color using Albers’ methodical approach in 1965 after his inclusion in MoMA’s exhibition The Responsive Eye. He settled on stripes of floating color shifts that both project and move across the canvas, achieved by spraying two pigment in alternating density along one stripe. In Celentano’s Alpha Diamond Study (1969), the rotated square canvas appears solid in its shape while the blue color at the center bulges forward into the viewer’s space. Washington Color School artist Paul Reed (1919-2015) was influenced by the effect of implied transparency seen in Interaction of Color. Reed painted four series (Inside Out, Intersection, Coherence, and Interchange) in 1966 using the stripe as a neutral form to examine transparency through actual overlaid colors. Reed’s method was technically possible because of new water-based plastic paints, which dried quickly and could be stained into raw canvas. The lattice composition of Intersection VII (1966) provided an efficient framework to examine the many points of crossing between two sets of stripes, the vertical colors warmer than their horizontal companion.

TENSION IN SYMMETRY

The nested squares in the Homage to the Square paintings are slightly orientated to the bottom of the canvas. This small adjustment to the symmetry heightens the color effects of projection and recession and demonstrates how to use the viewer’s desire for symmetry to create dynamic movement in a painting.

Karl Benjamin (1925-2012) and Frederick Hammersley (1919-2009) were California Abstract Classicists, a group that made hard edged paintings with geometric simplicity, linear precision, and purity of form and color. The Abstract Classicists aimed for tension between the shapes to create excitement rather than depth. Both Hammersley and Benjamin used square canvases to emphasize the balance of symmetry. In Benjamin’s #36 (1964), blocky lines of deep green and blue of equal intensity seem interwoven, making it difficult to determine which color projects or dominates – an experience that energizes the painting. In Hammersley’s Sanforized, #1 (1967), the artist divides the canvas into a 7 x 7 grid with ten black squares at its center. First the black squares hover above the white field then with further looking the white begins to project instead. The underlying grid gives a clear symmetry to Sanforized while the high contrast of black and white activates a dynamic response in the viewer.

Bill Komodore (1932-2012) and Ralph Iwamoto (1927-2013) are New York artists whose styles align with the bold compositions of the California Abstract Classicists. In Meander (1967), Komodore borders a field of white with a thick black meander. The small white squares along the painting’s edge seem to jump to the center, filling the painting with action. Iwamoto made geometric shaped canvases in subdued colors accented by vibrant ones in the 1960s. In 1970 he started using square canvases divided into four quadrants, each with its own flat shapes of high–keyed color for a punchy effect. Iwamoto called these works QuarOctagons: four octagons set in a square. He used this format for three years in distinct series. In Structure #2 (1971), mirrored white squares compete diagonally with orange and purple quadrants for dominance, accentuated by borders of black and gray. Iwamoto continued to the octagon in all of his paintings through 1987.

ALBERS IN 3-D

Josef Albers made beautiful stained glass works at the Bauhaus and was an excellent printmaker, but never applied his color theory to sculpture. Albers’ seriality and color relativity were expanded into plastic constructions and shaped canvases by Leroy Lamis (1925-2010), Mon Levinson (1926-2014), and Al Loving (1935-2005).

Leroy Lamis started his career working in metal and glass prisms in the Constructivist style. The Constructivists opposed color as an optical surface but Lamis found in Plexiglas a material that could be embedded in color and therefore in keeping with Constructivist theories. Lamis created a three dimensional approach to Albers’ color theory over the course of his 230 constructions made from 1962 to 1973. The variety he achieved using eight colors of Plexiglas, as well as clear and white, came from the layering and reflection of the plastic cubes. The brilliance of the blue in Construction No. 221 (1973) results from the artist placing the color in the middle of a clear construction. The blue cube’s location between 3 outer and 5 inner cubes of clear Plexi allows light to shine through the construction to highlight the color while the internal structure provides the lines of nested cubes without blocking the light further. Lamis brought a new dimension to optical color mixing with his use of plastic.

Mon Levinson began working in plastics in the early 1960s as a way to avoid the brushstroke and highlight the forms. In the late 1960s Levinson simplified his compositions and used formal geometry to emphasize light and shadow. Spacer Variations 3 (1968) is a Plexi wall relief of 12 interchangeable components. Each quadrant of nested white corners attaches to a back panel so the four pieces can be re-arranged as desired. In this work, Levinson used a fixed white shape that in its placement next to its neighbors could project or recede, replicating in a way Albers’ exercises in color relativity using light and shadow.

Al Loving settled on the cube motif as his subject by 1967, inspired by Homage to the Square. Loving turned Albers’ nested squares into a crystalline structure, playing with the tension between flatness and spatial illusionism in a shaped canvas. His cube soon became a more complex form as he opened one side into a triangle to hold more color as seen in Septehedron L-B-1 (1970). He called this shape a Septehedron as the form’s inner structure implied a seven sided volume. Loving exhibited these both singularly or grouped. In Loving’s 1969 Whitney Museum exhibition, one wall had 91 Septehedrons organized into 7 rows of colors. Within each row, each canvas adjusted slightly in color intensity from its neighbors adding a pulse to the complex arrangement. This repetition of a shape to such an extreme is another nod to Albers’ seriality.

Josef Albers modeled for future artists how to be both an artist and a teacher. Beyond his continued exploration of color in a methodical approach, he also showed a deliberate and clear way to share information with students and viewers. Many of the artists in our exhibition shared this commitment and had long careers as working artists and art professors: Karl Benjamin, Francis Celentano, Leroy Lamis, Paul Reed, and Julian Stanczak.

Food Trailer Design and Build 101

Vinyl Wraps for Food Trucks
Vinyl Wraps for Food Trucks

Design & Build a Food Truck step by step

Here are the steps on how to build and design a food truck:

  1. Choose the right truck. There are many different types of food trucks available, so it’s important to choose one that is the right size and style for your needs. You’ll also need to decide whether you want to buy a new truck or a used one.
  2. Plan your kitchen. The kitchen is the heart of your food truck, so it’s important to plan it carefully. Make sure you have enough space for all of your equipment and that the layout is efficient.
  3. Design your exterior. The exterior of your food truck is the first thing that potential customers will see, so it’s important to make a good impression. Choose a design that is eye-catching and reflects your brand.
  4. Get the necessary permits. Before you can start operating your food truck, you’ll need to get the necessary permits from your local government. This process can vary depending on where you live, so it’s important to do your research.
  5. Market your food truck. Once you’re up and running, you’ll need to start marketing your food truck. There are many different ways to do this, including social media, word-of-mouth, and event marketing.

Here are some additional tips for building and designing a food truck:

  • Hire a professional. If you’re not comfortable building your own food truck, you can hire a professional to do it for you. This can be a more expensive option, but it will ensure that your truck is built to code and that it meets your needs.
  • Start small. If you’re new to the food truck business, it’s a good idea to start small. This means starting with a simple menu and a small truck. As you gain experience, you can expand your menu and your truck.
  • Be patient. Building and designing a food truck takes time and money. Don’t expect to start making a profit overnight. Be patient and persistent, and you’ll eventually be successful.

Food Trailer Design and Build 101

Build & Design a Food Truck step by step

Here are the detailed steps on how to build and design a food truck:

Step 1: Choose the right truck

The first step is to choose the right truck. There are many different types of food trucks available, so it’s important to choose one that is the right size and style for your needs. You’ll also need to decide whether you want to buy a new truck or a used one.

Here are some factors to consider when choosing a food truck:

  • Size: The size of your food truck will determine how much food you can prepare and how many customers you can serve at once.
  • Style: The style of your food truck should reflect your brand and the type of food you’ll be serving.
  • Price: The price of a food truck can vary depending on the size, style, and age of the truck.

Step 2: Plan your kitchen

The kitchen is the heart of your food truck, so it’s important to plan it carefully. Make sure you have enough space for all of your equipment and that the layout is efficient.

Here are some factors to consider when planning your kitchen:

  • Equipment: You’ll need to choose the right equipment for the type of food you’ll be serving.
  • Layout: The layout of your kitchen should be efficient and easy to work in.
  • Storage: You’ll need to have enough storage space for your food, ingredients, and equipment.

Step 3: Design your exterior

The exterior of your food truck is the first thing that potential customers will see, so it’s important to make a good impression. Choose a design that is eye-catching and reflects your brand.

Here are some factors to consider when designing your exterior:

  • Color scheme: The color scheme of your food truck should be visually appealing and easy to remember.
  • Graphics: The graphics on your food truck should be eye-catching and relevant to your brand.
  • Signage: Make sure your signage is clear and easy to read.

Step 4: Get the necessary permits

Before you can start operating your food truck, you’ll need to get the necessary permits from your local government. This process can vary depending on where you live, so it’s important to do your research.

Here are some of the permits you may need:

  • Food service permit: This permit allows you to sell food from your food truck.
  • Health inspection: Your food truck must pass a health inspection before you can start operating it.
  • Business license: You’ll need a business license to operate your food truck.

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