Dionys Lionel Merlin. Bosconos: “Enchanting Mood” in Vogue Italia september 1997 by Peter Lindbergh (via dystopiabella) COBRA (avant-garde movement) COBRA (or CoBrA) was a European avant-garde movement active from 1948 to 1951. The name was coined in 1948 by Christian Dotremont from the initials of the members' home cities: Copenhagen (Co), Brussels (Br), Amsterdam (A). COBRA was formed by Karel Appel, Constant, Corneille, Christian Dotremont, Asger Jorn, and Joseph Noiret on 8 November 1948 in the Café Notre-Dame, Paris,[1] with the signing of a manifesto, "La Cause Était Entendue" ("The Case Was Settled"),[2] drawn up by Dotremont.
Formed with a unifying doctrine of complete freedom of colour and form, as well as antipathy towards Surrealism, the artists also shared an interest in Marxism as well as modernism. Their working method was based on spontaneity and experiment, and they drew their inspiration in particular from children’s drawings, from primitive art forms and from the work of Paul Klee and Joan Miró.[1] Other participants in COBRA included: Notable artists who had contact with, and/or were influenced by COBRA:
Le blog de Cobra-2008. Peter Klasen. Un article de Wikipédia, l'encyclopédie libre. Peter Klasen, né à Lübeck le , est un peintre, photographe et sculpteur allemand travaillant sur le thème de l'industrie. Éléments de biographie[modifier | modifier le code] Peter Klasen En 1959, il arrive à Paris et, en 1960, s'installe dans un atelier rue de Clignancourt.
Dès 1962, il est l’un des fondateurs de la Nouvelle Figuration. Dans ce mouvement, qui prit également le nom de Figuration narrative, se retrouvent notamment Valerio Adami, Erró, Jacques Monory, Bernard Rancillac et Hervé Télémaque. Sa première exposition personnelle se tient en 1966, à Paris. En 1981, il effectue un séjour à New York. Vie personnelle En 1977, Klasen rencontre Claudine d’Hellemmes, avec qui il se marie en 1986. Œuvre[modifier | modifier le code] Au début des années 1960, Peter Klasen réalise des toiles peintes à l'acrylique appliquée à l'aérographe qui incorporent des collages d'objets, de photos et de documents. Œuvres (sélection)[modifier | modifier le code] Odd Nerdrum. Odd Nerdrum (born April 8, 1944 in Helsingborg, Sweden), is a Norwegian figurative painter. Themes and style in Nerdrum's work reference anecdote and narrative. Primary influences by the painters Rembrandt and Caravaggio help place his work in direct conflict with the abstraction and conceptual art considered acceptable in much of his native Norway.
Nerdrum creates six to eight paintings per year. These include: Still life paintings of small everyday objects like bricks, portraits and self-portraits whose subjects are dressed as if from some other time and place, and large paintings, allegorical in nature that present a sense of the apocalyptic and again reference another time.[1] Nerdrum says that his art should be understood as kitsch rather than art as such. Biography[edit] Early life[edit] Odd Nerdrum was born in 1944, in Sweden, during the last year of World War II. Nerdrum's father, Johan Nerdrum, later remarried. Early education[edit] Artistic study[edit] Direction[edit] Process[edit] Maxfield Parrish. Maxfield Parrish (July 25, 1870 – March 30, 1966) was an American painter and illustrator active in the first half of the 20th century.
He is known for his distinctive saturated hues and idealized neo-classical imagery. Life[edit] Born in Philadelphia, Pennsylvania, he was the son of painter and etcher Stephen Parrish. He began drawing for his own amusement as a child. His given name was Frederick Parrish but he later adopted the maiden name of his paternal grandmother, Maxfield, as his middle name, and later as his professional name. His father was an engraver and landscape artist, and young Parrish's parents encouraged his talent. The Dinky Bird, by Maxfield Parrish, an illustration from Poems of Childhood by Eugene Field, 1904. He lived in Philadelphia until age 28, at which time he purchased land opposite the valley from his parents' home in New Hampshire, where over a number of years he designed and built his own home and eventual studio, The Oaks. Technique[edit] Influence[edit] Grant Wood. Grant DeVolson Wood (February 13, 1891 – February 12, 1942) was an American painter born four miles east of Anamosa, Iowa.
He is best known for his paintings depicting the rural American Midwest, particularly the painting American Gothic, an iconic image of the 20th century.[1][not in citation given] Life and career[edit] Grant Wood boyhood home, Cedar Rapids, Iowa. Listed as one of the most endangered historic sites in Iowa.[2] Wood was married to Sara Sherman Maxon from 1935-1938.[5] Wood taught painting at the University of Iowa's School of Art from 1934 to 1941.
During that time, he supervised mural painting projects, mentored students, produced a variety of his own works, and became a key part of the University's cultural community. Work[edit] Wood was an active painter from an extremely young age until his death, and although he is best known for his paintings, he worked in a large number of media, including lithography, ink, charcoal, ceramics, metal, wood and found objects. Julião Sarmento. Heading East: Keith Arnatt. Although I'm generally not big on conceptual art, I've had a soft spot for the work of Keith Arnatt since discovering a zine-like book of his images many years ago in my college art library. The book, consisting mainly of people being buried in one way or another, was unexpected, amusing, and compelling. The Photographer's Gallery in London is running an Arnatt show through September and if there are any English readers of this blog who want to win my eternal gratitude, I'd love to be sent a catalog (catalouge!)
, a postcard, or even a review of the show... posted at 03:31 AM by raul Filed under: art TAGS: arnatt (1) british photographers (3) conceptual art (2) The Yes Men.