miércoles, 2 de mayo de 2012

Mujeres al pincel (XVI) - Frankenthaler, Dieul, Cook

Helen Frankenthaler


Helen Frankenthaler (Nueva York, 12 de diciembre de 1928 - Darien, Connecticut, 27 de diciembre de 2011) fue una pintora expresionista abstracta estadounidense. Recibió la influencia de la obra de Jackson Pollock y de Clement Greenberg con quien también se vio involucrada en el Movimiento de Arte Abstracto de 1946-1960. Era la hija menor de un magistrado del tribunal supremo del estado de Nueva York. Estudió en la Escuela Dalton con Rufino Tamayo y también en el Bennington College de Vermont. Más tarde se casó con el también pintor Robert Motherwell.

"Lorelei", óleo sobre lienzo de algodón sin preparación / 
oil on cotton canvas unprepared, 179,4 x 220,3 cm., 1957
Brooklyn Museum, Brooklyn (Estados Unidos / USA)

"Aerie", serigrafía / serigraphy, 45 ¾ x 36 ¼ in., 2009
Celebrando el 50 aniversario del / Celebrating the 50th Anniversary of the Lincoln Center

"En el Oeste / Into the West", acrílico sobre lienzo / acrylic on canvas, 244 x 335 cm., 1977

Su carrera se vio lanzada en 1952 con la exposición de «Montañas y mar» (Mountains and Sea). Este cuadro es de gran tamaño (7 por 10 pies) y tiene el efecto de una acuarela, aunque está pintada con óleo. En él, introduce la técnica de pintar directamente en un lienzo sin preparar de manera que el material absorbe los colores. Diluía mucho la pintura al óleo con trementina o queroseno de manera que el color empapase el lienzo. Esta técnica, conocida como soak stain (mancha de empapado) fue adoptada por otros artistas, destacadamente, Morris Louis y Kenneth Noland, y lanzó a la segunda generación de la escuela de pintura de campos de color. Este método dejaba al lienzo con un efecto de halo alrededor de cada área en la que la pintura se aplicaba.

"Montañas y océano / Mountains and Sea", óleo sobre lienzo / oil on canvas, 7' 2 5/8" x 9' 9 1/4", 1952
National Gallery of Art (Washington, Estados Unidos / USA)

"Spring Bank", acrílico sobre lienzo / acrylic on canvas, 1974

"Un pensamiento verde en tono verde / A Green Thought in a Green Shade", 1981

Helen Frankenthaler (December 12, 1928 – December 27, 2011) was an American abstract expressionist painter. She was a major contributor to the history of postwar American painting. Having exhibited her work for over six decades (early 1950s until 2011), she spanned several generations of abstract painters while continuing to produce vital and ever-changing new work. Frankenthaler began exhibiting her large-scale abstract expressionist paintings in contemporary museums and galleries in the early 1950s. She was included in the 1964 Post-Painterly Abstraction exhibition curated by Clement Greenberg that introduced a newer generation of abstract painting that came to be known as Color Field. Born in Manhattan, she was influenced by Hans Hofmann, Jackson Pollock's paintings and by Clement Greenberg. Her work has been the subject of several retrospective exhibitions, including a 1989 retrospective at the Museum of Modern Art in New York City, and been exhibited worldwide since the 1950s. In 2001, she was awarded the National Medal of Arts.
Frankenthaler had a home and studio in Darien, Connecticut.

"Violeta firme / Sure Violet", grabado 'sugarlift', aguatinta y punta seca
Sugarlift engraving, aquatint and drypoint, 31" x 43", 1979

Initially associated with abstract expressionism her career was launched in 1952 with the exhibition of Mountains and Sea. This painting is large - measuring seven feet by ten feet - and has the effect of a watercolor, though it is painted in oils. In it, she introduced the technique of painting directly onto an unprepared canvas so that the material absorbs the colors. She heavily diluted the oil paint with turpentine so that the color would soak into the canvas. This technique, known as "soak stain" was used by Jackson Pollock (1912–1956), and others; and was adopted by other artists notably Morris Louis (1912–1962), and Kenneth Noland (1924–2010), and launched the second generation of the Color Field school of painting. This method would sometimes leave the canvas with a halo effect around each area to which the paint was applied but has a disadvantage in that the oil in the paints will eventually cause the canvas to discolor and rot away.
Frankenthaler preferred to paint in privacy. If assistants were present she preferred them to be inconspicuous when not needed.

"Paso del desierto / Desert Pass", acrílico sobre lienzo / acrylic on canvas, 99 x 137 cm., 1976
Smithsonian American Art Museum (Washington, Estados Unidos / USA)

Marina Dieul

"Autorretrato invernal / Winter Self Portrait", carboncillo y tiza blanca / charcoal and white chalk, 10,5" x 7,5"

Mariana Dieul nació en Francia. Mostró gran interés por la pintura y el dibujo desde una edad muy temprana, y su familia alentó ésta vocación. A principios de 2000 se mudó a Montreal (Canadá), donde vive ahora. Desde entonces ha estudiado con Tim Stotz y Michelle Tully, antigos alumnos de Ted Seth Jacobs. Su trabajo ha recibido numerosos premios y distinciones, incluído el Premio Kingston Salon International (Greenhouse Gallery), the Artist Magazine, y ha sido citada extensamente en el "International Artist Magazine", entre otros.

"Le goûter / El gusto / The Taste", óleo / oil, 8'' x 8 ''

"La fille au fil", óleo sobre lino / oil on linen, 48" x 48"

"Gato / Chat", óleo sobre panel / oil on panel, 7" x 8"

Está representada por galerías en Arizona, Florida y Australia, y es miembro de la "Portrait Society of Canada", la "Portrait Society of America", y la "International Guild of Realism".
Se puede recorrer su obra en su sitio web , y ver avances de su trabajo en su blog

"Petite souris IX / Ratoncito IX / Little Mouse IX", óleo / oil, diámetro / diameter 4"

"Lapin IV / Conejo IV / Rabbit IV", óleo / oil, 9" x 9"

"Ballerine / Bailarina / Ballerina", óleo sobre lino sobre panel / oil on linen on panel, 9" X 12"

"Lorsque parut l'aube aux doigts de rose / When Rosy-Fingered Dawn appeared", óleo / oil, 36" x 48"

Marina Dieul was born in France. She showed great interest in painting and drawing from an early age, and her family encouraged her vocation. In early 2000, she moved to Montreal, Canada, where she now lives. She has since studied with Tim Stotz and Michelle Tully, former students of Ted Seth Jacobs. Her work has received numerous awards and honors, including the Kingston Prize, Salon International (Greenhouse Gallery), the Artist Magazine, and has been extensively profiled in International Artist Magazine, among others. "Stroke of Genius " #2 and #3 (published by North Light Books) also features her work. 

"Souris a la fenétre / Ratón en la ventana / Mouse on the Window", óleo / oil, 6" x 6"

"Gaviota joven / Young Seagull", óleo sobre lino sobre panel / oil on linen on panel, 8" x 8"

Most recently she won the William Bouguereau Best of Show Award, and first place in the drawing category at the Art Renewal Center Salon, and the Best of Show in the "Inspiring Figures" exhibition (Butler Institute of American Art). 
She is a member of the Portrait Society of Canada, the Portrait Society of America, and the International Guild of Realism.
More info & images in her website and her blog.

"Aenor", óleo sobre lino sobre panel / oil on linen on panel, 10" x 8"

Beryl Cook


Beryl Cook nació en 1926 en Surrey, Reino Unido. Dejó la escuela a los 14 años donde había mostrado un cierto talento para la pintura, y trabajó en una variedad de empleos. En 1943 se trasladó a Londres. Tres años más tarde se casó, dio a luz a un niño y se mudó con su familia a Rhodesia del Sur. Un día cogió unas pinturas de su hijo y comenzó a pintar. Fue tal el entusiasmo que ya no dejó de hacerlo, trabajando sobre cualquier superficie que tuviera a mano.

"Mujeres corriendo / Women Running", serigrafía / serigraphy, 37" x 31"

"Bailando en el bar / Dancing on the Bar", 20" x 15"

"Barriendo bajo la lluvia / Sweeping in the Rain", óleo sobre panel / oil on panel, 38 x 28 cms., 1996

En 1963 la familia regresó a Inglaterra, donde el artista empezó a pintar en serio. Un amigo, antiguo negociante de arte, la convenció para tratar de vender algunas pinturas y para sorpresa de la artista se vendieron rápidamente.
Bernard Samuels del Plymouth Art Centre tomó nota de éste "fenómeno local", y en 1975 finalmente la convenció de hacer una exposición. Por supuesto fue un enorme éxito. Como consecuencia recibió la cobertura del Sunday Times Magazine. Al año siguiente, tras la llamada del London's Portal Gallery, realizaría su primera muestra en Londres.

"Abuelita y punkies / Granny and Punks", óleo sobre panel / oil on panel, 51 x 51 cms., 1983

El material para sus obras dejó de tener un contenido local, y pronto se expandió su espectro gracias a los viajes de la artista a Buenos Aires, Nueva York, París, Barcelona, Cuba y otros lugares. En 2005 Channel Four News presentó un film corto sobre su vida y su trabajo. En los últimos años vivió y trabajó en el Plymouth, donde murió en 2008.
La información es parte del texto de su web oficial.

"Dirty Dancing"

"Chicas en un taxi / Girls in a Taxi", serigrafía / serigraphy, 22" x 30"

‘I DON’T KNOW HOW MY PICTURES HAPPEN, THEY JUST DO. THEY EXIST, BUT FOR THE LIFE OF ME I CAN’T EXPLAIN THEM.’

Beryl Cook was born in 1926 in Surrey, England, one of four sisters. She left school at fourteen, showing little talent for painting and worked in a variety of jobs. Moving to London in 1943 Beryl became a showgirl in a touring production of ‘The Gypsy Princess’. She also worked in the fashion industry, which inspired her life-long interest in the way people dress and how they look.
In 1946 Beryl married her childhood friend John, who was in the Merchant Navy. When he retired from the sea they briefly ran a pub. Their son John was born in 1950, and the following year they left to live in Southern Rhodesia. This move was to prove a turning point for Beryl. One day she picked up some paints belonging to her son and started a picture. She enjoyed it so much she could not stop. She painted on any surface she could find, scraps of wood, fire screens and most notably a breadboard, as can be seen from her famous early painting of Bowling Ladies.

"Damas que almuerzan / Ladies who Lunch", litografía / lithography, 2005

"Drinkies", litografía / lithography, 11" x 18". Publ. 2009 (edición póstuma / posthumous edition)

In 1963 the Cooks returned to England to live in Cornwall where Beryl began to paint in earnest. They moved to Plymouth, where in the summer months they ran a busy theatrical boarding house. Beryl loved Plymouth, a thriving, lively seaside town full of pubs, fishermen and sailors and she and John enjoyed going to their local bars and watching flamboyant drag acts. Beryl would concentrate on painting in the winter months, recreating her personal views of Plymouth in vivid oils on wooden panels. Eventually an antique dealer friend persuaded her to let him try and sell a few. To her surprise he sold them very quickly.
Bernard Samuels of the Plymouth Art Centre became aware of this ‘local phenomenon’ and in 1975 he finally convinced her to have an exhibition. It was, of course an enormous success. The show received a great deal of publicity, which resulted in a cover and feature in the Sunday Times Magazine followed by a swift phone call from London’s Portal Gallery. The following year, Beryl Cook had her first London exhibition. It was a sell out and Beryl has exhibited with Portal ever since.

"Noche de chicas / Ladie's Night", 1981

Beryl has travelled considerably, gleaning new material for her work. The early local scenes have expanded to Buenos Aires, New York, Cuba, Paris and Barcelona. She currently lives and works in Plymouth.
Beryl Cook’s amusing contribution to the Queen’s Golden Jubilee, ‘The Royal Couple’ featured in the Golden Jubilee Exhibition, May 2002, at Art London, Chelsea.
In 2005 Channel Four News  featured a short film of Beryl and her work, the first in over 20 years! Beryl also appeared in 'Art School' on BBC TWO.
Beryl Cook died in Plymouth in 2008.
Info from her website.

"Días en Tenerife / Tenerife days", serigrafía / serigraphy, 61 x 55,9 cm., 2002

Beryl Cook en "El Hurgador" / in this blog[Pintando perros (XIV)]

1 comentario:

  1. Me gustó mucho la última, además de buenos, con gracia.

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