Wassily Vasílievich Kandinsky
Василий Васильевич Кандинский(Москва, Российская империя / Moscú, Imperio Ruso /
Moscow, Russian Empire, 1866 -
Neuilly-sur-Seine, Francia / France, 1944)
Kandinsky frente a su obra "Curva dominante" / in front of his "Dominant Curve", 1936
Wassily Vasílievich Kandinsky (Moscú, 4 de diciembre de 1866 - Neuilly-sur-Seine, 13 de diciembre de 1944) fue un pintor ruso precursor de la abstracción en pintura y teórico del arte, con él se considera que comienza la abstracción lírica. Abundante material biográfico por todas partes. Por ejemplo, en Wikipedia.
Wassily Vasilyevich Kandinsky (Moscow, December 4, 1866 - Neuilly-sur-Seine, December 13, 1944) was a Russian painter precursor of abstraction in painting and art theorist, with he is considered to begin lyrical abstraction. Abundant biographical material everywhere. For example in Wikipedia.
Wassily Vasilyevich Kandinsky (Moscow, December 4, 1866 - Neuilly-sur-Seine, December 13, 1944) was a Russian painter precursor of abstraction in painting and art theorist, with he is considered to begin lyrical abstraction. Abundant biographical material everywhere. For example in Wikipedia.
"Curva dominante / Dominant Curve", óleo sobre lienzo / oil on canvas, 120,3 x 194,3 cm., 1936
Guggenheim Museum (Nueva York, Estados Unidos / New York, USA)
Esta obra es una pirotecnia de la fantasía y serena complejidad de las obras de Kandinsky. Sobre una serie de círculos geométricos pasa una bandada de signos y elementos biomorfos, algunos de los cuales se despliegan como un cuadro dentro del mismo cuadro. La construcción en forma de escalera, situada a la derecha, se refiere inequivocamente a los conocimientos del pintor sobre la psicología perceptiva. La figura basculante aparece, junto a otros cuadros de Kandinsky y también en algunas pinturas de su colega y amigo Paul Klee.
This work is a pyrotechnics of the fantasy and serene complexity of the works of Kandinsky. Over a series of geometric circles passing a flock of signs and biomorphic elements, some of which are displayed as a table within the same painting. Building shaped staircase, to the right, is unequivocally refers to the knowledge of the painter on perceptual psychology. The rocker figure appears, along with other paintings by Kandinsky and also in some paintings of his colleague and friend Paul Klee.
This work is a pyrotechnics of the fantasy and serene complexity of the works of Kandinsky. Over a series of geometric circles passing a flock of signs and biomorphic elements, some of which are displayed as a table within the same painting. Building shaped staircase, to the right, is unequivocally refers to the knowledge of the painter on perceptual psychology. The rocker figure appears, along with other paintings by Kandinsky and also in some paintings of his colleague and friend Paul Klee.
Kandinsky en su casa / at home, 36 Ainmillerstraße, Schwabing, 1911
"Composición VI / Composition VI", óleo sobre lienzo / oil on canvas, 195 x 300 cm., 1913
Museo Hermitage (San Petersburgo, Rusia / St. Petersbourg, Russia)
Vasili Kandinsky en "El Hurgador" / in this blog: [Todos los enlaces / All links]
Vasili Kandinsky en "El Hurgador" / in this blog: [Todos los enlaces / All links]
Frida Kahlo
(Coyoacán, Ciudad de México / Mexico City, México, 1907 - 1954)
Frida pintando "Retrato de mi padre" / painting "Portrait of my Father", 1951.
Fotografía de Photo by Gisèle Freund.
Fotografía de Photo by Gisèle Freund.
Magdalena Carmen Frida Kahlo Calderón, mejor conocida como Frida Kahlo (Coyoacán, 6 de julio de 1907 – ibídem, 13 de julio de 1954), fue una destacada pintora mexicana.
Magdalena Carmen Frida Kahlo Calderon, better known as Frida Kahlo (Coyoacán, July 6, 1907 - ibid, July 13, 1954) was a prominent Mexican painter.
"Retrato de mi padre / Portrait of my Father", 1951, Museo Frida Kahlo, Ciudad de México
Éste retrato fue pintado 10 años después de la muerte del padre de Frida, pero ella retrata a su padre como un hombre muy joven, muy similar a como aparece en su fotografía de boda en 1898. Frida no lo recordaba así. Después del matrimonio, su padre envejeció rápidamente y Frida lo recordaba con pelo gris y la cara arrugada. Sus grandes ojos luminosos se reflejan en las grandes lentes de la cámara. Su cara no tiene emoción y no mira a los espectadores del cuadro.
La dedicatoria en la banderola en la parte de abajo del cuadro reza: "Aquí pinte a mi padre Wilhelm Kahlo, de origen húngaro-alemán, artista-fotógrafo de profesión, de carácter generoso, inteligente y bueno, valiente porque sufrió durante sesenta años de epilepsia pero nunca se rindió trabajando y lucho contra Hitler, con adoración, Su hija Frida Kahlo". Información extraída de aquí.
This portrait was painted 10 years after his death but Frida portrays her father as a very young man, very similar to how he appeared in his wedding photograph of 1898. This was not how Frida remembered him. After the marriage her father aged quickly and Frida remembered him with gray hair and a wrinkled face. His large shiny eyes are repeated in the large lens of the camera. His face is without emotion and he looks away from the viewer.
The dedication on the scroll at the bottom reads:
"I painted my father Wilhelm Kahlo, of Hungarian-German origin, artist-photographer by profession, in character generous, intelligent and fine, valiant because he suffered for sixty years with epilepsy, but never gave up working and fought against Hitler, with adoration, His daughter Frida Kahlo". Info from here.
This portrait was painted 10 years after his death but Frida portrays her father as a very young man, very similar to how he appeared in his wedding photograph of 1898. This was not how Frida remembered him. After the marriage her father aged quickly and Frida remembered him with gray hair and a wrinkled face. His large shiny eyes are repeated in the large lens of the camera. His face is without emotion and he looks away from the viewer.
The dedication on the scroll at the bottom reads:
"I painted my father Wilhelm Kahlo, of Hungarian-German origin, artist-photographer by profession, in character generous, intelligent and fine, valiant because he suffered for sixty years with epilepsy, but never gave up working and fought against Hitler, with adoration, His daughter Frida Kahlo". Info from here.
Frida pintando "Las dos Fridas" / painting "The Two Fridas", 1939
"Las dos Fridas / The Two Fridas", óleo sobre lienzo / oil on canvas, 1939, 173,5 x 173 cm
Colección Museo de Arte Moderno, México, D.F.
Poco después de su divorcio de Diego Rivera, Frida completó este autorretrato de dos diferentes personalidades. En su diario, Frida escribe que el origen de este cuadro está en sus recuerdos de un amigo imaginario de la niñez. Más tarde, ella admitió que refleja las emociones que rodearon a su separación y crisis marital. A la derecha, la parte de su persona que era respetada y amada por Diego es la Frida mexicana vestida de tehuana. En su mano sostiene un amuleto con el retrato de Diego cuando era un niño. A la izquierda, una Frida bastante más europea con un vestido victoriano de boda de encaje blanco, la Frida que Diego abandonó. Los corazones de las dos mujeres están a la vista, un símbolo que Frida usaba a menudo para expresar su dolor. El corazón de la Frida desdeñada está roto, mientras que el de la otra Frida está entero. Texto completo aquí.
Shortly after her divorce from Diego Rivera, Frida completed this self-portrait of two different personalities. In her diary, Frida writes that this painting originated from her memory of an imaginary childhood friend. Later she admitted it records the emotions surrounding her separation and martial crisis. On the right, the part of her person which was respected and loved by Diego, is the Mexican Frida in Tehuana costume. In her hand she holds an amulet bearing the portrait of Diego as a child. On the left, a more rather European Frida in a lacy white Victorian wedding dress, the Frida that Diego abandoned. The hearts of the two women lie exposed, a device Frida often used to express her pain. The unloved Frida's heart is broken while the other Frida's heart is whole. Full text here.
Shortly after her divorce from Diego Rivera, Frida completed this self-portrait of two different personalities. In her diary, Frida writes that this painting originated from her memory of an imaginary childhood friend. Later she admitted it records the emotions surrounding her separation and martial crisis. On the right, the part of her person which was respected and loved by Diego, is the Mexican Frida in Tehuana costume. In her hand she holds an amulet bearing the portrait of Diego as a child. On the left, a more rather European Frida in a lacy white Victorian wedding dress, the Frida that Diego abandoned. The hearts of the two women lie exposed, a device Frida often used to express her pain. The unloved Frida's heart is broken while the other Frida's heart is whole. Full text here.
Frida on her bed painting "Portrait of my Family", década de / decade of 1950.
"Retrato de mi familia / Portrait of my Family", (inconcluso / unfinished)
Óleo sobre masonita / oil on Masonite, 41 x 59 cm., 1950-54. Museo Frida Kahlo, Coyoacán, México
Óleo sobre masonita / oil on Masonite, 41 x 59 cm., 1950-54. Museo Frida Kahlo, Coyoacán, México
Este cuadro se empezó en los años 40 pero nunca se acabó. Frida trabajó regularmente en este retrato del árbol de familia durante una larga estancia en el hospital en 1950 y continuó trabajando en él hasta su muerte en 1954. Cuando su hermana mayor, Matilde, murió en 1951, Frida abandonó ésta pintura y empezó a trabajar en una nueva, "Retrato de mi padre". Más información aquí.
This painting was actually started sometime in the 1940s but never finished. Frida worked regularly on this family tree portrait during a long spell in the hospital in 1950 and continued to work on it until her death in 1954. When her older sister Matilde died in 1951, she stopped work on this painting and started working on a new painting; "Portrait of My Father". More information here.
This painting was actually started sometime in the 1940s but never finished. Frida worked regularly on this family tree portrait during a long spell in the hospital in 1950 and continued to work on it until her death in 1954. When her older sister Matilde died in 1951, she stopped work on this painting and started working on a new painting; "Portrait of My Father". More information here.
(Guanajuato, México, 1886 - Ciudad de México / Mexico City, 1957)
Pintando el mural "Liberación del peón" para el /
Painting the mural "Liberation of the Peon" for the MOMA, New York
Painting the mural "Liberation of the Peon" for the MOMA, New York
Diego Rivera (Guanajuato, 8 de diciembre de 1886 — México, 24 de noviembre de 1957) fue un destacado muralista mexicano famoso por plasmar obras de alto contenido social en edificios públicos. Fue creador de diversos murales en distintos puntos del centro histórico de la Ciudad de México, así como en la Escuela Nacional de Agricultura de Chapingo y en otras ciudades mexicanas como Cuernavaca y Acapulco, así también algunas otras del extranjero como San Francisco, Detroit y Nueva York.
Diego Rivera (Guanajuato, December 8, 1886 - Mexico, 24 November 1957) was a prominent Mexican muralist known for translating works of social content in public buildings. He was the creator of several murals in different parts of the historic center of Mexico City and at the National School of Agriculture at Chapingo and other Mexican cities such as Cuernavaca and Acapulco, and also some other foreign as San Francisco, Detroit and New York.
Diego Rivera (Guanajuato, December 8, 1886 - Mexico, 24 November 1957) was a prominent Mexican muralist known for translating works of social content in public buildings. He was the creator of several murals in different parts of the historic center of Mexico City and at the National School of Agriculture at Chapingo and other Mexican cities such as Cuernavaca and Acapulco, and also some other foreign as San Francisco, Detroit and New York.
"Liberación del peón / Liberation of the Peon", 1931
Museum of Art, Philadelphia (Pennsylvania, Estados Unidos / USA)
Museum of Art, Philadelphia (Pennsylvania, Estados Unidos / USA)
En "Liberación del peón" el pintor desarrolló una narrativa aterradora sobre el castigo corporal. Un labriego, golpeado y abandonado a su muerte, es descendido de un poste por soldados revolucionarios comprensivos, que atienden ese cuerpo quebrado. El peonaje —sistema de servidumbre a sueldo establecido por los colonizadores españoles para forzar a los indios a trabajar la tierra— persistió en México aún en el siglo XX. El mural presenta la injusticia de las condiciones sociales y económicas que prevalecieron como justificación de la Revolución mexicana.
In "Liberation of the Peon" the painter developed a terrifying narrative about corporal punishment. A laborer, beaten and left to die, is descended from a pole by comprehensive revolutionary soldiers, serving that broken body. Peonage -the system of payed servitude established by the Spanish colonizers to force the Indians to work the land - persisted in Mexico even in the twentieth century. The mural shows the injustice of the social and economic conditions that prevailed as a justification of the Mexican Revolution.
In "Liberation of the Peon" the painter developed a terrifying narrative about corporal punishment. A laborer, beaten and left to die, is descended from a pole by comprehensive revolutionary soldiers, serving that broken body. Peonage -the system of payed servitude established by the Spanish colonizers to force the Indians to work the land - persisted in Mexico even in the twentieth century. The mural shows the injustice of the social and economic conditions that prevailed as a justification of the Mexican Revolution.
Diego Rivera pintando "La Historia del Mundo" "El agua, el origen de la vida" /
Painting "Water, Origin of Life", 1951. Fotografía de / Photo by Gisèlle Freund.
Painting "Water, Origin of Life", 1951. Fotografía de / Photo by Gisèlle Freund.
Diego Rivera in front of the mural "Water, Origin of Life." Fotografía de / Photo by Gisèlle Freund.
No he conseguido ninguna información sobre éste mural (*), sin embargo sí sobre Gisèlle Freund que además de fotógrafa era una activista socialista que en 1933 se vio obligada a abandonar Alemania con el ascenso de Hitler al poder. Recaló en México entre 1950 y 1952, época en la que conoció a Diego y Frida a quienes retrató en varias oportunidades. Más adelante dedicaré un post a ésta fotógrafa por cuyo objetivo pasaron bastantes personalidades significativas del s.XX.
I have not information on this mural (*), however I have it on Giselle Freund, photographer and socialist activist who in 1933 was forced to leave Germany with the rise of Hitler to power. She made landfall in Mexico between 1950 and 1952, a period in which she met Diego and Frida who portrayed several times. Later I'll dedicate a post to this photographer that portrayed many significant personalities of the 20th. century.
I have not information on this mural (*), however I have it on Giselle Freund, photographer and socialist activist who in 1933 was forced to leave Germany with the rise of Hitler to power. She made landfall in Mexico between 1950 and 1952, a period in which she met Diego and Frida who portrayed several times. Later I'll dedicate a post to this photographer that portrayed many significant personalities of the 20th. century.
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(*) Ahora sí puedo aportar algo de información. El mural fue pintado en El Cárcamo del Lerma ubicado en la segunda sección del Bosque de Chapultepec.
La obra rinde homenaje a los 39 trabajadores muertos en la construcción del acueducto y al líquido. El Cárcamo del Lerma, creado en 1951 y diseñado para la cámara de entrada y distribución de agua, estuvo afectado durante muchos años por materia orgánica de flora y fauna, sustancias químicas y erosión, por lo que en 1992 se comenzaron a realizar diversos estudios para su recuperación.
Después de su restauración, se abrió al público en 2002, según puede leerse aquí.
(*) Now I can provide some information. The mural was painted in El Carcamo de Lerma located in the second section of Chapultepec Park.
The work pays homage to the 39 workers killed in the construction of the aqueduct and to the liquid. El Carcamo de Lerma, created in 1951 and designed for the inlet chamber and water distribution was affected for many years by organic matter of flora and fauna, and chemical erosion substances, so in 1992 it began conducting several studies to recovery.
After its restoration, the place was opened in 2002, as you can read (in Spanish) here.
Aquí tienen algunas imágenes más / here you have a few more images
Una vista más amplia de Diego con el mural / A more wide view of Diego with the mural
El mural tras su restauración / The mural after the restoration
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ACTUALIZACIÓN / UPDATE: 12/07/2014
Imágenes de mejor calidad, pies de foto mejorados, textos en inglés /
Better quality images, improved captions, English translation.
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Vi un Frida Kahlo en Bs.As. en el MALBA, es impactante, fuerte, te deja ahí mirándolo como atrapada. En cambio unos pasos más adelante estaba un D.Rivera y no produce eso, pasás como por otros cuadros...
ResponderEliminarSuerte has tenido. Yo hasta ahora no he visto en directo a ninguno de los dos, aunque desde luego a juzgar por las reproducciones, los de Frida me parece más difícil pasárselos por alto...
ResponderEliminarIt’s refreshing to read a good quality article for a change. You’ve made many interesting points and I agree. This has made me think and for that I thank you.
ResponderEliminarVisit: Eventos Pirotécnicos