Tarsilo DO AMARAL
Estrada de Ferro Central do Brasil , 1924
Óleo s / canvas 142.0 x 126.8 cm
EFCB (Brazilian Central Railroad) is the same year of travel Artist in Rio de Janeiro and Minas Gerais with the French-Swiss poet Blaise Cendrasrs and other modernists. Léger strongly evokes with its structured composition from the modern urban signs: street lights, bridges, railway signals. The geometry of the elements is quite obvious, such as simplification of forms, what will be a constant in her compositions, elevating the horizon and very neatly arranging the different elements from top to bottom. However, this apparent rationalization of the issue if the color contrasts "peasant" and the smooth phase pau-brasil, identified with the modernist nativism, always bright and shadowless. Belong MAC (Museo de Arte Contemporanea) this is that A Negra, 1933, the precursor phase anthropophagic (1928), the magical Floresta (1929), and also Costureiras (SART), oil began in the mid 30s in the full process of social concern of the artist, shot and finished in 1950.
ANITA MALFATTI
A Boba, 1915 / 1916
Óleo s / canvas, 61 x 50.6 cm
made during the period in which it was in the United States, A Boba is one of the highest points of the painting of Anita. It is the result of a phase in which the expressionist painting absorbs elements cube-futurist. Boba A member of one of the "active", the canvas is built with color, in an orchestration of orange, yellow, blue and green, creating the chromatic zones delineated by black lines, in most diagonal - Cubist order. In the foreground, the figure gets skewed angle and the irregular application of color. In appearance, the abnormal expression of vague and has emerged clearly from the black marks according to the expressionist aesthetic of the irrational and unsound. The background, made with swift strokes, serves as a counterpoint.
MAX BILL
Unidade Tripartite Unit (Tripartite) , 1948/49
Stainless Steel, 114.0 x 88 , 3 x 98.2 Gift
MAM-SP
This work has received the first prize for sculpture in the Sao Paulo Biennale in 1951. The unit is three-fold product of experiences that would have consolidated the work of Max Bill. This can be seen exploring the mathematical concept of infinity, the famous Moebius strip that in his opening shows the ability of infinity of the tape. In this tape, Bill proposes a development of the geometric shape in space.
VICTOR BRECHERET
India and Suassuapara (Indigenous and deer) , 1951
Bronze, 79.5 x 101.8 x 47.6 cm
This sculpture artist Brecheret closes the path. "India and deer" offers a conceptual tension, where the figure is balanced with the most essential. The native form is a swell in space. It is a great volume. Full of inscriptions, reveals the plan in his face, mouth and eyes, scars, cuts, tattoos and brands. The fish evolved the figure from behind, belting. The volume seems to come together and work in two rhythms: the front, covering the indigenous fish, in a wavelike motion. Behind, the fish rises vertically with the indigenous figure, in a comparison of forces. The bronze material opens in a new materiality. Before, smoothest, now with more texture. The light is poured over the surface, the language stands Brecheret: voluminous shapes and simplified handling organic materials, other treatments.
FRANZ Weissman
vazado Cube (Cube drilled) , 1951
(final version in stainless steel 1974)
Space withdrawn from inside or advanced out " , in the words of the critic Wilson Coutinho (in a text of 1985), the Cube Vazado was selected for the Bienal de Sao Paulo. Other pieces that reinforce the adhesion of the concrete are Weissmann, rejected by the jury of the exhibition. Eissmann ambivalence explores the relativity of space between top and forms. Work small section of aluminum bars, arranged in a way that suggests cubic amplified or progressive. Its modular blocks, interchangeable or around the axis variables, seeking the active participation of the observer: "Please touch the objects put into the exhibits.
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