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Posts Tagged ‘Expressionism’

Interview with a Portuguese artist

09 Feb

 

TOZE FIGUEIREDO

 

Male, Expressionist Artist Painter

DoB. 27 September 1965, Viseu, Portugal

Resident in London, UK

Email toze@live.co.uk

 

 

(1966-1971) Viersen, Germany

(1971-1990) Viseu, Portugal

(1990-2000) Toronto, Canada

(2000-2003) Viseu, Portugal

(2003-2015) London, UK

 

 

University of the Arts London

Elephant and Castle, graphic design, 2004

 

 

Art Exhibitions:

 

_Galeria Corte Real – Toronto, Canada – 1999

_The Rivoli – Toronto, Canada – 1999

_Here & Now Gallery – Toronto, Canada – 2000

_Salt Studio – Toronto, Canada – 2000

_Galeria IPJ – Viseu, Portugal – 2001

_Agirarte – Oliveira do Hospital, Portugal – 2001

_Rampart – London, England – 2009

_Art Now Gallery – Gotheborg, Sweden – 2010 & 2011

_Siel de Paris at Drouot Montaigne – Paris, France – 2011

_Connoisseur’s Gallery – Paris, France – 2012

_Galerie En ApARThe’ – Paris, France – 2012

_GalerieART – Aizelles, France – 2012

_Jordi Miguel Galeria d’Art – Barcelona, Spain – 2015

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–  Hello Toze!

– Hello Simona !

 

 

Q: How all this begun ? as a hobby or as a passion ?

A: Painting came as a shock, I got surprised!

I started painting in 1991 somehow after reading old literature.

 

Q: What is your conception about art and the world ?

A: Art making is privacy being fixed. I arrange it to inform ho.

 

Q: If you were not a painter what would you be ?

A: Into electrics, probably.

 

Q: There are moments when you do not work out at all what the mind-eye can see and abandon work ?

If so, how do you get over it ?

A: If I “force” myself into painting, yes that happens…

 

Q: How often do you let yourself be influenced by others opinions ?

A: I don’t get much opinion; I just do my thing quietly…

 

Q: What do you think it propels a dedicated painter ? Talent, luck or criticism ?

A: Talent and his supported energy is the main channel to have a good time painting.

 

Q: I know you are from Portugal. As a painter the place where you come from did influence your work ?

A: Yes, places influences work.

 

Q: What are the sources of inspiration for your paintings ?

A: Life and the romantic feeling of leaving behind some artwork, that keeps me going.

 

Q: Do you paint what you feel, without thinking at decoding the painting ?

A: Usually I have a plan but all that can change… yes mistery!

 

– Thank you for your time! Good luck!  :)

– Thank you all, being a pleasure!

 

 

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1 Comment

Posted in ART

 

Classic Expressionism

04 Feb

https://www.dhm.de/lemo/biografie/max-pechstein

 

Hermann Max Pechstein
(1881 Zwickau – 1955 Berlin)

Deutscher Maler, Grafiker des Expressionismus.

Nach Studium in Dresden tritt Pechstein 1906 der Künstlervereinigung Die Brücke bei.

Von deren Mitgliedern übernimmt er v.a. das derb-kräftige Kolorit, bleibt aber zeitlebens dem Einfluss Van Goghs treu (Das grüne Haus, 1909).

Popularität erlangt Pechstein aufgrund seiner weniger deformierten Formen und der Betonung dekorativer Elemente.

Ab 1908 in Berlin (Mitbegründer der Neuen Secession), ab 1909 Sommeraufenthalte in Nidden in der Kurischen Nehrung, wo Pechstein v.a. Akte und Landschaft malt, die vom Licht und der rauen Dünenlandschaft inspiriert sind (Am Kurischen Haff, 1909).

Eine Reise auf die Palau-Inseln 1913/14 bringt ihn in Kontakt zur Kunst der Naturvölker, die Grundlage seines weiteren Schaffens wurde (Palau-Triptychon, 1917, linker Teil im Wilhelm-Hack-Museum Ludwigshafen).

Im Spätwerk verstärkt sich die dekorative Wirkung.

1933 mit Ausstellungsverbot belegt, verbringt Pechstein die Kriegsjahre in Leba/Pommern und wird 1945 als Professor an die Hochschule für Bildende Künste Berlin-Charlottenburg berufen.

 

He was a German painter, commercial artist of the Expressionism.

After study in Dresden he  joins in 1906 to the artist’s union “Die Brücke”.

However, he takes over from their members above all the coarse-strong coloring, remains all the life to the influence Van Gogh’s faithful (the green house, in 1909).

Popularity attains Pechstein on account of his less deformed forms and the stress of decorative elements.

From 1908 in Berlin (joint founder of the new Secession), from 1909 summer he stays in Nidden in the Kurischen, the bay bar where Pechstein paints above all act and landscape which are inspired by the light and the rough dune landscape (in the Kurischen lagoon, in 1909).

A journey on the Palau islands in 1913/14 brings him in contact with the art of the primitive people, the basis of his(its) other creating became (Palau triptych, in 1917, left part in Wilhelm hacking a museum of Ludwigshafen).

In the late work the decorative effect increases.

In 1933 proves with exhibition prohibition, Pechstein spends the years of war in Leba/Pomorze and will appoint in 1945 as a professor to the college for Fine Arts in Berlin-Charlottenburg.

 

 

Pechstein  join the artist group “Die Brücke” , which had been founded the year before in opposition to Impressionism.

The group’s aim was to “attract all revolutionary and restless forces” (Schmidt-Rottluff) and an emphasis of the power of colour in painting.

In this environment Max Pechstein’s Expressionist style developed further, concentrating on elaborating the focal point of the painting with a sparse painting technique. Pechstein moved to Berlin in 1908 and became a co-founder of the “Neue Sezession”.

He painted figures, still lifes and landscapes in a moderately Expressionist style. Perhaps it was this, which lead to the artist’s early and continuing success.
From 1945 Max Pechstein taught at the Berlin Akademie der Künste.

Before that time, during the Third Reich, he was slandered as a “degenerate” artist. Apart from paintings his oeuvre includes more than 850 woodcuts, lithographs and engravings.

 

He was a prolific printmaker, producing 421 lithographs, 315 woodcuts and linocuts, and 165 intaglio prints, mostly etchings.
After studying art first at the School of Applied Arts and then at the Royal Art Academy in Dresden, Pechstein met Erich Heckel and joined the art group Die Brücke in 1906.
He was the only member to have formal art training. Later in Berlin, he helped to found the Neue Sezession and gained recognition for his decorative and colorful paintings that were lent from the ideas of Van Gogh, Matisse, and the Fauves.
His paintings eventually became more primitivist, incorporating thick black lines and angular figures.
 
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Posted in ART

 

grotesque or masks?

02 Feb

Born in 1896 in Munchen, Josef Scharl was a new visionary artist from XXth Century.
In 1910 Josef  was trained as a decorative painter at the Munich School of Painters where he gained practical experience in the restoration of paintings and attended evening classes.

In 1915 he was drafted into military service. War injuries and a temporary paralysis of his right arm forced him to remain in various military hospitals until 1918. Back in Munich he could finally begin studying at the Kunstakademie in 1919.

After studying under Angelo Jank and Heinrich von Zügel Scharl began working as an independent artist in 1921. Scharl moved into the appartement of the Gruber family and married their daughter Magdalena in 1922.

Shortly after becoming freelance the painter had his first successes and his paintings became known to the art-interested public.

Scharl joined the artist groups ‘Neue Sezession’ and the ‘Juryfreien’ and successfully participated in their exhibitions. A scholarship enabled him to travel to France in 1930, where he encountered the works of the Late Impressionists.

After his return the beginning national socialistic culture policy brought with it a turn of events.

Sales and exhibitions decreased, Scharl’s financial situation worsened and he was banned from painting.

Nevertheless Karl Nierendorf enabled him to exhibit at a one-man show. Scharl’s emigration plans were enforced by an invitation of the Museum of Modern Art in New York to take part in an international exhibition together with Beckmann, Scholz, Heckel and Hofer.

In 1939 he emigrated to the USA. Albert Einstein, whom Scharl had met in Berlin, supported him financially and helped him to organise various exhibition projects. The years 1944-46 marked the peak of his fame in the USA. Scharl’s closest friend Wolfgang Sauerländer got him the order of the publishing house ‘Pantheon Books’ to illustrate the Brother Grimm’s Fairy Tales.

The fairy tale book was met with huge public interest and further orders followed, but Scharl was burdenen with worries for his family he left in Germany, the death of Nierendorf and a stomach illness.

Let’s see what we feel when we watch his work.

Don’t stay too close. :) first rule! 😀 IN EVERY GALLERY, DON’T TAKE PICTURE’S MYSTERY!

NOW… the first matter: colours. Brute colours are meant to bring the message as it seems: the masks or the grotesque of reality close to us like a jelly.

But why so many colours maybe can be the question?

Maybe to hide reality’s imperfections? or… to hide the details of age? people lose their age or their maturity.

The second matter: message.

When you look (not to close!) you can see a static message: don’t get too close! or… i am too shy but you can see me! (i mean to the women’s side). MEN are usually deformed. A question? no! :) maybe because he felt that their behavior  deforming their feeling.

I don’t know all the answers, but i can … guess .

The lines are more masculin than feminin, the brute colours and the technique make Scharl an Expressionist and a good Graphician from XXth Century.

 
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Posted in ART

 

spectral colours

30 Jan

http://www.businessdailyafrica.com/Nairobi-s-newest-art-studio-space-gets-buzzing/-/1248928/2606624/-/68gpak/-/index.html

http://www.trueafricanart.com/african-artists/Stephen-Njenga.html

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Stephen Njenga is from Kenyian tribe.
A great and original artist, that masters all technics such as Im- pression, Expressionism, Realism, Abstract.
His paintings are full of light, his colours are vibrating, revealing the African force and joy of life.
The spectrum of his works is like a rainbow of colours from an inner world.
He reflects the reality, but the real it’s changing like in a magical ritual.

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His amazing vision it’s pure, childish, warm, but in the same time, we fell the maturity of his composition – including theme-.
His shapes and forms are masculine, but the shades and fine tints are feminin.
The fluence of lines are often interrupted like fine fragments.
His message is vivid and full of brighness.
Beyond all these his art enchanting our souls.

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Posted in ART