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Paul Poiret (1879-1944)

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Because i recently purchased the book on Paul Poiret whci was published on the occasion of the exhibition in the Gemeentemuseum Den Haag and the Metropolitan in New York i looked at the articel published by the Metropolitan and the information is perfect, so here it is :

Every decade has its seer or sybil of style, a designer who, above all others, is able to divine and define the desires of women. In the 1910s, this oracle of the mode was Paul Poiret, known in America as “The King of Fashion.” In Paris, he was simply Le Magnifique, after 

, a suitable soubriquet for a couturier who, alongside the all-pervasive influence of Sergei Diaghilev’s 

, employed the language of Orientalism to develop the romantic and theatrical possibilities of clothing. Like his artistic confrere Léon Bakst, Poiret’s exoticized tendencies were expressed through his use of vivid color coordinations and enigmatic silhouettes such as his iconic “lampshade” tunic and his “harem” trousers, or pantaloons. However, these 

 fantasies (or, rather, fantasies of the Orient) have served to detract from Poiret’s more enduring innovations, namely his technical and marketing achievements. Poiret effectively established the canon of modern dress and developed the blueprint of the modern fashion industry. Such was his vision that Poiret not only changed the course of costume history but also steered it in the direction of 

 history.

Poiret’s route into 

 followed the common practice of shopping around one’s drawings of original fashion designs. His efforts were rewarded in 1898, when the couturière Madeleine Chéruit bought twelve of his designs. In the same year, he began working for Jacques Doucet, one of the most prominent couturiers in Paris. According to Poiret’s memoirs, My First Fifty Years (1931)—also published as The King of Fashion—the first design he created for the house was a red wool cloak with gray crepe de chine lining and revers, which sold 400 copies. But it was a mantle he made for the actress Réjane in a play called Zaza that would secure his fame. Using the stage as a runway was to become a typical strategy of Poiret’s marketing practices, enabling him to present his most avant-garde creations. The mantle was of black tulle over a black taffeta that had been painted by Billotey, then a famous fan painter, with large white and mauve irises. In Poiret’s words, “All the sadness of a romantic dénouement, all the bitterness of a fourth act, were in this so-expressive cloak, and when they saw it appear, the audience foresaw the end of the play . . . Thenceforth, I was established, chez Doucet and in all of Paris.” By the time he left Doucet in 1900 to fulfill his military service, Poiret had risen to become head of the tailoring department.

In 1901, Poiret joined the House of Worth, where he was asked to create what Gaston Worth (the son of 

, the eponymous founder) called “fried potatoes,” simple, practical garments that were side dishes to Worth’s main course of “truffles,” opulent 

 and reception gowns. One of his “fried potatoes,” a cloak made from black wool and cut along straight lines like the 

, proved too simple for one of Worth’s royal clients, the Russian princess Bariatinsky, who on seeing it cried, “What horror; with us, when there are low fellows who run after our sledges and annoy us, we have their heads cut off, and we put them in sacks just like that.” Her reaction, however, prompted Poiret to found his own maison de couture in 1903 at 5 rue Auber. Later, in 1906, he moved his atelier to 37 rue Pasquier, and then, in 1909, to 9 avenue d’Antin. Two years later, he established a perfume and cosmetics company named after his eldest daughter, Rosine, and a decorative arts company named after his second daughter, Martine, both located at 107 Faubourg Saint-Honoré. In so doing, he was the first couturier to align fashion with interior design and promote the concept of a “total lifestyle.”

While Poiret learned his craft at two of the oldest and most revered couture houses, he spent his first decade as an independent couturier not only breaking with established conventions of dressmaking, but subverting and eventually destroying their underlying presumptions. He began with the body, liberating it first from the 

 in 1903 and then from the 

 in 1906. Although constantly shifting in its placement, the corseted waistline, which had persisted almost without interruption since the Renaissance, divided the female form into two distinct masses. By 1900, it promoted an S-curve silhouette with large, forward-projecting breasts and equally large backward-protruding bottom. In promoting an uncorseted silhouette, Poiret presented an integrated and intelligible corporeality. He was not alone in this vision of dress reform. Lucile (also known as Lady Duff Gordon) and Madeleine Vionnet also advanced an uncorseted silhouette, but it was Poiret, largely owing to his acumen for publicity, who became most widely associated with the new look.

In freeing women from corsets and dissolving the fortified grandeur of the obdurate, hyperbolic silhouette, Poiret effected a concomitant revolution in dressmaking, one that shifted the emphasis away from the skills of tailoring to those based on the skills of draping. It was a radical departure from the couture traditions of the nineteenth century, which, like menswear (to which they were indebted), relied on pattern pieces, or more specifically the precision of pattern making, for their efficacy. Looking to both 

 and regional dress types, most notably to the Greek 

, the 

, and the North African and Middle Eastern caftan, Poiret advocated fashions cut along straight lines and constructed of rectangles. Such an emphasis on flatness and planarity required a complete reversal of the optical effects of fashion. The cylindrical wardrobe replaced the statuesque, turning, three-dimensional representation into two-dimensional abstraction. It was a strategy that dethroned the primacy and destabilized the paradigm of Western fashion.

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Poiret’s process of design through draping is the source of fashion’s modern forms. It introduced clothing that hung from the shoulders and facilitated a multiplicity of possibilities. Poiret exploited its fullest potential by launching, in quick succession, a series of designs that were startling in their simplicity and originality. From 1906 to 1911, he presented garments that promoted an etiolated, high-waisted Directoire Revival silhouette. Different versions appeared in two limited-edition albums, Paul Iribe’s Les robes de Paul Poiret(1908) and Georges Lepape’s Les choses de Paul Poiret (1911), early examples of Poiret’s attempts to cement the relationship between art and fashion (later expressed in collaborations with Erté and Raoul Dufy, among others). Both albums relied on the stenciling technique known as pochoir, resulting in brilliantly saturated areas of color (

). It was an approach that not only reflected the novelty of Poiret’s designs but also his unique palette. Indeed, although the 

 depicted in the pochoirs referenced 

, their acidic colors and 

 accessorization, most notably turbans wrapped à la Madame de Staël, were more an expression of Orientalism (as were several cocoon or kimono coats for which Poiret was known throughout his career).

Spurred on by the success of the Ballets Russes production of Schéhérazade in 1910, Poiret gave full vent to his 

 sensibilities, launching a sequence of fantastical confections, including “harem” pantaloons in 1911 and “lampshade” tunics in 1913 (earlier, in 1910, Poiret had introduced hobble skirts, which also can be interpreted as an expression of his Orientalism). As well as hosting a lavish fancy-dress party in 1911 called “The Thousand and Second Night,” in which the fashions and the scenography reflected a phantasmagoric mythical East, he also designed costumes for several theatrical productions with Orientalist themes, most notably Jacques Richepin’s Le Minaret, which premiered in Paris in 1913 and presented the couturier with a platform on which to promote his “lampshade” silhouette. Even when Poiret reopened his fashion business after World War I, during which he served as a military tailor, Orientalism continued to exercise a powerful influence over his creativity. By this time, however, its fashionability had been overshadowed by modernism. Utility, function, and rationality supplanted luxury, ornament, and sensuality. Poiret could not reconcile the ideals and aesthetics of modernism with those of his own artistic vision, a fact that contributed not only to his diminished popularity in the 1920s but also, ultimately, to the closure of his business in 1929.

It is ironic that Poiret rejected modernism, given that his technical and commercial innovations were fundamental to its emergence and development. But although Poiret’s Orientalism was at odds with modernism, both ideologically and aesthetically, it served as the principal expression of his modernity, enabling him to radically transform the couture traditions of the 

. While Poiret may have been fashion’s last great Orientalist, he was also its first great modernist.

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The book is available at www.ftn-books.com

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John Zinsser (1961)

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A master in Blue . A bit like Yves Klein had his favorit color too  and executed many of his paintings in Blue. Zinsser uses the available commercial paints with their standard bright colors.

John Zinsser’s abstract paintings investigate formal properties of gestures, supports, color, and paint through simple actions and two-toned compositions that explore the relationship between figure and ground. After studying art history at Yale, Zinsser relocated to New York, where he has remained since the 1980s. Color is a preeminent concern for Zinsser; he typically works with naturally occurring commercially available colors such as cobalt blue or cadmium red. The properties and values of the ground determine what colors and forms he chooses to include in the foreground. “I always put a faith in materials first—that paint has a kind of authority of its own,” he says. “Paint has a unique power to assert tactile reality, pushing toward a larger visual and bodily response.”

For me personally il compare his paintings with the one Tomas Rajlich has done in the last 2 decades / also monochrome paintings with working the paint over that it the paint is moulded into a shape. Both arftists i like very much, but for me personally i prefer the Rajlich paintings , because i have met Tomas on several occasions and beside an excellent painter he is a an aimable person.

www.ftn-books.com has a nice Zinsser catalogue available.

zinsser

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Alice Neel (1900-1984)

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Until a few years ago the works by Alice Neel were not known outside a small circle of admirers. Among them director Rudi Fuchs and some curators from duthc Modern Art museums. the result a breathtaking exhibition at the Gemeentemuseum Den Haag in 2017. Her works remind me of Georg Grosz his very best works.

Her importance startded to grow among a small circle of admirers in the Sixties, because in the early 60s Neel moved to the more prosperous Upper West Side of New York, where her subjects began to include influential curators, art critics and dealers. At the same time, she became interested in the subcultures that were beginning to lay claim to their position in society around this time. Thanks to her friendship with Andy Warhol, she met various gays and transsexuals, including Jackie Curtis (inspiration for Lou Reed’s song Walk on the Wild Side). Neel’s portraits of Curtis and of ‘liberated’ women contributed to the public acceptance of such subcultures. In this respect, her oeuvre includes a genre familiar to us from the world of photography – for example, that of Diane Arbus – but unique in painting. By the end of her life, Alice Neel had created a body of portraits that, taken together, represented a cross-section of 20th-century American society.

 

Alice Neel was a figurative painter at a time when the art world was dominated first by Abstract Expressionism and later by Minimal Art and Pop Art. Figurative painting was regarded as a thing of the past. Indeed, in the 1960s and ’70s painting itself was declared dead. Although she was well aware of contemporary trends, Neel chose to pursue a path diametrically opposed to them. Consequently, her life was a constant struggle for artistic recognition. She did not achieve broader recognition until the 1970s, and then partly due to the women’s liberation movement. In the United States she is now ranked as one of the most important figurative painters of the 20th century, alongside Lucian Freud and Francis Bacon. In Europe, interest in her work has increased sharply in recent years and this exhibition can be seen as the culmination of her posthumous artistic breakthrough on this side of the Atlantic.

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William Wegman (1943)

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Because we also have dogs ( and certaily not the easiest ones ) i remembered there is one artist photographer who devoted his entire career and oeuvre to his Weimeraner dogs. His work always reminds me of the early works by Cindy Sherman, biut instead of Sherman being the subject in her staged photographs it is the dogs of Wegman who enact the scene which is photographed. One of the earliest books i found with his dogs was the fairy tale of “little red riding hood” staged and photographed by the dogs. On the site of Wegman there is a lot of information to be found on his photography, but the most interesting piece of information i found on Youtube:

Wegman originally intended to pursue a career as a painter. He received a Bachelor of Fine Arts in painting from Massachusetts College of Art and Design in 1965 and a Master of Fine Arts degree in painting from the University of Illinois at Urbana–Champaign in 1967.

By the early 70s, Wegman’s work was being exhibited in museums and galleries internationally. In addition to solo shows with Sonnabend Gallery in Paris and New York, Situation Gallery in London and Konrad Fisher Gallery in Düsseldorf, his work was included in such seminal exhibitions as “When Attitudes Become Form,” and “Documenta 5” and regularly featured in Interfunktionen, Artforum and Avalanche.

While he was in Long Beach, Wegman got his dog, Man Ray, with whom he began a long and fruitful collaboration. Man Ray, known in the art world and beyond for his endearing deadpan presence, became a central figure in Wegman’s photographs and videotapes. In 1982, Man Ray died, and was named “Man of the Year” by the Village Voice. It was not until 1986 that Wegman got a new dog, Fay Ray, and another collaboration began marked by Wegman’s extensive use of the Polaroid 20 x 24 camera. With the birth of Fay’s litter in 1989, Wegman’s cast of grew to include Fay’s offspring — Battina, Crooky and Chundo — and later, their offspring: Battina’s son Chip in 1995, Chip’s son Bobbin in 1999 and Candy and Bobbin’s daughter Penny in 2004.

Although primarily known as a photographer, Wegman returned to painting in the mid 1980s[2] Among his oeuvre of paintings are a number of canvases filled with smoke and fire that depict natural and manmade disasters. Volcano, in the collection of the Honolulu Museum of Art demonstrates this aspect of the artist’s work.

He appeared on The Colbert Report in 2010. Wegman is the author of numerous books for children, including the New York Times bestseller Puppies. His latest children’s book, Flo & Wendell, is published with Dial Books for Young Readers.

Wegman originally intended to pursue a career as a painter. He received a Bachelor of Fine Arts in painting from Massachusetts College of Art and Design in 1965 and a Master of Fine Arts degree in painting from the University of Illinois at Urbana–Champaign in 1967.

By the early 70s, Wegman’s work was being exhibited in museums and galleries internationally. In addition to solo shows with Sonnabend Gallery in Paris and New York, Situation Gallery in London and Konrad Fisher Gallery in Düsseldorf, his work was included in such seminal exhibitions as “When Attitudes Become Form,” and “Documenta 5” and regularly featured in Interfunktionen, Artforum and Avalanche.

While he was in Long Beach, Wegman got his dog, Man Ray, with whom he began a long and fruitful collaboration. Man Ray, known in the art world and beyond for his endearing deadpan presence, became a central figure in Wegman’s photographs and videotapes. In 1982, Man Ray died, and was named “Man of the Year” by the Village Voice. It was not until 1986 that Wegman got a new dog, Fay Ray, and another collaboration began marked by Wegman’s extensive use of the Polaroid 20 x 24 camera. With the birth of Fay’s litter in 1989, Wegman’s cast of grew to include Fay’s offspring — Battina, Crooky and Chundo — and later, their offspring: Battina’s son Chip in 1995, Chip’s son Bobbin in 1999 and Candy and Bobbin’s daughter Penny in 2004.

Although primarily known as a photographer, Wegman returned to painting in the mid 1980s.Among his oeuvre of paintings are a number of canvases filled with smoke and fire that depict natural and manmade disasters. Volcano, in the collection of the Honolulu Museum of Art demonstrates this aspect of the artist’s work.

www.ftn-books.com has some nice Wegman titles available

 

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Antonio Saura (1930-1998)

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Followers of this blog know that i have an admiration for Saura to whom i devoted a blog on the 17th of August 2017. Now i want you to know that i have added an important early pub;lication to my inventory. It is is the 1964 Pierre Matisse gallery publication which is according to my information the first publication that has some colored ( tipped in) illustrations in it. An excellent designed catalogue and certainly one that must be interesting for the Saura admirer.

saura matisse 1964

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L wig Mies van der Rohe (1886-1969)qΩ“Ω~ |’| §

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When i think about Ludwig Mies van der Rohe, three of his designs i remember instantly. The first …a chair by Mies van der Rohe, One i always wanted to own and when i finally had one i did not think it was comfortable enough so i sold it. The chair… a Barcelona chair.

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The one he designed for the Barcelona Pavillion. It was designed for the World exhibition from 1929 and after the exhibition it was demolished, but a group of spanish architects recognized its importance and had it rebuild in the Eighties from last century. I finally had a chance to see it for myself when i visited Barcelona for the first time around 2005. We walked over there since it is only a 10 minutes walk from the Fundacio Joan Miro.

The last one is the Seagram building which is one of the skyscrapers i admired when i first visited New York together with my father. A building i remembered well and of which i recognized style elements when i visited the Neue Nationalgalerie in Berlin some 30 years later. Ludwig Mies van der Rohe is a force in design and has made his mark on many of last centuries greatest designs. Some of his classic publications are availabel at www.ftn-books.com

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André Emmerich (1924-2007)

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Andre Emmerich was an exceptional art dealer. Robert Motherwell introduced Emmerich to “the small group of eccentric painters we now know as the New York Abstract Expressionist School”. During the second half of the 20th century the Emmerich Gallery was located in New York City and since 1959 in the Fuller Building at 41 East 57th Street and in the 1970s also at 420 West Broadway in Manhattan and in Zürich, Switzerland.

The gallery displayed leading artists working in a wide variety of styles including Abstract Expressionism, Op Art, Color field painting, Hard-edge painting, Lyrical Abstraction, Minimal Art, Pop Art and Realism, among other movements. He organized important exhibitions of pre-Columbian art and wrote two acclaimed books, “Art Before Columbus” (1963) and “Sweat of the Sun and Tears of the Moon: Gold and Silver in Pre-Columbian Art” (1965), on the subject.

In addition to David Hockney, and John D. Graham the gallery represented many internationally known artists and estates including: Hans Hofmann, Morris Louis, Helen Frankenthaler, Kenneth Noland, Sam Francis, Sir Anthony Caro, Jules Olitski, Jack Bush, John Hoyland, Alexander Liberman, Al Held, Anne Ryan, Miriam Schapiro, Paul Brach, Herbert Ferber, Esteban Vicente, Friedel Dzubas, Neil Williams, Theodoros Stamos, Anne Truitt, Karel Appel, Pierre Alechinsky, Larry Poons, Larry Zox, Dan Christensen, Ronnie Landfield, Stanley Boxer, Pat Lipsky, Robert Natkin, Judy Pfaff, John Harrison Levee, William H. Bailey, Dorothea Rockburne, Nancy Graves, John McLaughlin, Ed Moses, Beverly Pepper, Piero Dorazio, among others.

Between 1982-96, Emmerich ran a 150-acre sculpture park called Top Gallant in Pawling, New York, on his country estate that once was a Quaker farm. There he displayed large-scale works by, among others, Alexander Calder, Beverly Pepper, Bernar Venet, Tony Rosenthal, Isaac Witkin, Mark di Suvero and George Rickey, as well as the work of younger artists like Keith HaringMany of the above mentioned artists are available with different publications at www.ftn-books.com

, but FTN books also has some specific Emmerich publications available.

In 1996, Sotheby’s bought the Andre Emmerich Gallery, with the aim of handling artists’ estates. One year later the Josef and Anni Albers Foundation, the main beneficiary of the Albers’ estates, did not renew its three-year contract.The gallery was eventually closed by Sotheby’s in 1998.

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Gunter Tuzina

Why Tuzina in this blog. Tuzina is one of those artists who remained true to a certain principle in art and researched it over 40 years now. Het started with a line in one corner and developed his art from there on. Tilted rectangles, which are crossed from corner to corner in different kinds of colors is the main figure used by Tuzina and is very recognizable and one can find an excellent walldrawing with this “window” in the Gemeentemuseum Den Haag.

The Gemeentemuseun  was one of the first who presented his works and in the eighties Pablo van Dijk commissioned Tuzina to make 55 separate drawings in different colors for his Bebert publishing house. The one depicted here is one of these 55. Signed and dated by Tuzina and in excellent mint condition. This one is available at www.ftn-books.com and soon there will be a second “green” one listed from the same series. Impressive art from an artist who can be considered as a post minimal artist.

I found an excellent biography on Art index:

Günter Tuzina studied at the Hamburg Art Academy between 1971 and 1977. He has been exploring the fundamental principles underlying painting since 1975. Günter Tuzina combines lines, squares, rectangles and Colour Fields within a frame in a fascinating and inexhaustibly rich quest for equilibrium and tension. In its stringent simplicity Tuzina’s work is based on Minimal art and the principles laid down by Theo van Doesburg and De Stijl.
Tuzina was awarded a Villa Romana Prize in Florence in 1981. A retrospective was mounted in 1985 at the Gemeentemuseum in The Hague, for which Tuzina executed a mural two years later that was, unfortunately, lost when the museum was restored.
From 1982 until 1999 Tuzina lived and worked in Cologne but now lives in Berlin. He has had numerous exhibitions: at the David Nolan Gallery in New York (1991), the Cologne Kunstverein (1992), the “Städtische Galerie im Lenbachhaus” in Munich (1993) and again at the Gemeentemuseum in The Hague in 2002.

 

wilfried

www.ftn-books.com

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