Reckon | The Whole World's a Stage

iheartmyart:

Whitney Bedford, Untitled (Double Rainbow)

tobia:

William S. Carter ( 1909 ) “Woman Thinking” Oil on canvas 1981

i12bent:

Bezalel Schatz: Fantasmagoria (acrylic on canvas)

(This is the painting that Henry Miller had reproduced on his stationary, see previous post)

“Bezalel (nicknamed “Lilik”) Schatz was born in 1912 to Boris Schatz, founder of the Bezalel School of Arts and Crafts in Jerusalem, and his wife Olga, an art critic. From an early age, he demonstrated considerable talent for gymnastics and music, but especially for art. He grew up in a home in which artists were a constant presence, he was introduced to Israel’s most prominent leaders, and the first public exhibition of his artwork coincided with his Bar Mitzvah celebration. He attended the Gymnasia in Jerusalem and at age 14 completed his studies at the Bezalel School. In 1930, Bezalel joined his father on a fundraising tour of Europe and the United States, where they also exhibited their artwork and that of Bezalel students.

Between 1937 and 1951, Bezalel resided in the U.S. Near the end of WWII, he worked in a California shipyard, and it was there he met his future wife, Louise. He was also introduced to the novelist Henry Miller in California, and their friendship blossomed into a creative collaboration. The artist May Ray recorded his observations about the two, noting that “I have never encountered such smooth cooperation…” Bezalel produced silkscreen prints for Miller’s novel, Into the Night Life, an innovation for both the art and publishing worlds. In Florence, New Mexico, New York, San Francisco, and other locations, Schatz exhibited his own work and participated in group shows with some of the greatest artists of his era – Picasso, Matisse, Chagall, and Kokoschka.” (More bio)

pafurada:

funeralface: reynard: essayons:

i12bent:

Marcel Duchamp: Young Girl and Man in Spring/ Jeune homme et jeune fille dans le printemps. 1911. Oil on canvas. 65.7 x 50.2 cm. Private collection.

i12bent:

Rosalind Bengelsdorf (April 29, 1916 - 1979): Seated Woman, 1938 - oil on canvas (Smithsonian)

“One of the youngest members of the American Abstract Artists, Rosalind Bengelsdorf championed abstraction in her writings and lectures as well as in her paintings. As a teenager, she studied at the Art Students League (1930–34) with John Steuart Curry, Raphael Soyer, Anne Goldthwaite, and George Bridgman, and then for a year at the Annot School. In 1935, she entered Hans Hofmann’s atelier as one of the many scholarship students he took on. The following year, she joined the abstract artists working on WPA murals under Burgoyne Diller’s enlightened leadership.

In Hans Hofmann, Bengelsdorf found a true mentor. His dedication to the painting as an independent object matched her growing belief that the picture plane was a “living reality” of forms, energies, and colors. Like Hofmann, Bengelsdorf believed that “the shapes that compose the picture belong to nothing else but the picture.”” - Virginia M. Mecklenburg. The Patricia and Phillip Frost Collection: American Abstraction 1930–1945 (Washington, D.C.: Smithsonian Institution Press for the National Museum of American Art, 1989).

i12bent:

Yves Klein was a French artist and author of ‘actions’: April 28, 1928 - 1962 (heart attack)

Klein has left a multifaceted legacy, including his very own colour ‘Klein Blue’ - shown here on his palm…

Click thru for the fascinating Yves Klein Archive

tobia:

Malkia Roberts ( 1923 ), “Spectrum” Acrylic on canvas 1972

tobia:

Malkia Roberts ( 1923 ), “Guardian” Oil and Acrylic on canvas 1986

neongolden:

blushing:unsolvedmysteries: iamderek: Zanis Waldheims Geometric Abstraction Art (via Yves Jeanson)

sperare:

Pink studio/L’Atelier Rose 1911

Matisse 1869-1954

sperare:

The Conversation (1908-12) oil on canvas - Matisse 1869-1954

“The Conversation of 1908–1912 portrays the profound underlying shape or mechanism of a relationship laid down for both parties on the day, soon after they first met in 1897, when Matisse warned his future wife that, dearly as he loved her, he would always love painting more.” - Hilary Spurling http://www.nybooks.com/articles/18171