The current exhibition, George Schneeman: Going Ape at Pavel Zoubok, which closes today, offers another side of this self-effacing, under-appreciated artist: ceramics and small egg temperas on panels in which he made copies of his collages.
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In April 1938, Hoffbauer returned to the United States to repair some damage to the Confederate murals and to accept an honorary doctor of fine arts degree awarded by the University of Richmond. He visited New York in July and arranged a meeting with Walt Disney. Hoffbauer presented the temperas and the idea of an animated historical motion picture.
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Gropper, p. 20. In 1939, Hoffbauer and his wife, Henrietta, moved from Paris to Hollywood. To assist Hoffbauer, Disney prepared a technicolor filmstrip of the 120 Napoleonic campaign temperas.Gropper, p. 22. Hoping to further interest in a motion picture based on the paintings, Hoffbauer exhibited the temperas at the Los Angeles Museum and stated, “We artists must . . .
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Among his personal exhibitions we can mention in 1979 Exposición Litografías de Carlos del Toro in the Museo Nacional de Bellas Artes, in Havana, Cuba. In 1990 he presented Temperas, in Víctor Manuel Gallery, in Havana, Cuba. In 1991 he also exhibited Graphic Art and Paintings, in Bologna, Italy. In 1994 he made Entresaurios II, in the La Acacia Gallery, in Havana, Cuba.
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"The art thrill of the week". Los Angeles Times, p. C8. Despite contacts with several motion picture personnel, including actor Douglas Fairbanks, Jr., and producer Walter Wanger, Hoffbauer was unable to generate interest in the material as a movie. Hoffbauer also painted a set of temperas titled The History of Williamsburg in the hope of making an educational filmstrip for the Colonial Williamsburg Foundation.
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The painting depicted the last battle of King Arthur against the Romans. The exhibition was very poorly attended, with none of the temperas or watercolours sold and was described as "a dead failure". There was only one review, in The Examiner, which was hostile. Between April and October 2009 many of the works displayed at the original exhibition were displayed together once more at Tate Britain.
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Josip Seissel was born on January 10, 1904 in Krapina, then in Austria- Hungary, now Croatia. Under the name Jo Klek, Seissel was a major contributor to the avant-garde Zenit movement between 1922 and 1925. From his youth, Seissel had been interested in the theatre. He began as a self-taught artist creating drawings, temperas, watercolours and theatrical designs for Zenit productions, including set designs, costumes and posters.
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Among his must important solo exhibitions were Temperas de José Omar Torres, in Galería L, Havana, 1973. In 1992 he exhibited Jose Omar Torres' in the Galerie Itinerat, in Paris, France. In 1995 he presented 3 Propuestas (Pintura Cubana) [Eduardo Abela Torrás, José Omar Torres, Carlos del Toro Orihuela] in the Galería de Arte INAC, Plaza de Francia, Panama. In 1997 he exhibited Polos opuestos [José Gómez Fresquet (FREMEZ)/José Omar Torres] in the Ambos Mundos Hotel, Havana.
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His first paintings, mostly temperas on paper depicting old houses, were presented at an Art of Modern Greek Tradition exhibition, organised in January 1938. Soon after the exhibition, he published translations of poems by Tristan Tzara, which were published in February. A few months later, his first collection of poems (Do Not Distract the Driver) was published, followed by a second one (The Clavicembalos of Silence) the next year. Overall he is considered one of the finest surrealist poets of Greece.
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His works comprise oil paintings, gouaches, temperas, drawings, book illustrations (for example for a dictionary of the Maastricht dialect and a book about the liberation of Leiden), glass windows for churches in Utrecht and Brabant, frescos (Maastricht), sgraffitos (Cuyck, Brunssum), portraits and sculptures. He was also an art critic for a regional newspaper and for fifteen years he taught "cultural life" at the teachers training college of Veghel. His works have been exhibited in Maastricht, Scheveningen, Amsterdam, Bonn, Paris, Rome, Barcelona and Tokyo, among others.
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16, 18. In 1935, Hoffbauer attended in Paris a showing of the Walt Disney movie The Three Little Pigs. After viewing the movie, it occurred to him that his artistic ability would be a good match for the animation field and that motion pictures could provide an excellent venue for conveying history. With the idea of making an historical animated movie, over the next two years Hoffbauer researched Napoleon’s 1812 invasion of Russia and drew thousands of sketches. From these sketches, he created 120 temperas, which he titled Napoleon’s Russian Campaign.
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The exhibition was very poorly attended, selling none of the temperas or watercolours. Its only review, in The Examiner, was hostile.Peter Ackroyd, "Genius spurned: Blake's doomed exhibition is back", The Times Saturday Review, 4 April 2009 one of a series of illustrations of Revelation 12. Also around this time (circa 1808), Blake gave vigorous expression of his views on art in an extensive series of polemical annotations to the Discourses of Sir Joshua Reynolds, denouncing the Royal Academy as a fraud and proclaiming, "To Generalize is to be an Idiot".
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Starting from the 1950s and through the 1970s, she focused on her beloved Moscow, and depicted the old Moscow, the Muscovites and the building of the New Moscow. She becomes then a member of the urban artists' group "Moscow through the Windows of a Bus", active in Moscow from 1965 to 1985. Her lively temperas with their almost festive perception of life act as a mirror of the times. The Moscow scenes are snapshots taken in an effort to capture a moment of the beauty of city life.
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In 1939 she traveled to Santiago, Chile, where she was invited to speak in several conferences. From her time in Buenos Aires, the Museum of Drawing and Illustration now treasures a collection of two of Mallo’s temperas on paper representing half-real and half-fantastical animals. At 36, she published the book Lo popular en la plástica española a través de mi obra (What is popular in Spanish art because of my work) (1939) and began to paint portraits of women, whose style is a precursor to pop art in the United States. In 1942 the book Maruja Mallo was published with a prologue by Ramón Gómez de la Serna.
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It seems that the more popular Flora became, the less "threatening" his art appeared. This is certainly true of his commercial work, which softened and became more generic in the 1960s and 1970s. His private fine art, however, often served as an outlet for the artist's inner demons, as Flora dotted many works with images of violence and sexual excess. (The cover of The Curiously Sinister Art of Jim Flora is adorned with figures from his 1940s absurdist burlesque painting, The Rape of the Stationmaster's Daughter.) Many of his smaller temperas and pen and ink sketches, particularly from the 1940s through the 1960s, featured clusters of unrelated images interlocking like rune-shaped brickwork, every square inch of surface crammed with bizarre figures, some disturbing, some nonsensical, all intriguing.
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The shape of this building, the tempera painting and also the main exposed to the west, as in the near chapel of San Giovanni Battista, indicate that it was built in the same period. In the 16th century it was known as the Church of the Saint Angel because inside it there were temperas of saint Michael and of the Guardian Angel; later it was called with its present name, taking inspiration by the other homonym fresco on its vault; in the mid ‘700 the Church was restored by Father Adragna, a priest, and other works were done in the following periods.Carlo Cataldo, Guida storico-artistica dei beni culturali di Alcamo- Calatafimi-Castellammare Golfo, Alcamo, Sarograf, 1982. De Blasi confirms this supposition on the name and believes that it was named Church of the Saint Angel because, even in the near small Church of San Giovanni, the figure of this patron saint was placed on the right side of the tribune.
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He works began to be defined by more pure intensive colors and glow, leading to the period dubbed the "coloristic phase." New artistic orientation culminated and was to characterize the works of the "associative phase" (1960–1984). At that time Milan Konjovic engaged himself in the work of the artists' colonies of Vojvodina. In 1985 began the "Byzantine phase" with works treating various themes from Byzantine history. By the end of 1990 Konjović had produced about thirty new works, completing the impressive opus of about 6000 oil paintings, pastels, watercolors, temperas, drawings, tapestries, stage sets, costume sketches, stained glass windows, mosaics, and graphics. In his life, Konjović had 297 one-man and 700 group exhibitions in the country and abroad, in such notable locations as Prague, New York, London, Amsterdam, São Paulo, Rome, Modena, Athens, Paris, and Moscow. His legacy is best represented in his hometown of Sombor where the "Milan Konjović " Gallery,The Gallery 'Milan Konjović (Tuner's House or Gale's House). Sycultour.eu.
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