Link to Post:
http://www.nyartsmagazine.com/?p=9106
Arena rock power chords stir memories of Neo-Expressionist paintings for painter Ken Weathersby.
Weathersby writes: "As there is something signaling excess, even hinting at chaos in an overdriven distorted guitar on the edge of feedback, so there is in the touch of a gigantic brush dripping with a giant blob of mottled oil color. Each contains potential worlds within itself-- and each can present a virtuosic dishing out of monumental forms, fat floating slabs for the ears or the eyes. In both cases the expression is a presumption of intensity and power deployed. In both cases the awareness of the touch of a creating hand invites one to identify and emulate by miming a swinging gesture of a brush, or a thrash at an air guitar. It’s a seductive image of mastery, full of grandiosity."
Link to Post:
http://www.spiegel.de/international/germany/murals-discovered-at-former-home-of-german-artist-otto-dix-a-874139.html
A report on an interesting group of six recently discovered murals by Otto Dix.
The article notes that "Dix most likely made the artwork for a Karneval, or Mardi Gras, celebration on Feb. 19, 1966. In total there are six major pieces and painted door frames. The drawings include a monster, whose appendages each play a different instrument in a jazz band; figures from the region's traditional carnival festival; and scenes from the 1958 movie 'The Horse's Mouth,' in which Alec Guinness plays a painter. Previously, only small painting in the entry to the cellar that had apparently been done at the same time were known."
Link to Post:
http://www.thoughtsthatcureradically.com/2012/10/eugen-schonebeck-paintings-and-drawing.html
Caleb De Jong reviews the exhibition Eugen Schönebeck Paintings and Drawings: 1957-1966 at David Nolan Gallery, on view through November 3, 2012.
De Jong writes: "Unlike his friend Baselitz, whose career has attained stratospheric success, Schönebeck is little known outside of his native Germany, and according to David Nolan Gallery, this is his first exhibition in New York City. The thirty odd drawings and several paintings have a gritty, Germanic character, clearly in line with the Expressionist’s trauma that originated out of Germany’s first national tragedy, World War I. The pen and ink drawings display both a direct tachiste approach as well as a conscientious social satire. The paintings have a dirty, mixed in color quality that is reminiscent of early Baselitz and a representational-gestural approach in line with Lovis Corinth."
Link to Post:
http://50watts.com/2516122/Weimar-Whiplash-Twenty-One-Book-Covers-by-George-Grosz
Will Schofield photoblogs images of book covers illustrated by painter George Grosz. The collection showcases the wide range of Grosz's drawing technique.
Link to Post:
http://structureandimagery.blogspot.com/2011/09/franz-marc-exceptional-condition.html
In a post full of images, Paul Behnke blogs about painter Franz Marc.
Behnke writes that Marc's "belief in abstraction and his ability to fuse his life and art serve as a guide to sympathetic artists."
Link to Post:
http://www.artnet.com/magazineus/news/von-spesshardt/otto-dix-watercolors-discovered-8-30-11.asp
Henrike von Spesshardt reports on the discovery of previously unknown watercolors and drawings by German painter Otto Dix on view in the exhibition Dix in Düsseldorf - Otto Dix and the Dusseldorf Artistic Scene 1920-1925 on view from September 4-December 2, 2011, at Galerie Remmert und Barth, Düsseldorf.
Spesshardt notes that Dix is known as "a virtuoso of watercolor technique, known for masterful wet-on-wet depictions of prostitutes, sailors, invalids and other marginal figures of contemporary society.... The rediscovered works include 'three important watercolors from Dix's years in Duesseldorf, from 1922 and 1923. The titles of the works are Soubrette, Nächtens and Strich III. The period in which they were produced is deemed the most important for Dix's watercolors and was his most productive time.' "
Link to Post:
http://youtu.be/RS7kpYgyHSs
James Kalm video blogs a visit to the recent exhibition Georg Baselitz The Early Sixties at Michael Werner Gallery.
Kalm's "... walkthrough provides views of some of seminal paintings, and drawings that mark the artist's transition from Abstract-Expressionism to a new figuration."
Link to Post:
http://www.haberarts.com/2011/07/when-modern-meant-graphic/
John Haber reviews The Graphic Impulse, a recent exhibition at the Museum of Modern Art, featuring works on paper by Oskar Kokoschka, Vasily Kandinsky, Erich Heckel, Emil Nolde, E. L. Kirchner, Max Beckmann, Otto Dix and Käthe Kollwitz. Athough the show's title plays on two meanings of the word "graphic" - explicit imagery (of war) and works on paper - Haber notes that "The show also presents an alternative history of Modernism... The roughly two-hundred and fifty works seem largely indifferent to Cubism. Here space is compressed rather than fragmented and multiplied, while real bodies shatter."
Link to Post:
http://www.contemporaryartdaily.com/2011/01/markus-lupertz-at-michael-werner/
Beautiful exhibition photos from Markus Lüpertz, Pastoral Thoughts at Michael Werner on view through January 21, 2011.
Link to Post:
http://artcritical.com/2010/12/24/motesiczky/
David Cohen brings to our attention "a remarkable posthumous debut. Marie-Louise von Motesiczky... protégé to Max Beckmann and later, and to a lesser degree, Oskar Kokoschka, but for all the manifest influence of both, von Motesiczky is an audaciously lyrical painter of expressive, poignant, sometimes haunting allegories."
