Aaron Siskind (American “Abstract Expressionist” Photographer, 1903-1991) (left) New York , 24 x 20“, gelatin silver print, 1951 (right) compare Franz Kline , Siskind , oil on canvas, 1959 Aaron Siskind , Boys Playing with Toy Swords , Harlem, New York, 1930’s Siskind , Chicago 25 , 1957
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Aaron Siskind (American “Abstract Expressionist” Photographer, 1903-1991) (left) New York, 24 x 20“, gelatin silver print, 1951 (right) compare Franz Kline, Siskind, oil on canvas, 1959
"For the first time in my life, subject matter, as such, had ceased to be of primary importance. Instead, I found myself involved in the relationships of these objects, so much so that these pictures turned out to be deeply moving and personal experiences."
Siskind moved from Social Realism to de-politicized formalist abstraction of the Chicago Institute of Design and second generation Abstract Expressionism (1950s)
1949 – a founding
feminist text rooted in
about the true nature
Simone de Beauvoir
Jean Fautrier (French, 1898-1964) Art Informel, Head of a Hostage, 20," oil on panel, 1944, one of over thirty “hostage” paintings and sculptures that he made during the occupation of Paris alluding to the Nazi atrocities.
“These paintings addressed the
most important issue of their time, epitomizing a 'new human resolve'
against the horrors of war." (Fautrier)
Germaine Richier (French, 1904-1959) , Crucified Christ, 1950, Notre-Dame de Tour Grâce d'Assy, France. Post-humanist?(lower right) Richier’s teacher, Emile-Antoine Bourdelle, Hercules, 1909
Alberto Giacometti (Swiss, 1901-1966), (left) City Square, 1948, bronze, c. 8 x 25 x 17“(right) Giacometti, Portrait of a Seated Man (Diego), 1949, oil on canvas, 80 x 64 cm.
2 of 5 casts. Guggenheim collection photo, lower,
shows preferred viewpoint (eye-level, close up) which
alters the viewer’s perception of scale
Portraits are the stopping point
of an agonized struggle with
perception as proof of existence
Artist’s sketch, 1932
MoMA New York, 2005
(left) Poseidon, Greek, c. 575 BC, bronze, found in the Aegean Sea in 1926: god as powerful warrior male(right) Giacometti,Man Pointing, 1947, bronze, 70 inches high, Existential man: “thrown naked into the void” (Heidegger, German WWII era existential philosopher). The Poseidon was a source for Giacometti
Sac State Student, 2005
Jean Dubuffet[French, 1901-1985] “Art Brut,”Large Sooty Nude, 1944, o/c, 64”H; (right) Tree of Fluids, 1952; compare (center) Willem de Kooning, Woman I, 1952“Art addresses the mind, not the eyes.” (Dubuffet)
Francis Bacon (British, 1909 -1992), (left) Painting, 1946, oil and pastel on linen, 6' 6" x 52“; (right) Head Surrounded by Sides of Beef, oil on canvas, 1954
Black umbrella was the symbol of British Prime Minister
Neville Chamberlain’s policy of Nazi appeasement
Francis Bacon,Study after Velazquez's Portrait of Pope Innocent X, 5 x 4 ft, 1953(right top) source: Velazquez, Pope Innocent X, 1650; (right below) Still from Sergei Eisenstein’s 1925 The Battleship Potemkin, Odessa steps sequence
NOTE: Study for Portrait II, 1956, from Bacon’s
series of papal portraits sold at Christie’s
February, 2007 auction for $27.51 million
Francis Bacon, Three Studies for Figures at the Base of a Crucifixion, 1944, oil and pastel on canvas, triptych on wood fiberboard, each 37 x 29 inches. The crucifixion was for Bacon a symbol of humanity’s sadism(lower right) source: Picasso, On the Beach (La Baignade), 1937
“the kindly ones,” The Furies, the
dark hidden side of the human
psyche, with Orestes
(left) Francis Bacon, Three Studies of figures on Beds, 1972, oil and pastel on canvas, triptych, each panel 6’6” x 4’ 10”(right) source: Eadweard Muybridge, photograph from The Human Figure in Motion, 1887
Exhibition photo of Bacon’s Two Figures Lying on a Bed with Attendants, 1968