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Three Stephen Douglas paintings have found new homes this summer.

Three Stephen Douglas (American, b. 1949) works have found new homes this summer.

Frost Art Museum, Miami, FL. In With Poe, 2013, Oil on linen, 48 x 48 inches. © Stephen Douglas

Crocker Art Museum, Sacramento, CA. Overcast Imminent, 2002, Oil on linen, 40 x 30 inches © Stephen Douglas

Bakersfield Museum of Art, Bakersfield, CA. Marsha, 1995, Oil on linen, 70 x 58 inches © Stephen Douglas

These artworks are posted in accordance with fair use principles.
#IRequireArt @irequireart #art #american #aldisbrowne #stephendouglas


America’s Age of Self-awareness,

Developed and written by Aldis Browne

Until the mid-20th Century American artists were almost exclusively judged by comparisons to their European peers.

As the world experienced the profound realities of war—WWII in the 1940’s, the Korean conflict of the 50’s and the Vietnam War of the 60’s—America developed a voice of its own, and what a clarion voice it was.

The three decades between the genesis of Abstract Expression and the explosion of Pop Art established America’s art and artists as forces of unsurpassed dynamism.

As American art came to be recognized, widely exhibited, and frequently collected, small institutions began to proliferate across the Nation.  No longer could long-established institutions in such art capitals as New York, Chicago and Los Angeles, claim any monopoly.

Art centers, university art galleries, and small museums drew ever-increasing support, both public and private, and they, too, became integral to community, education, and connoisseurship.

Enjoying art was no longer the exclusive domain of major museums in the large metropolitan areas, nor of the elite, the academic, or the intellectual.

The Michelin Guide has long awarded stars as: * worthy of a visit, ** a detour, *** a trip. Similarly, America has become home to both institutions and works of art that are well worthy of such a visit, detour or trip. The works featured here reflect the 40’s, 50’s and 60’s – the beginning of America’s ‘age of self-discovery’.





Peggy and David Rockefeller’s art at Christie’s

“Eventually all these objects which have brought so much pleasure to Peggy and me will go out into the world and will again be available to other caretakers who, hopefully, will derive the same satisfaction and joy from them as we have over these past several decades.”
(David Rockefeller, 1992)

Exhibition and Auction:
The Collection of Peggy and David Rockefeller

New York: 20 Rockefeller Plaza
Through March 10, 2018

“To date, Christie’s dedicated Rockefeller sales have made $764.4 million—and there are three more live sales and a variety of online sales still to come … last night’s European art auction [May 8, 2018] … generated a smashing $646 million total.” (Artnet News, © Artnet Worldwide Corporation)

Of Interest: Robin Pogrebin, “Pulled From Rockefeller Walls, Picasso, Matisse and Monet Fetch Big Prices,” The New York Times

Pablo Picasso, Young Girl with a Basket of Flowers. Paris. Spring 1905. The Collection of Peggy and David Rockefeller, sold for $115 million Tuesday night at Christie’s Rockefeller auction.

Henri Matisse, Odalisque couchée aux magnolias, 1923. Oil on canvas. 23¾ x 31⅞ in (60.5 x 81.1 cm). © Succession H. Matisse/ DACS 2018. The Collection of Peggy and David Rockefeller – sold for $80.8 million Tuesday night at Christie’s Rockefeller auction in New York.

Paul Signac, Opus 217. “Against the Enamel of a Background Rhythmic with Beats and Angles, Tones, and Tints, Portrait of M. Félix Fénéon in 1890,” 1890. The Collection of Peggy and David Rockefeller, Spring 2018 at Christie’s in New York.

Edouard Manet (1832–1883), Lilas et roses, 1882. Oil on canvas. 12¾ x 9¾ in (32.4 x 24.7 cm). The Collection of Peggy and David Rockefeller, Spring 2018 at Christie’s in New York.

Claude Monet: Extérieur de la gare Saint-Lazare, effet de soleil, 1877. Painted in Paris. Oil on canvas. The Collection of Peggy and David Rockefeller, Spring 2018 at Christie’s in New York.

Willem de Kooning (1904-1997), Untitled XIX, 1982. Oil and charcoal on canvas. 80 x 70 in (203.2 x 177.8 cm). © The Willem de Kooning Foundation / Artists Rights Society (ARS), New York. The Collection of Peggy and David Rockefeller, Spring 2018 at Christie’s in New York.

Juan Gris, La table de musician, 1914. Demonstrating the cubist artist’s ability, La table conjures solid objects from oil, gouache, colored wax crayons, charcoal and paper collage on canvas. Although Picasso and Braque also used these techniques Gris is regarded as the ‘master of form’. The Collection of Peggy and David Rockefeller, Spring 2018 at Christie’s in New York.

David Rockefeller and Peggy McGrath Rockefeller. (Photo by Ron Galella/WireImage)

Matisse’s “Odalisque couchée aux magnolias” (left) and David Rockefeller (right)

Featured image: John Singer Sargent: San Geremia, 1913. Oil on canvas. Painted on Sargent’s last trip to Venice where he stayed with his friends the Curtis’ at Palazzo Barbaro. The Collection of Peggy and David Rockefeller, Spring 2018 at Christie’s in New York.

#IRequireArt @irequireart #art #christies #rockefellercollection

“‘Every work I create is a mathematical dream’ – an interview with Beatriz Milhazes,” By Amandas Ong

Beatriz Milhazes creates colourful compositions in a variety of mediums, inspired by landscape of Brazil and modernist traditions in both Europe and Latin America. She speaks to Amandas Ong about her new exhibition, ‘Rio Azul’, at White Cube in Bermondsey.

‘Rio Azul’ means ‘blue river’ in Portuguese, but it also refers to an important Mayan site in Guatemala. How did you arrive at this title for the exhibition?
It’s the title of the tapestry that’s on display. The idea of a river is probably what inspired me most: in our imagination, rivers are blue, but they can also be any other colour depending on the light. There’s also something magical about rivers because they support life.

It was very difficult to choose a title that could capture the diversity of my work – I paint, I make collages, and now I make tapestries, too. But the tapestry is one of the largest works on display. And in all my work it’s important for me that viewers are able to engage in a dialogue between symbolism and material fact, so I wanted the title to reflect this interaction.

Installation view, ‘Beatriz Milhazes: Rio Azul’ at White Cube, Bermondsey, 2018. Photo: © White Cube (Ollie Hammick); © Beatriz Milhazes

The tapestry is one of a number of works in the show made collaboratively with others. What role does collaboration play in your artistic process?
I’ve always enjoyed and been curious about collaborative effort. I worked with my sister, Marcia Milhazes, to design the set for the performances that she choreographs for her dance company, but was happy for her to make most of the major creative decisions – she’s the one who stages the actual dances.

To make Rio Azul, I had to learn lots about weaving, which is a whole different craft to anything I’d ever done before, so that was fascinating. Collaboration requires a generosity of spirit, and you need to strike a balance between pushing your ideas across and knowing when to be a bit more passive. Because the weavers were the ones who had the technical knowledge to make my dream come to life, I had to make sure they really understood my vision and were on the same page as me.

Installation view, ‘Beatriz Milhazes: Rio Azul’ at White Cube, Bermondsey, 2018. Photo: © White Cube (Ollie Hammick); © Beatriz Milhazes

What it was like working with the master weavers at the Pinton Mill in France to create the tapestry?
I chose the Pinton Mill, who have been operating since 1867, because they had a rich tradition of working with modernist artists like Sonia Delaunay and Alexander Calder. The partnership felt a little like travelling back in time – to work in the same space as Delaunay was a huge honour for me.

I was very impressed by how closely the Pinton family is involved in the creative process, from shearing the wool to dyeing to the actual weaving. It took more than a year to have the tapestry made – and up until the moment when it was unveiled, nobody had seen it in its entirety, even the weavers, because different groups would be participating in the project at any one time. It was a very emotional moment for all of us.

Descriptions of your work often refer to the colours and natural landscape of Brazil. Are these references to your home country deliberate?
The first studio I had was in the same neighbourhood as the botanical gardens in Rio de Janeiro, and so I was constantly surrounded by nature – I think that’s why there are so many tropical colours and so much green in my work. After I became more internationally recognised, it was even more important for me to establish a sense of identity that was tied to home. I’m definitely very attached to my country – I’ve never thought about leaving Brazil because all my friends and family are there.

Goa (2017), Beatriz Milhazes. Photo: © Pepe Schettino; courtesy White Cube. © Beatriz Milhazes

Given the wide range of mediums that you use, do you have a creative philosophy that applies to all of them?
My work centres on the paintings – they’re sort of how I think, and they’re also the most energy-consuming and require the most focus. My collages take up a lot of time, but sourcing the materials is a more varied process. I collect sweet wrappers, silkscreen and holographic papers, and I piece them together.

I’d say that the use of colour is a characteristic that unites my work, which is funny because when I first started out all I wanted to use was white. Now, colour is a way for me to create contrast, drama and mystery. Every work I create is a mathematical dream and colours are a way of emphasising that.

‘Beatriz Milhazes: Rio Azul’ is at White Cube, Bermondsey, until 1 July.

By Amandos Ong, Reprint from Apollo magazine, 24 April 2018, © 2018 Apollo Magazine.