georges rouault elegant man with a top hat
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Name Of Painting: The Apprentice
In these first years of struggle Matisse set his revolutionary artistic agenda. He disregarded perspective, abolished shadows, repudiating the academic distinction between line and color. He was attempting to overturn a way of seeing evolved and accepted by the Western world for centuries by substituting a conscious subjectivity in the place of the traditional illusion of objectivity .
Matisse’s daughter Marguerite often aided Matisse scholars with insights about his working methods and his works. She died in 1982 while compiling a catalog of her father’s work.
Alexander Calder, Mobile, ca 1953
The museum door closes behind you, everyday life recedes into the background, and you step into a unique and inspiring world. At the Rosengart Collection you will encounter works by Pablo Picasso, Paul Klee and 23 other Impressionist and Classic Modernist artists.
Kings and Queens and Elegant Tureens: 18th and 19th Century Decorative Arts, Selections from the Campbell Museum Collection
February 4 – March 20, 1994
ELGER ESSER LANDSCAPES AND POSTCARDS
May 4 – July 9, 2006
Elger Esser: Landscapes and Postcards exhibition guide
Eyedeas Washington University art school dean Carmon Colangelo assembles a group of recent works on paper and canvas that appear like torn-out and magnified diary pages. Or, more specifically, notes from meetings, embellished with incidental doodles, personal asides and recorded sound bites that read like scripts of the inner mind taking counsel from itself. Using digitally printed templates, Colangelo builds the images by hand, adding water color, pencil sketches and collaged elements, which are then re-scanned, printed, and built upon again. The end products are wild landscapes — of gridded or wide-ruled paper — upon which colors explode, data collide and playful, abstract sketches are annotated with pleas for (literally) “Help.” Pages of ’50s-era art magazines warp into amorphous inkblots, while minute swatches of pixelated imagery enlarge to form nearly psychedelic color fields. A sense of play is key in navigating this cross-historical collapse — of culture, technology and personal reflection — the prevailing spirit being one that would find relief, as opposed to tragedy, in, say, a computer network crash and use it as an excuse to take the day off. Through May 7 at Bruno David Gallery, 3721 Washington Boulevard; 314-531-3030 or www.brunodavidgallery.com. Hours: 10 a.m.-5 p.m. Wed.-Sat., noon-5 p.m. on the first Sun. of every month and by appointment.
Wandering Thomas Titled after Caravaggio’s The Incredulity of Saint Thomas, this exhibit by Chicago-based artist Jose Ferreira explores doubt and other liminal states of being. Composed of several suites of work in different mediums — from contact photographs to ink-on-paper drawings to silkscreen prints — each portion of the exhibit explores a variation on the theme of unknowing, using the body as a measure for experiencing place and emotion. In Locating, black-and white-photographs of the artist’s vacant bed, recorded first thing every morning, create a journal of previous nights. In Complex, blots of black ink soak into white paper, leaving amorphous shapes, which in turn are annotated with handwritten suppositions about the artist’s mind. A series of almost entirely gray photographs trace the route of the artist’s daily commute in fog, the high-rises and narrow corridors between barely taking shape beneath the humidity. While the parts appear disparate and widely varied, a spirit of nonverbal sense-making pervades the exhibit — as if what we see are pieces of evidence that, when assembled, would communicate something deeply felt. Through May 28 at Good Citizen Gallery, 2247 Gravois Avenue; 314-348-4587 or www.goodcitizenstl.com. Hours: noon-5 p.m. Fri.-Sat. and by appointment.