Milica Reinhart-Tesankic


 

 

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Milica Reinhart-Tešankić is a Croatian artist whose work inspires with its bold movement, invigorating gestures and saturated color. You can find more about this artist on this link:

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The largeness of scale combined with the rough, expressive application of thick color heightens the impact of these powerful paintings at first glance, and leaves a lingering afterimage both haunting and certain.

 

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Collector’s Choice: Joan Mitchell


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Joan Mitchell The Last Paintings

3 February – 28 April 2012, Hauser & Wirth London, Piccadilly

‘My paintings aren’t about art issues. They’re about a feeling that comes to me from the outside, from landscape. … Paintings aren’t about the person who makes them, either. My paintings have to do with feelings’.

– Joan Mitchell, 1974

 

 

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Hauser & Wirth is proud to present an exhibition of late paintings by American Abstract Expressionist, Joan Mitchell. Created during the last decade of her life, these large-scale canvasses mark a distinct departure from her more sombre works of the early 1960s. Her late paintings, dating from 1985 to 1992, are replete with vibrant colours, energy and excitement, combining Mitchell’s admiration of the work of Van Gogh and Monet, her interest in nature and her adept skill at expressing emotions and memories.

 

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Mitchell was born in Chicago and in 1950 moved to New York where she was one of the few female artists to participate in seminal exhibitions alongside prominent Abstract Expressionists such as Willem de Kooning, Jackson Pollock and Franz Kline. In 1959, Mitchell relocated to France. She stayed in Paris for eight years before she moved to Vétheuil where she remained for the last 25 years of her life, producing dynamic paintings despite such momentous events as the loss of close family, friends and her long battle with cancer that took her life in 1992.

 

 

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MITCHiv Wall 1 014

 

Like many of the Impressionists and Post-Impressionists, Mitchell was fascinated by the French countryside and the lush landscape of Vétheuil featured prominently in her late paintings. In the diptych ‘River’, a painting of the River Seine as seen from her home, Mitchell filled two canvasses with vigorous brushstrokes in an array of greens, blues, purples, reds and a swath of yellow paint crossing the bottom of the canvas to represent the river. In ‘Sunflowers’, Mitchell again used a diptych format to depict one of her most well known subjects in the twilight of its life. In a conversation with Yves Michaud, Mitchell once said, ‘Sunflowers are something I feel very intensely. They look so wonderful when young and they are so moving when they are dying…’. With ‘Sunflowers’, Mitchell worked quickly across her canvasses, expressing her intense feeling through the intense gestures that form the unrestrained and multi-coloured flowers’ blooms. Pushing the boundaries of abstract painting, both ‘River’ and ‘Sunflowers’ illustrate Mitchell’s emotional and physical recollections of the countryside she loved.

 

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The exhibition also features Mitchell’s late, purely abstract paintings. These works range in format including single canvases, diptychs and tondos. The works display a radical and free use of colour and line, as well as a confident experimentation with composition, scale and physical structure. Each painting showcases Mitchell’s mature artistic style that, over a prolific period of three decades, had fully developed into a unique personal language of colour, line and form. Together, these late paintings demonstrate what Richard Marshall describes in the exhibition’s accompanying catalogue as the artist’s ‘pure joy of putting paint to canvas’.

 

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‘Joan Mitchell. The Last Paintings’ was organised in collaboration with Cheim & Read, New York and the Joan Mitchell Foundation.

 

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MITCHiv Wall 1 002

 

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Click here to see a great video about Joan Mitchell’s Last Years and Her Painting

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MITCHiv Wall 1 007

 

 

 

 

Thanks so much for coming to my blog today. Please share your thoughts and feelings here on this page. And subscribe to Kirsteinfineart  by going to the subscribe button on the right side of this page.

 

 

Abstract Paintings to Love


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Painting by Robert Rauschenberg

 

Percy Shelley

Ode to a Skylark

Hail to thee, blithe spirit–
Bird thou never wert–
That from heaven or near it
Pourest thy full heart
In profuse strains of unpremeditated art.

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Collage by Jane Cornwell

 

Higher still and higher
From the earth thou springest,
Like a cloud of fire;
The blue deep thou wingest,
And singing still dost soar and soaring ever singest.

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In the golden lightning
Of the sunken sun,
O’er which clouds are brightening,
Thou dost float and run,
Like an unbodied joy whose race is just begun.

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Collage by Hildy Maze

 

The pale purple even
Melts around thy flight;
Like a star of heaven,
In the broad daylight
Thou art unseen, but yet I hear thy shrill delight.

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All the earth and air
With thy voice is loud,
As, when night is bare,
From one lonely cloud
The moon rains out her beams, and heaven is overflowed.

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Painting by Joyce Stratton

 

What thou art we know not;
What is most like thee?
From rainbow-clouds there flow not
Drops so bright to see
As from thy presence showers a rain of melody:–

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Painting by Hildy Maze

 

Like a poet hidden
In the light of thought;
Singing hymns unbidden,
Till the world is wrought
To sympathy with hopes and fears it heeded not.

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 Teach us, sprite or bird,
What sweet thoughts are thine:
I have never heard
Praise of love or wine
That panted forth a flood of rapture so divine.

Chorus hymeneal
Or triumphal chaunt,
Matched with thine, would be all
But an empty vaunt–
A thing wherein we feel there is some hidden want.

What objects are the fountains
Of thy happy strain?
What fields, or waves, or mountains?
What shapes of sky or plain?
What love of thine own kind? what ignorance of pain?

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Sati Zech

Teach me half the gladness
That thy brain must know,
Such harmonious madness
From my lips would flow,
The world should listen then, as I am listening now!

These images are all from the Art Journal- Expression Through Abstraction

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Collector’s Choice: Thérèse Murdza


www.theresmurdza.com

 

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Coming to the paint

Before I could tie my own shoes, I played a small accordion. I studied piano, saxophone, then jazz and music theory at a Maryland public high school. In college, I studied theater performance, learning new forms of materializing sounds in transitory space. I acted, directed, and wrote poetry and plays.

 

 

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After graduation I distilled my writing further, in search of the precise moments of emotion and of contact. Not narrating the beginnings and ends, but middles; the being in the middle of things.

Years spent living up and down the mid-Atlantic coast (Baltimore, MD; Rehoboth Beach, DE; Brooklyn + New York, NY; Washington, DC; Durham, NC) had me drawing on big paper and literally taking the words apart. Disintegrating the shapes of the words into lines, circles, squares and color. Seeing music, hearing words, somehow marking sound in charcoal, ink, pencil, and then: paint.

 

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Since 2000, I’ve worked almost exclusively on hand-stretched canvas, in turns building large, sometimes multi-paneled works on canvas, and smaller works on canvas and paper. From my studio in Portland, OR, I partner with gallerists, design professionals, art agents, and private clients to place my paintings nationwide.

 

 

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I would like to give special thanks to Thérèse Murdza for allowing me to feature her art work on KIRSTEINFINEART.

 

 

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