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Friday, November 12, 2021

Cobalt Macchia with Huckleberry Lip Wrap, 2012 by Dale Chihuly

 


Monumental Cobalt Macchia with Huckleberry Lip Wrap, 2012; Free blown, flared form with undulating rim, dappled with shades of green and  yellow with a cobalt blue interior and huckleberry lip wrap; Engraved Chihuly 12; Provenance: Estate of Richard L. Weisman, Beverly Hills, CA; Size: 19 1/2 x 35 x 33 1/2".


"My work, to this day revolves around a simple set of circumstances: fire, molten glass, human breath, spontaneity, centrifugal force, gravity." - Dale Chihuly

Dale Chihuly was born on September 20, 1941 and is an American glass sculptor. His works are considered to be exceptional in the field of blown glass; and he has adapted the technical difficulties of the medium to explore and implement installations, as well as environment specific artwork.

Chihuly first began experimenting with glass blowing in 1965 and began an extensive education centered around sculpture. He earned a Master of Fine Arts degree in sculpture from the Rhode Island School of Design in 1968; and that same year was awarded a Louis Comfort Tiffany Foundation grant for his work in glass, as well as a Fulbright Fellowship. He traveled to Venice to work at the Venini factory on the island of Murano, where he first saw the team approach to glass blowing. In 1976, while in England, he was involved in a head-on-car crash which propelled him through the windshield. His face was severely cut by glass and he was permanently blinded in his left eye. After recovering, he continued to blow glass until he dislocated his right shoulder in 1979 while body surfing.

No longer able to hold a glassblowing pipe, he was able to utilize the team approach to glass blowing he had seen in Murano, and hired other artists to do the physical work. Chihuly explained the change saying, "Once I stepped back, I liked the view." He felt liberated and more free to see the work from multiple perspectives, and the change enabled him to anticipate problems earlier and to react. His role in the studio changed from participate, to supervisor and problem solver. One of the most critically acclaimed series by Chihuly was the Macchia series. Macchia, which is Italian for spot, was begun in 1981 and continues today.
 
As Chihuly has explained:
"The Macchia series began with my waking up one day wanting to use all three hundred of the colors in the hot shop. I started by making up a color chart with one color for the interior, another color for the exterior, and contrasting color for the lip wrap, along with various jimmies and dusts of pigment between the layers of glass. Throughout the blowing process, colors were added, layer upon layer. Each piece was another experiment. When we unloaded the ovens in the morning, there was the rush of seeing something I had never seen before. Like much of my work, the series inspired itself. The unbelievable combination of color - that was the driving force."

From Timothy Anglin Burgard, Chihuly the Artist: Breathing Live into Glass, 2008:
(The Macchia) Often balanced slightly off-center, they attempt to capture the essence of glass in its most volatile sate - simultaneously hot and flowing, but also cool and congealing. The blurred edges of the color striations and "spots" suggest that they are being dissolved by heat or have coalesced into opal-like mineral deposits. Chihuly's "lip wraps," think ribbons of colored glass that run along the vessel's lip suggest the presence of a super-heated inner core and recall the leading edge of a lava flow, breaking through the congealing perimeter of a magma mass. - Chihuly's Macchia are permanently aglow with the fires of their creation."
 
 
The following are various views of Cobalt Macchia with Huckleberry Lip Wrap, 2012 by Dale Chihuly:



From Robert Hobbs, The Rhoda Thalhimer Endowed Professor of American Art History, Virgina Commonwealth University: 
"In the Macchia, Chihuly makes this former (Classic Venetian blown glass) static orientation dynamic and enlarges this conservative scale to awesome proportions. He heightens tensions between inside and outside through dissonant color combinations and through contrasts of opacity, translucency, and transparency. Rather than continuing the preciousness of the filigree of the Bianconi examples, he creates a bolder impact by rolling ships of colored glass into the walls of the vessel for a mottled effect."

Chihuly and his team of artists have been the subjects of several documentaries, extensive printed articles, monographs, and collections. For a complete list of Museum collections, please click on the link below:


 
Engraved Chihuly signature and 2012 date.

"Cobalt Macchia with Huckleberry Lip Wrap," 2012 is an exceptional example of Dale Chihuly at his best. This monumental Macchia is composed of cobalt blue as the dominant interior color, green and yellow spots are set against the blue interior ground, and finished with a contrasting huckleberry colored lip. An absolutely stunning and massive piece of modern glass by the most important glass artist of his time, and a standout of any art collection!

Tuesday, October 12, 2021

Red Open with White Line, 1979 by Robert Motherwell


Red Open with White Line, 1979; Etching and aquatint in red and black, on Georges Duchêne Hawthorne of Larroque handmade paper; Initialed in ink, numbered 46/56 lower left; Published by the artist, with his blindstamp lower right; Catalogue Raisonne: Belknap 207; Size -  Sheet: 18 x 35 1/2", Frame 27 x 46"; Framed floated with an acid free mat, wood frame, and plexiglass; Exhibited: Williams College Museum of Art, Williamstown, MA - Museum of Fine Arts, Boston MA, May 5 - October 14, 1984; The Modern Art of the Print: Selections from the Collection of Lois and Michael Torf, pl. XLIII, p. 118 (illustrated).


Robert Motherwell (1915 – 1991) was an American painter, print maker, writer, and editor. He was one of the youngest of the New York School (a term he coined), which also included the artists Philip Guston, Willem de Kooning, Jackson Pollock, and Mark Rothko.

Motherwell was the most educated of all of the abstract expressionist. He was from a well educated and wealthy family, and received a BA in philosophy from Stanford University. It was at Stanford that Motherwell was introduced to modernism through his extensive reading of symbolist and other literature, especially Mallarmé, James Joyce, Edgar Allan Poe, and Octavio Paz. Literary reference became a major theme of his later paintings and drawings. However, his father urged him to pursue a more secure career and Motherwell states that the reason he went to Harvard was because he wanted to be a painter: "And finally after months of really a cold war he made a very generous agreement with me that if I would get a Ph.D. so that I would be equipped to teach in a college as an economic insurance, he would give me fifty dollars a week for the rest of my life to do whatever I wanted to do on the assumption that with fifty dollars I could not starve but it would be no inducement to last. So with that agreed on Harvard then—it was actually the last year—Harvard still had the best philosophy school in the world. And since I had taken my degree at Stanford in philosophy, and since he didn't care what the Ph.D. was in, I went on to Harvard."

However, it was in 1940 that Motherwell would make an important decision. He moved to New York to study at Columbia University, where he was encouraged by the great critic/writer Meyer Schapiro to devote himself to painting rather than scholarship. Shapiro introduced the young artist to a group of exiled Parisian Surrealists including Max Ernst, Duchamp, and Andre Masson; and arranged for Motherwell to study with the Swiss artist Kurt Seligmann.

Matta introduced Motherwell to the concept of “automatic” drawings. Wolfgang Paalen would also have a profound impact on Motherwell, and his resulting drawings showed more plane graphic cadences and swelling ink-spots that referenced possible figurations. Motherwell would pass this information onto American painters such as Jackson Pollock, Lee Krasner, and William Baziotes; whom Motherwell befriended in New York shortly after a trip to Mexico. In 1991, shortly before he died, Motherwell remembered a "conspiracy of silence" regarding Paalen´s innovative role to the genesis of Abstract Expressionism and to the New York School.


Close up of the initials and the edition number.

Robert Motherwell: "What I realized was that Americans potentially could paint like angels but that there was no creative principle around, so that everybody who liked modern art was copying it. Gorky was copying Picasso. Pollock was copying Picasso. De Kooning was copying Picasso. I mean I say this unqualifiedly. I was painting French intimate pictures or whatever. And all we needed was a creative principle, I mean something that would mobilize this capacity to paint in a creative way, and that's what Europe had that we hadn't had; we had always followed in their wake. And I thought of all the possibilities of free association—because I also had a psychoanalytic background and I understood the implications—might be the best chance to really make something entirely new which everybody agreed was the thing to do."

In 1942 Motherwell began to exhibit his work in New York and in 1944 had his first one-man show at Peggy Guggenheim’s “Art of This Century” gallery. Also in 1944 MoMA became the first museum to purchase one of his works. From the mid-1940s, Motherwell was the leading spokesman for avant-garde art in America, and his circle of friends included William Baziotes, David Hare, Barnett Newman, and Mark Rothko.

Throughout the 1950s Motherwell taught painting at Hunter College in New York and at Black Mountain College in North Carolina where his students included Cy Twombly, Robert Rauschenberg, and Kenneth Noland. During this time, he was a prolific writer and lecturer, directed the influential Documents of Modern Art Series, and edited The Dada Painters and Poets: An Anthology, published in 1951. Also, during the 1950's Motherwell's collages began to incorporate material from his studio such as cigarette packets and labels that would become records of his daily life. He was married from 1958 to 1971, to Helen Frankenthaler, a successful abstract painter in her own right.


Framed Red Open with White Line, 1979.

Robert Motherwell made his first prints in 1943 and returned to printmaking in the early 1960s at the invitation of the ULAE print studio. His later work with Tyler Graphics, Gemini G.E.L., and printers working in his own studio, evolved into an impressive body of nearly 460 prints influencing countless artists with his innovative ideas and printmaking techniques. The bulk of his work is comprised of gestural images (Elegies), a few are linear compositions (Opens), and a considerable number of prints that contain some element of collage.
 
Red Open with White Line is composed of a luminous field of red color that is interrupted by a subtle thin black line etched double rectangle, that hangs precariously from the upper right edge. The deeply bitten aquatint printed on the rough textured surface of the handmade paper results in a powerful intense saturation of hue, on a very rich modulated color field. The minimalist structure on a field of serenity is part of the "Open" repertoire by Motherwell that begun in 1967. The rectangle within a rectangle is the recurring theme of the "Opens" that suggests a window within a wall. The vast expansive quality of the red field runs in three directions but is arrested by the white line on the left margin edge. This is a wonderful example of Motherwell at his best, a great example of his brilliant use of color and form, and would be a great addition to any fine art collection.

Thursday, April 29, 2021

Self Portrait With Camera - Invitation To Light Gallery Opening, January 6, 1973 by Robert Mapplethorpe


Self Portrait With Camera - Invitation To Light Gallery Opening, January 6, 1973; Silver print from Polaroid negative, with adhesive dot; Robert Mapplethorpe blind-stamp lower edge, Signed Robert Mapplethorpe and dated 73 in black ink verso; With original Polaroid sleeve; Size - 3 x 3 3/4", Sheet 3 1/2 x 4 1/2", Frame 21 3/4 x 16 3/4"; Framed using a black wood frame, acid free mats, and UV conservation clear glass.


"I'm looking for things I've never seen before. But I have trouble with the word 'shocking' because I'm not really shocked by anything... Basically, I'm selfish. I did (those photos) for myself- because I wanted to do them, because I wanted to see them. I wasn't trying to educate anyone. I was interested in examining my own reactions." - Robert Mapplethorpe

Robert Michael Mapplethorpe (1946-1989) was an American photographer most known for his black and white photographs featuring an array of subjects including: celebrity portraits, male and female nudes, self-portraits, and sill-life images. His most controversial works documented and examined the homosexual BDSM subculture of New York City in the late 1960's and early 1970's. A 1989 museum exhibition of his works, entitled Robert Mapplethorpe: The Perfect Moment, sparked debate and outrage concerning the use of public funds for what was deemed by some as "obscene" artwork. There was public discord surrounding the US Constitutional limits of free speech, and what was deemed to be art.

 
Self Portrait With Camera - Invitation To Light Gallery Opening, January 6, 1973 by Robert Mapplethorpe

 
Close up of the Robert Mapplethorpe blind-stamp


Robert Mapplethorpe signature and dated 73 in black ink verso

 
Close up of the original Polaroid sleeve


Framed Self Portrait With Camera - Invitation To Light Gallery Opening, January 6, 1973 with original Polaroid sleeve by Robert Mapplethorpe
 

Front cover of Polaroids Mapplethorpe by Sylvia Wolf, 2008


Back cover of Polaroids Mapplethorpe by Sylvia Wolf, 2008
 
In 1970 Robert Mapplethorpe bought a Polaroid camera so he could take photographs to use in his collages. But he began to appreciate the quality of the Polaroid photographs which led to his first exhibition: Polaroids which was on January 6, 1973 at Light Gallery, 1018 Madison Avenue, New York. For the invitation, Mapplethorpe took a self-portrait in the mirror, holding his Polaroid camera in front of his bare crotch. Three hundred gelatin silver prints were made from the negative and embossed with Mapplethorpe's name. Either a red or white dot was applied to the front to conceal his penis - a way to avoid the laws forbidding the circulation of nudity through the US mail. Information about the opening's location and time, and the photograph (slipped inside the protective paper that came with the Polaroid film which read on the outside "DON'T TOUCH HERE, Handle Only On Edges, Polaroid Polacolor Land Film, Pack Type 108") were tucked into a think cream-colored Tiffany envelope and mailed.
 
Harold Jones, then director of Light Gallery, remembers the opening as crowded with uptown collectors, downtown hustlers, artists, musicians, and celebrities. The scene that Jones recalls was an early indicator of Mapplethorpe's appeal across socioeconomic lines. It also signaled a growing audience for photography. 
 
For the book Polaroids Mapplethorpe by Sylvia Wolf, 2008; which was published in collaboration with the exhibition of the same name at the Whitney Museum of American Art, New York features Self Portrait With Camera - Invitation To Light Gallery Opening, January 6, 1973 on the front cover and the original Polaroid sleeve on the back cover. This is Robert Mapplethorpe's first photography exhibit announcement and is also an early signed nude self-portrait from an extremely rare a and would be a wonderful addition to any art collection!