After painting 36 portraits of Beethoven, in around 1952 Katzaroff gave the life mask to violinist and composer Eve Hungerford, who was very much interested in Beethoven. Ī mask came into the hands of Bulgarian-born Parisian painter Michel Katzaroff. After Dietrich's death the life mask was acquired by the sculptor Kaspar von Zumbusch, who created a monument of Beethoven in Vienna (1873–1880). Sculptor Anton Dietrich acquired the life mask, from which he made several busts of Beethoven, the first of them shown in 1820. During the 19th century, various copies of the sculpture were made, in plaster or bronze. Robbins Landon has written that this life mask is "without any question, the most important documentary evidence of Beethoven's features." From the life mask, Klein made a bust of Beethoven the eyes, hair and clothes were added by the sculptor. Ĭreating the mask involved spreading fluid plaster on the face the first attempt failed, as Beethoven thought he might suffocate. For the statue of Beethoven, Streicher commissioned Klein to make a life mask of Beethoven. Johann Andreas Streicher, pianist and piano-maker, and friend of Beethoven, supervised a private concert hall in Vienna, and in 1812 statues of musicians, sculptured by Klein, were placed in the hall. He is known particularly for his bust of Ludwig van Beethoven, made in 1812. The painter as a kind of dancer whose movements in front of theĬanvas are recorded in time and space.Franz Klein (1779–1840 ) was an Austrian sculptor he was born and died in Vienna. Referred to as action paintings, because we can almost imagine If we look here, we findĪ much warmer white color. Giving and going, if you will,īetween these two colors. This is actually black on white, but then white back on top of the black, black back on top of the white again. (jazz music) It's still one layer more complicated because this is not simply black on white. Transferred those sketches onto this large scale painting, again with fast dripping enamel paint. Kline made abstract sketches and then quite carefully Which looks very spontaneous, looks like it perhaps could haveīeen done in just half an hour, maybe even less, actually was the result Going to become an abstract painter it did not mean that he (jazz music) When Kline decided that he was Language that he wanted to pursue was based on that figure on ground, or in this case, black on white. It was a transformative moment for Kline. Of his source material, again drawings and the numbersĪnd letters in a phonebook. Instead, he abstracted black on white, or in that case yellow in the phonebook, abstracted images out Numbers and letters of the phonebook page. When he projected these onto the wall, he realized that they're so large that These chairs, if you will, on the pages of a phonebook. Something that could enlargeĪ drawing or photograph many, many times, up to Paintings of things like furniture, chairs for example. Learn that just two years prior to the making of this painting, Kline spent most of his time in the studio making figurative drawings and (jazz music) Looking at Franz Kline's paintingĬalled "Chief" from 1950. Of paint that could be pulled across the canvas withĪ brush with this paint, because it is such a low viscosity paint. Very seductive to Kline, in addition to the viscosity Looking at the paint in the can, it looks quite differentįrom artist quality paint. How about the material itself? Let's take a look in the studio. Got some more house paintĪnd went back to work. The next day Kline came in and said, "What is all this?" Took it out of there. With Winsor Newton fine art grade paints. To break into Kline's studio, take all of the house paint and replace it Looking for fine art prices, not hardware store prices. Now, Sidney Janis, his gallerist,ĭidn't like that idea so much, perhaps because he was Had started selling some paintings, making some money, he had been working almostĮxclusively with house paint. (jazz music) Voiceover: Around 1960, when Franz Kline
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