![]() The artist, Vanessa Bell (1879-1961), used the attic studio at Charleston Farmhouse in Sussex for the last twenty years of her career. HB 160pp 310x220mm 100 colour illustrations Trade and international purchases should be made via our distributors. To buy a copy directly from us, please use the following link. Her books include The Colour of Time: Claude Monet, winner of the Mitchell Prize for Art History in 1993 and Orphism: The evolution of non-figurative painting in Paris 1910-1914. Virginia Spate is emeritus professor of art history at Sydney University. Her exhibitions include Léger et L’Esprit l’art non-objectif 1918-1931 (1982), abstraction-création 1931-1936 (1978), and Van Doesburg & the International Avant-Garde: Constructing a New World (2009). Gladys Fabre is an art historian and curator. Her books include: On looking at looking: The art and politics of Ian Burn (2006) and Modern Times: The untold story of modernism in Australia (2008), co-edited with Andrew McNamara and Philip Goad. Ann Stephen is an art historian and senior curator of the University Art Gallery at the University of Sydney. He lectures in the painting department at the National Art School, Sydney and studied at the University of Sydney, the Kunstakademie Düsseldorf and the Royal Danish Academy of Fine Arts, Copenhagen. Donaldson is an artist, curator and art historian. Power Abstraction-Création reveals how Power’s work illuminates the relationships between Sydney and Paris, and between France and Australia, an exchange that goes to the heart of Australia’s modernism. ![]() Virginia Spate examines Power’s creative process through the analysis of a single painting. In her essay, published in English here for the first time, art historian Gladys Fabre describes how this group was the focus for the international avant-garde moving through Paris in the 1930s. Crucially, he was a founding and long- term member of Abstraction-Création. There he studied with Pedro Araujo and Fernand Léger and showed with Léonce Rosenberg and Galerie Jeanne Bucher. His most significant contribution however was made in Paris. In the interwar years, Power moved between cities, immersing himself in both contemporary and historical art, this restlessness leading to his own unique painting: part- abstract surrealism, part-surreal abstraction. Stephen and Donaldson argue that Power is Australia’s most important avant-gardist of the early twentieth century. How did they view these themes? And how did they depict their own identity and sexuality?Ī long forgotten 1934 exhibition by the Australian expatriate JW Power at the Abstraction-Création gallery in Paris provides the key to understanding this most elusive artist. For this reason, we are also showing – for the first time in the Netherlands – many works by female Surrealists. ![]() That is why in The Tears of Eros we deliberately dive into the Surrealist world of sex, gender, fetishism and taboos. Moesman’s work is still unsettling today. Few of the women in his paintings have an identity: their faces are omitted, masked and, in one case, even stripped of flesh. ![]() Moesman’s art is exemplary in this respect. Their bodies became objects for the Surrealists’ sexual and often violent fantasies. Surrealism is known as a movement of male artists, in which women were primarily assigned the role of muse. In this exhibition, we present his oeuvre in the context of his international Surrealist contemporaries. He was a controversial artist, whose sexually charged paintings often caused a scandal. The main character in 'The Tears of Eros' is the Utrecht- born artist Joop Moesman (1909-1988), the only officially recognised Dutch Surrealist. Moesman, Surrealism and the Sexes', Centraal Museum, Utrecht, 15 February - August 16, 2020. This catalogue is published as part of the exhibion 'The Tears of Eros. ![]()
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