1. Anselm kiefer
Born:March 8, 1945 (1945-03-08) (age 64)
Nationality:German
Over the past four decades, Anselm Kiefer has produced a diverse body of work in painting, sculpture and installation that has made him among the most important artists of his generation.
Kiefer studied with Joseph Beuys in the early 1970s, but soon began to develop his own, deliberately indigenous set of subjects and symbols that he used to explore the fraught territory of German history and identity. In his muscular artistic language, physical materiality and visual complexity enliven his themes and content with a rich, vibrant tactility. His subject-matter ranges over sources as diverse as Teutonic mythology and history, alchemy and the nature of belief, all depicted in a bewildering variety of materials, including oil paint, dirt, lead, models, photographs, woodcuts, sand, straw and all manner of organic material. By adding found materials to the painted surface of his immense tableaux, he invents a compelling third space between painting and sculpture. Recent work has broadened his range yet further, and in 2006 he showed a series of paintings based around the little-known work of modernist poet Velimir Chlebnikov (1885-1922). Few contemporary artists match Kiefer's epic reach, and his work consistently balances powerful imagery with acute critical analysis.
Anselm Kiefer was born in Donaueschingen, Germany in 1945. He lives and works in Provence, France. He has exhibited widely, including MoMA, New York (1987), Neue Nationalgalerie, Berlin (1991), The Metropolitan Museum, New York (1998), Royal Academy, London (2001), Fort Worth Museum of Art, Fort Worth (2005) and the San Francisco Museum of Modern Art (2006).
Over the past four decades, Anselm Kiefer has produced a diverse body of work in painting, sculpture and installation that has made him among the most important artists of his generation.
Kiefer studied with Joseph Beuys in the early 1970s, but soon began to develop his own, deliberately indigenous set of subjects and symbols that he used to explore the fraught territory of German history and identity. In his muscular artistic language, physical materiality and visual complexity enliven his themes and content with a rich, vibrant tactility. His subject-matter ranges over sources as diverse as Teutonic mythology and history, alchemy and the nature of belief, all depicted in a bewildering variety of materials, including oil paint, dirt, lead, models, photographs, woodcuts, sand, straw and all manner of organic material. By adding found materials to the painted surface of his immense tableaux, he invents a compelling third space between painting and sculpture. Recent work has broadened his range yet further, and in 2006 he showed a series of paintings based around the little-known work of modernist poet Velimir Chlebnikov (1885-1922). Few contemporary artists match Kiefer's epic reach, and his work consistently balances powerful imagery with acute critical analysis.
Anselm Kiefer was born in Donaueschingen, Germany in 1945. He lives and works in Provence, France. He has exhibited widely, including MoMA, New York (1987), Neue Nationalgalerie, Berlin (1991), The Metropolitan Museum, New York (1998), Royal Academy, London (2001), Fort Worth Museum of Art, Fort Worth (2005) and the San Francisco Museum of Modern Art (2006).
2, Fernando Botero
Birth name: Fernando Botero Angulo
Born:19 April 1932 (1932-04-19) (age 77)Medellín, Antioquia
Nationality:Colombian
Field:Painter, sculptor
Fernando Botero Angulo is a Colombian figurative artist, self-titled "the most Colombian of Colombian artists" early on, coming to prominence when he won the first prize at the Salón de Artistas Colombianos in 1959.
Botero's work includes still-lifes and landscapes, but Botero tends to primarily focus on situational portraiture. His paintings and sculptures are, on first examination, noted for their exaggerated proportions and the corpulence of the human and animal figures.Botero explains his use of these "large people", as they are often called by critics, or obese figures and forms thus:
"An artist is attracted to certain kinds of form without knowing why. You adopt a position intuitively; only later do you attempt to rationalize or even justify it."Botero is an abstract artist in the most fundamental sense of the word, choosing what colors, shapes, and proportions to use based on intuitive aesthetic thinking. This being said, his works are informed by a Colombian upbringing, and his social commentary is woven throughout his work.
Fernando Botero Angulo is a Colombian figurative artist, self-titled "the most Colombian of Colombian artists" early on, coming to prominence when he won the first prize at the Salón de Artistas Colombianos in 1959.
Botero's work includes still-lifes and landscapes, but Botero tends to primarily focus on situational portraiture. His paintings and sculptures are, on first examination, noted for their exaggerated proportions and the corpulence of the human and animal figures.Botero explains his use of these "large people", as they are often called by critics, or obese figures and forms thus:
"An artist is attracted to certain kinds of form without knowing why. You adopt a position intuitively; only later do you attempt to rationalize or even justify it."Botero is an abstract artist in the most fundamental sense of the word, choosing what colors, shapes, and proportions to use based on intuitive aesthetic thinking. This being said, his works are informed by a Colombian upbringing, and his social commentary is woven throughout his work.
Botero’s philosophy
For Botero painting is an interior need, but also a continual experience toward that ideal picture that will never be reached. The delicate colours, never exalted, never feverish, built up by improvising and reactions, where there are no shadows because, in his opinion, they would taint the idea of colour that he wants to transmit. To break the monotony of the tones different items used by him appear and disappear : light bulbs, cigarette stubs, flies, all this is indispensable and it is all continually changed while he is creating. To fill the wide fields of colour, the artist dilates the forms, and the people and the landscapes acquire unusual dimensions, apparently unreal, where detail becomes the major expression and large volumes remain undisturbed. Since the artist remains detached from the condition of humanity, Botero’s characters become prototypes without any moral or psychological dimension, without a soul. They feel no joy, nor pain, they look with a vacuous or squinted gaze, they do not bat an eyelid, they look without seeing. With this emotional detachment his painting acquires the dignity and tranquillity of great classicism. Botero believes that success depends on the fact that: ” It is necessary to describe something that is strictly local, very circumscribed , something with which everyone is very familiar so as to be understood by everybody. I have convinced myself that I must be parochial, in the sense of being profoundly, religiously bound to my reality, in order to be universal”.
3. Tracey Emin
Born:3 July 1963 (1963-07-03) (age 46)Croydon, London
Nationality:British
Movement:Young British Artists
Major works :
Everyone I Have Ever Slept With 1963–1995, My Bed
Everyone I Have Ever Slept With 1963–1995, My Bed
Tracey Emin’s art is one of disclosure, using her life events as inspiration for works ranging from painting, drawing, video and installation, to photography, needlework and sculpture. Emin reveals her hopes, humiliations, failures and successes in candid and, at times, excoriating work that is frequently both tragic and humorous.
Emin’s work has an immediacy and often sexually provocative attitude that firmly locates her oeuvre within the tradition of feminist discourse. By re-appropriating conventional handicraft techniques – or ‘women’s work’ – for radical intentions, Emin’s work resonates with the feminist tenets of the ‘personal as political’. In Everyone I’ve Ever Slept With, Emin used the process of appliqué to inscribe the names of lovers, friends and family within a small tent, into which the viewer had to crawl inside, becoming both voyeur and confidante. Her interest in the work of Edvard Munch and Egon Schiele particularly inform Emin’s paintings, monoprints and drawings, which explore complex personal states and ideas of self-representation through manifestly expressionist styles and themes.
Tracey Emin was born in London in 1963, and studied at Maidstone College of Art and the Royal College of Art, London. She has exhibited extensively internationally, including solo and group exhibitions in Holland, Germany, Switzerland, Spain, Japan, Australia, The United States and Chile. In 2008 Emin held her first major retrospective at the Scottish National Gallery of Modern Art, which subsequently toured to Malaga (2008) and Bern in 2009. In 2007 Emin represented Britain at the 52nd Venice Biennale, was made a Royal Academician and was awarded an Honorary Doctorate from the Royal College of Art, London, a Doctor of Letters from the University of Kent and Doctor of Philosophy from London Metropolitan University. She lives and works in London.
1998, Mattress, linens, pillows, objects79 x 211 x 234 cm
Emin's famous "tent" , which was first exhibited in the show.
It was a blue tent, appliquéd with the names of everyone she has slept with. These included sexual partners, plus relatives she slept with as a child, her twin brother, and her two aborted children. Although often talked about as a shameless exhibition of her sexual conquests, it was rather a piece about intimacy in a more general sense, although the title invites misinterpretation.
The artwork generated considerable media furore, particularly over the fact that the bedsheets were stained with body secretions and the floor had items from the artist's room (such as condoms, a pair of knickers with menstrual period stains, other detritus, and functional, everyday objects, including a pair of slippers). The bed was presented as it had been when Emin had not got up from it for several days due to suicidal depression brought on by relationship difficulties.
left : 2005 Video/Film : single screen projection animation, transferred to DVD
3 minutes
3 minutes
right:2005 Paintings : gouache, watercolor and pencil on canvas7.99 x 10 inches
1963–1995 by Tracey Emin (1995).
An interior view of the work.
An interior view of the work.
Emin's famous "tent" , which was first exhibited in the show.
It was a blue tent, appliquéd with the names of everyone she has slept with. These included sexual partners, plus relatives she slept with as a child, her twin brother, and her two aborted children. Although often talked about as a shameless exhibition of her sexual conquests, it was rather a piece about intimacy in a more general sense, although the title invites misinterpretation.
HER OTHER WORKS:
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