您是不是要找：

安娜 霍尔

14. 扑热息痛。1493-1541. Chyrurgicum歌剧院。法兰克福：马丁·勒克勒，1566年[科隆州1565年]。 高清作品[64%]

Opus Chyrurgicum. Frankfurt am Mayn: Martin Lechler, 1566 [colophon states 1565].

图片文件尺寸 : 4900 x 4156px

PARACELSUS. 1493-1541.:AMMAN, JOST, illustrator. Opus Chyrurgicum. Frankfurt am Mayn: Martin Lechler, 1566 [colophon states 1565]. 4to (290 x 190 mm). 35 woodcut medical engravings (including woodcut portrait on title page), from 13 woodblocks (many signed \"JA\" for Joost Amman). Recent half-morocco over cloth. Some light dampstaining, thin ink stains at lower margin of last several leaves, browning.

EARLY ISSUE OF THE JOST AMMAN EDITION OF PARACELSUS\'S WORKS. Philippus Aureolus Theophrastus Bombastus von Hohenheim, who wrote under the pen name Paracelsus, was a Renaissance pioneer of medicine as well as an astronomer and alchemist. A native of Switzerland, he was educated in Basel, Vienna, and Ferrara, and traveled extensively throughout Europe during his life as an itinerant physician. He is credited with establishing the role of chemistry in medicine, and is sometimes referred to as the \"father of toxicology.\" He recorded the first clinical descriptions of syphilis and epilepsy, and advocated the humane treatment of the mentally ill in an era when they were believed to be possessed by demons. His controversial views alienated both publishers and other physicians, and many of the ideas he proposed were not accepted as medical orthodoxy until hundreds of years after his death. Durling 3464; Sudhoff 62 (both for first edition).

扑热息痛。1493-1541. Chyrurgicum歌剧院。法兰克福：马丁·勒克勒，1566年[科隆州1565年]。

18. Alex Katz，当代艺术I 高清作品[56%]

DO-Alex Katz - 现代艺术 I
图片文件像素：5857 x 5772 px

Alex Katz，当代艺术I-

Alex Katz - Zeitgenössische Kunst I-

(born in Brooklyn/New York in 1927)
Maria, 1990 signed and dated, oil on board, 45.7 x 60.7 cm, framed

This work is registered in the Alex Katz archive.

Provenance:
Private Collection, Italy
European Private Collection
Acquired from the above by the present owner

In the nineteen-fifties, when most of the serious art being done was abstract, Katz outraged scores of artists and formalist critics by inventing new ways to paint the human figure. He has always had his own direction, which has not been the direction of mainstream art in any of the last seven decades. In a Katz painting, style—the way it’s painted—is the primary element. His confident, crisply articulated technique makes us see the world the way he sees it, clear and up close, with all but the most essential details pared away. (…)

His main influences were television ads, movie closeups, Japanese prints (by Utamaro, in particular), and billboards (…).

Katz had found a way to paint portraits that he described, as “brand-new terrific.” Ignoring character and mood, he offered the pure sensation of outward appearance—not who the people were, but how they appeared at a specific moment. “I can’t think of anything more exciting than the surface of things,” he later told an interviewer.
(taken from: Calvin Tompkins, Alex Katz’s Life in Art, The New Yorker, 20/8/2018)

20. 西格马尔·波尔克，当代艺术I 高清作品[52%]

DO-Sigmar Polke - 现代艺术 I
图片文件像素：4483 x 5098 px

西格马尔·波尔克，当代艺术I-

Sigmar Polke * - Zeitgenössische Kunst I-

(Oels/Niederschlesien 1942-2010 Cologne)
Untitled, 1994, on the reverse signed, dated twice S. Polke 94, natural resin and pigments (malachite, lapis lazuli and realgar) on canvas, 95 x 75 cm, framed

We are grateful to Michael Trier, Cologne, for his scientific advice in cataloguing this work.

Provenance:
Private Collection, North Rhine-Westphalia - directly from the artist
Van Ham Kunstauktionen, Cologne, 01 December 2021, lot 301 - acquired there by the present owner

Sigmar Polke has left us an extensive oeuvre, centred first and foremost on his irrepressible interest in colour. The production of colours was of great importance to the artist, who was often described as an alchemist, and he wanted to explore it from the bottom up. With the aid of the most modern techniques and motifs he was constantly searching for the origin of painting, sometimes also with a great deal of irony. Art ought to be an experiment with an open outcome, and he, the artist, ought to elicit the hidden beauty from the material world with his works.

Polke worked with the so-called \"Schüttbilder\" from the early 1970s on, colour samples and \"Probierbilder\", in which calculated chaos is elevated to a creative principle. Ten years later, Polke\'s painting showed a change \"that was much discussed in connection with the works for the exhibition Zeitgeist in 1982, for Documenta 7 in the same year and reached a climax in his contribution to the 德国 pavilion at the 42nd Venice Biennale (1986). Figuration recedes in favour of the more gestural and process-like use of colour, its lush or veil-like overlays and fusions.\"
(Katharina Schmidt, quoted from: Sigmar Polke – Zeichnungen, Aquarelle, Skizzenbücher 1962 – 1988, exh. cat., Kunstmuseum Bonn 1988, p. 194).

The 1994 work offered here is in the tradition of the colour samples of the 1970s and refers pictorially to the colour plates from 1992, which are in the Stedelijk Museum in Amsterdam. Its presentation is very painterly and overall reminiscent of the wall painting at the Venice Biennale (1986), for which Sigmar Polke was awarded the Golden Lion.

In the present work, the artist mixed a total of three dyes with natural resin and applied them to the canvas. In the lower area, the ultramarine blue of the dark blue semi-precious stone lapis lazuli dominates. Lapis lazuli is one of the oldest pigment stones of all and was already used as pigment in prehistoric Europe. For the upper part of the picture, Polke used the powdered pigment of the semi-precious stone malachite. The coarser the grain, the more intense the shade of colour. Malachite pigment was prized in antiquity as a cold green for wall paintings. It was used in panel paintings in the Renaissance. Next to green earths, malachite was the most important green pigment until the 18th century. On the left-hand side in the central area of the canvas, Polke painted an oval with the chemical pigment realgar. Realgar, also called ruby sulphur or ruby of arsenic, has a changing hue, which depends on the grind of the pigment. The darker shades are an orange-red, the lighter ones a yellow-orange, as seen in this painting. Although there are modern alternatives, Polke seems to have found processing the colours and pigments of the old masters with an awareness of modern times highly interesting.

相关：
he baitao he he tianjian he kongde 3162714_he_lay_where_he_had_been_jerked_still_as_a_log the girl he left
首页 主题 艺术运动 风景
an he油画图片- 高清an he绘画作品- 代表作全集 中艺名画下载


您是不是要找：

安娜 霍尔

14. 扑热息痛。1493-1541. Chyrurgicum歌剧院。法兰克福：马丁·勒克勒，1566年[科隆州1565年]。 高清作品[64%]

Opus Chyrurgicum. Frankfurt am Mayn: Martin Lechler, 1566 [colophon states 1565].

图片文件尺寸 : 4900 x 4156px

PARACELSUS. 1493-1541.:AMMAN, JOST, illustrator. Opus Chyrurgicum. Frankfurt am Mayn: Martin Lechler, 1566 [colophon states 1565]. 4to (290 x 190 mm). 35 woodcut medical engravings (including woodcut portrait on title page), from 13 woodblocks (many signed \"JA\" for Joost Amman). Recent half-morocco over cloth. Some light dampstaining, thin ink stains at lower margin of last several leaves, browning.

EARLY ISSUE OF THE JOST AMMAN EDITION OF PARACELSUS\'S WORKS. Philippus Aureolus Theophrastus Bombastus von Hohenheim, who wrote under the pen name Paracelsus, was a Renaissance pioneer of medicine as well as an astronomer and alchemist. A native of Switzerland, he was educated in Basel, Vienna, and Ferrara, and traveled extensively throughout Europe during his life as an itinerant physician. He is credited with establishing the role of chemistry in medicine, and is sometimes referred to as the \"father of toxicology.\" He recorded the first clinical descriptions of syphilis and epilepsy, and advocated the humane treatment of the mentally ill in an era when they were believed to be possessed by demons. His controversial views alienated both publishers and other physicians, and many of the ideas he proposed were not accepted as medical orthodoxy until hundreds of years after his death. Durling 3464; Sudhoff 62 (both for first edition).

扑热息痛。1493-1541. Chyrurgicum歌剧院。法兰克福：马丁·勒克勒，1566年[科隆州1565年]。

18. Alex Katz，当代艺术I 高清作品[56%]

DO-Alex Katz - 现代艺术 I
图片文件像素：5857 x 5772 px

Alex Katz，当代艺术I-

Alex Katz - Zeitgenössische Kunst I-

(born in Brooklyn/New York in 1927)
Maria, 1990 signed and dated, oil on board, 45.7 x 60.7 cm, framed

This work is registered in the Alex Katz archive.

Provenance:
Private Collection, Italy
European Private Collection
Acquired from the above by the present owner

In the nineteen-fifties, when most of the serious art being done was abstract, Katz outraged scores of artists and formalist critics by inventing new ways to paint the human figure. He has always had his own direction, which has not been the direction of mainstream art in any of the last seven decades. In a Katz painting, style—the way it’s painted—is the primary element. His confident, crisply articulated technique makes us see the world the way he sees it, clear and up close, with all but the most essential details pared away. (…)

His main influences were television ads, movie closeups, Japanese prints (by Utamaro, in particular), and billboards (…).

Katz had found a way to paint portraits that he described, as “brand-new terrific.” Ignoring character and mood, he offered the pure sensation of outward appearance—not who the people were, but how they appeared at a specific moment. “I can’t think of anything more exciting than the surface of things,” he later told an interviewer.
(taken from: Calvin Tompkins, Alex Katz’s Life in Art, The New Yorker, 20/8/2018)

20. 西格马尔·波尔克，当代艺术I 高清作品[52%]

DO-Sigmar Polke - 现代艺术 I
图片文件像素：4483 x 5098 px

西格马尔·波尔克，当代艺术I-

Sigmar Polke * - Zeitgenössische Kunst I-

(Oels/Niederschlesien 1942-2010 Cologne)
Untitled, 1994, on the reverse signed, dated twice S. Polke 94, natural resin and pigments (malachite, lapis lazuli and realgar) on canvas, 95 x 75 cm, framed

We are grateful to Michael Trier, Cologne, for his scientific advice in cataloguing this work.

Provenance:
Private Collection, North Rhine-Westphalia - directly from the artist
Van Ham Kunstauktionen, Cologne, 01 December 2021, lot 301 - acquired there by the present owner

Sigmar Polke has left us an extensive oeuvre, centred first and foremost on his irrepressible interest in colour. The production of colours was of great importance to the artist, who was often described as an alchemist, and he wanted to explore it from the bottom up. With the aid of the most modern techniques and motifs he was constantly searching for the origin of painting, sometimes also with a great deal of irony. Art ought to be an experiment with an open outcome, and he, the artist, ought to elicit the hidden beauty from the material world with his works.

Polke worked with the so-called \"Schüttbilder\" from the early 1970s on, colour samples and \"Probierbilder\", in which calculated chaos is elevated to a creative principle. Ten years later, Polke\'s painting showed a change \"that was much discussed in connection with the works for the exhibition Zeitgeist in 1982, for Documenta 7 in the same year and reached a climax in his contribution to the 德国 pavilion at the 42nd Venice Biennale (1986). Figuration recedes in favour of the more gestural and process-like use of colour, its lush or veil-like overlays and fusions.\"
(Katharina Schmidt, quoted from: Sigmar Polke – Zeichnungen, Aquarelle, Skizzenbücher 1962 – 1988, exh. cat., Kunstmuseum Bonn 1988, p. 194).

The 1994 work offered here is in the tradition of the colour samples of the 1970s and refers pictorially to the colour plates from 1992, which are in the Stedelijk Museum in Amsterdam. Its presentation is very painterly and overall reminiscent of the wall painting at the Venice Biennale (1986), for which Sigmar Polke was awarded the Golden Lion.

In the present work, the artist mixed a total of three dyes with natural resin and applied them to the canvas. In the lower area, the ultramarine blue of the dark blue semi-precious stone lapis lazuli dominates. Lapis lazuli is one of the oldest pigment stones of all and was already used as pigment in prehistoric Europe. For the upper part of the picture, Polke used the powdered pigment of the semi-precious stone malachite. The coarser the grain, the more intense the shade of colour. Malachite pigment was prized in antiquity as a cold green for wall paintings. It was used in panel paintings in the Renaissance. Next to green earths, malachite was the most important green pigment until the 18th century. On the left-hand side in the central area of the canvas, Polke painted an oval with the chemical pigment realgar. Realgar, also called ruby sulphur or ruby of arsenic, has a changing hue, which depends on the grind of the pigment. The darker shades are an orange-red, the lighter ones a yellow-orange, as seen in this painting. Although there are modern alternatives, Polke seems to have found processing the colours and pigments of the old masters with an awareness of modern times highly interesting.

相关：
he baitao he he tianjian he kongde 3162714_he_lay_where_he_had_been_jerked_still_as_a_log the girl he left
首页 主题 艺术运动 风景