Societe Anonyme

Societe Anonyme (sigla colectiei- creator anonim)

El Lissitzky - The New Man

Joan Miro - Le Renversement



Yale University Art Gallery


Heinrich Campendonk la Ermitaj


Trei picturi de Kandinsky

Si Brooklyn Bridge de Joseph Stella

Jean Arp Helmeted Head II in 1959 - stil brancusian

Noland si Gottlieb - deseneaza ca niste copii pe tabla

Klee

The Way to the Citadel in 1937 - sageti prin labirint de forme geometrice

Cathedral in 1924 si Tree Nursery in 1929 - caligrafii egiptene

The Witch with the Comb in 1922

Figure of the Oriental Theatre in 1934

Arrival of Jugglers in 1940

Efflorescence in 1937

Juan Gris Journal et compostier (Newspaper and Fruit Dish) in 1916

Heinrich Vogeler The Island of Peace 9n 1918-19

Louis Michel Eissheimius NY Harbor si Ferryboat at Night

Heinrich Campendonk

Pastoral Scene

The Red Cat - ochii pisicii sunt fascinanti (ca la Pirosmani)

The Woodcarver - sculptorul e cu dalta in coapsa statuii de lemn a femeii

Franz Marc Deer in Forest I in 1913 chiar ca Pirosmani

Suzanne Phocas Children with Dog

Klee Red/Green Architecure (Yellow/Violet Graduation) in 1922

Lissitzky Proun 99

Max Ernst Paris-Rêve in 1924-25

Pictura lui Joan Miro - vezi acel JOUR jos

John Covert Vocalization in 1919 si Brass Band tot in 1919

Frank Stella are ceva din Lissitzky ? (just kidding, however!)

Expozitaia El Lissitzky - doua portofolii de desene: Proun si Pobeda na solntze

Desenele sunt asezate in doua camere proiectate de Hideyo Okomura care a recreat o asemenea camera proeictata de Lissitzky - el voia sa treaca cu Proun - ii lui de la desen la camera abstracta. De abordat oricum in conjuctie cu Maiakovski si cu Tchelovek s'kinoaparataom al lui Vertov

Brancusi:

1. Little French Girl din lemn de stejar - in 1914018

2. L'Oiseau d'Or - in 1919

maiastra este o lama de marmura galbena pe un piedestal mic de lemn de stejar care arata exact precum coloana infinitului - asezat pe un disc de calvcar, asezat pe un piedestal gros din lemn de stejar chiar ca rough-hewn, asezat pe un disc mare de calcar

It encompasses both extremes of the sculptor's techiques: the rough-hewn oak pedestal and the sleek polished form of the bird. As it reaches upward from its limestone and wood base to the parted tip of bird's marble beak, this gravity defying construction celebrates Brancusi's passion for the joy of flight