Marcel Duchamp

le PASSAGE de la vierge à la mariée, 1912
Oil on canvas
59.4 x 54 cm
The Museum of Modern Art, New York

Nicolas Poussin

  et in Arcadia ego, 1655

Albrecht Dürer

Retrato do Imperador Maximilien I, 1519
Oil on lindenwood
74 x 62 cm
Kunsthistorisches Museum, Vienna

Juan Gris

Still Life with a Poem, 1915
Oil on canvas
80.6 x 64.8 cm
Norton Simon Art Foundation

Carpaccio

Vision of St.Augustine (detail-of-the-dog), 1502-08

Magritte

 La Clef des songes [a chave dos sonhos], 1930

óleo sobre tela
81 x 60 cm

Delacroix

La Liberté guidant le Peuple, 1830
Musée du Louvre, Paris

Giovanni Bellini

Madonna and Child with Two Saints (Sacra Conversazione)

c. 1490
Oil on wood, 58 x 107 cm
Gallerie dell'Accademia, Venice

http://www.wga.hu/html/b/bellini/giovanni/1490-99/138sacr.html

Rogelio López Cuenca

 

For Copyright Reasons, 2010
Óleo sobre tela
162 x 130 cm

 

Rogelio López Cuenca (España,1959)

Breughel

Paisagem com queda de Ícaro

Musee des Beaux Arts  

About suffering they were never wrong,
The old Masters: how well they understood
Its human position: how it takes place
While someone else is eating or opening a window or just walking dully along;
How, when the aged are reverently, passionately waiting
For the miraculous birth, there always must be
Children who did not specially want it to happen, skating
On a pond at the edge of the wood:
They never forgot
That even the dreadful martyrdom must run its course
Anyhow in a corner, some untidy spot
Where the dogs go on with their doggy life and the torturer's horse
Scratches its innocent behind on a tree.

In Breughel's Icarus, for instance: how everything turns away
Quite leisurely from the disaster; the ploughman may
Have heard the splash, the forsaken cry,
But for him it was not an important failure; the sun shone
As it had to on the white legs disappearing into the green
Water, and the expensive delicate ship that must have seen
Something amazing, a boy falling out of the sky,
Had somewhere to get to and sailed calmly on.

W. H. Auden

Hans Holbein

Os Embaixadores

É possível ler o texto do livro que está aberto, próximo ao alaúde.

Retrato de Erasmo de Roterdã

O pintor era amigo de Erasmo. Acima, desenho nas margens da primeira edição do "Elogio da Loucura".

Henry Howard

Francis Picabia

Voilá la femme

(Eis a mulher)

Van Gogh

sunflower

O holandês mundialmente conhecido pelo seu sobrenome assinava apenas o primeiro nome. A assinatura acompanha o bojo do vaso, como se fizesse parte dele, não como um elemento acrescentado posteriormente.

Self-Portrait in Front of the Easel

A assinatura está sobre a madeira, no verso da tela pintada.

Helio Oiticica

Bandeira feita a partir de fotografia de "Cara de Cavalo" morto. O amigo de Hélio era "inimigo público" e foi assassinado pela polícia.

O poeta Torquato Neto diante de "pureza é um mito"

Piet Mondrian

Broadway Boogie Woogie, 1942/43

Como inserir a assinatura sem interferir na composição? Vejam as iniciais PM em vermelho, dentro de um quadrado azul no canto esquerdo (no detalhe, abaixo, fica mais fácil ver). O ano está na mesma linha, em outro quadrado azul, no canto direito.

Maria do Carmo Freitas Veneroso

Lançamento do livro

Caligrafias e Escrituras

Diálogo e intertexto no processo escritural nas artes no século XX

Stuart Davis

 Odol, 1924

Oil on cardboard, 24 x 18" (60.9 x 45.6 cm).

Known for his energetic compositions with bold colors and snappy rhythms, Davis painted quintessentially modern American subjects. Among his sources of inspiration, he listed “skyscraper architecture; the brilliant colors on gasoline stations; chain store fronts and taxicabs” and “jazz music.”

Long before Andy Warhol and other Pop artists mined the world of trademark brands, Davis incorporated imagery from logos, commercial signage, and modern packaging into his paintings. In the 1920s—the “golden age” of advertising—the artist created Lucky Strike, a visual riff on a pack of cigarettes, and Odol, a sleek, streamlined ode to a bottle of mouthwash. (Moma)

Peter Davies

Fun With the Animals: Joseph Beuys Text Painting
1998
acrylic on canvas
396.2 x 243.8

In a giant incomprehensible flow chart (a form borrowed from Beuys’s blackboard works), he maps out the ‘six degrees of separation’ of his art heroes, linking them impossibly to each other, and inevitably back to Beuys. It requires the complicated linear thinking of a late-night drinking game, but Davies proves it’s only twelve easy jumps from Picasso to Sarah Lucas (if Peter Doig and Matthew Barney’s love of sport can be counted as an actual link). Peter Davies presents an art history on a functional level: it’s about as close to science as it gets.

http://www.saatchi-gallery.co.uk/artists/peter_davies.htm

The fun one hundred, 2001
29 Color Serigraph, 58 x 84 cm.
Edition (250). Signed

Peter Davies' colourful lists inspired by conceptualism's dry text works rank modern and contemporary artists according to his opinions, these text based paintings explore the role of the artist in defining popular culture while combining certain art historical and contemporary art notions with everyday life or culture. The intentionally anti-aesthetic lists take something which is understood, accepted or acknowledged and while adhering to those givens, something from the contemporary world is thrown in to skew it. 

Davies' text works seem far removed from the the traditional notion of how conceptual, text based art should appear.  His wordy arrangements arrangements explain how things stand in a particular system without recourse to a traditional forms of representation.  As works of art they are homorously reflexive, dwelling upon the artistic context that they are part of.

As in The Fun One Hundred Davies says "The text paintings offer a playful and humorous take on my attempt to understand art history and contemporary art". Davies' lists offers explanations as to why these artists are 'fun', such as 'David Hockney - Pool Attendant' and 'Vanessa Beecroft - Hanging Out'.(via http://www.opus-art.com/artists/PeterDavies)

Robert Indiana

  Here’s the 1973 L.O.V.E. stamp.

This is a sculpture by Robert Indiana. Created in a time when the United States was consumed by the Vietnam War, LOVE became a symbol for Peace. This famous sculpture is one of the most celebrated works within the pop art movement.

 Marc Bijl, Porn, 2002

Aldo Chaparro, 2008

General Idea's famous AIDS logo, an appropriation of Robert Indiana's LOVE sign of the 1960s. The artists created the logo as a form of branding, and then applied it to media and advertising strategies, calling the infiltrations that followed Imagevirus.

AIDS - Amsterdam Tram Project, 1990

62,5 x 63,7 cm

poster / screenprint on sticker

edition 40, handwritten title 'Amsterdam Tram Project'

* In 1990 trams in Amsterdam were covered with large AIDS silkscreen stickers of General Idea. The 'Amsterdam Tram Project' became quite controversial, i.e. conductors refused to drive their trams covered with the colourful and marked stickers afraid of giving their support to or at least being compromised and associated with homosexuality.

In the mid-1980's, the Canadian art group General Idea - AA Bronson, Felix Partz, and Jorge Zontal - created a symbol using the acronym AIDS, using the letters in a manner that resembled Robert Indiana's LOVE logo. This became part of Imagevirus, a project of paintings, sculptures, videos, posters, wallpapers and exhibitions that investigated the term AIDS as both word and image, using the mechanism of viral transmission. Imagevirus spread like a visual virus, producing an image epidemic in urban spaces from Manhattan to Sydney. It was displayed as, among other things, a Spectacolor sign in Times Square, a sculpture on a street in Hamburg, and a poster in the New York subway system. General Idea felt compelled to make Imagevirus at a time when AIDS was emerging as a global epidemic affecting gay men disproportionately.

Museum Fodor Amsterdam issued the posters in a signed and numbered edition.

http://www.galerievangelder.com/editions%20prints%20A-Z.html

Paul Klee

 Beginning of a poem

 Once emerged from the grey of the night

 Alphabet I, 1938

Alphabet II, 1938