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Palazuelo, Pablo (1916-2007) - 2003 Sign I (Guggenheim Museum Bilbao, Spain) by RasMarley Via Flickr: Oil on canvas; 188.3 x 174.5 cm. Pablo Palazuelo was a Spanish painter and sculptor. Pablo Palazuelo was born in Madrid in 1916. In 1933 he studied architecture at the School of Arts and Crafts at Oxford University. Upon returning to Madrid in 1939, he began to devote all of his time to painting. During these early years, reflecting the influence of Picasso and Cézanne, his figurative art became progressively more abstract, simplified and transformed. Palazuelo was attracted to, and later influenced by, the work of Paul Klee, which he saw for the first time in 1947. It was in this year that Palazuelo's first abstract art appeared. The following year he was awarded a grant by the French Institute in Madrid to pursue his art in Paris. In the same year, 1948, he was selected to exhibit at the Salon de Mai, which led to an invitation to join the prestigious Galérie Maeght (currently Galérie Lelong), an association of nearly fifty years that continues to this day. Palazuelo went on to receive the coveted Kandinsky Prize in 1952. His attention became focused on the nature of "form" itself rather than on what it represented. In 1953 his investigation into form led to his discovery: Trans-geometría-the rhythms of nature translated into plastic art. This new way of seeing was initially expressed in his Solitudes series shown in his first solo exhibition in 1955. "Ascendente no. 2", his first sculpture, appeared in 1954. However, it was not until 1962 that his exploration of the qualities of space through his metal sculpture began in earnest, and his two-dimensional drawings became transformed into their three-dimensional counterparts. Conflict between large, flat, colorful forms characterized the series entitled Onda, Onfalo and Tierra, exhibited in 1963, and indicated a significant change in the direction of his art. In 1969 Pablo Palazuelo returned to Spain, where he continued to probe the mysteries of form through his paintings, sculptures, writings and research. He began to work in a 14th-century castle in Monroy, near Cáceres in 1974. During this time he captured the phenomenon of transformation, from its origin to its cyclic end, in his Monroy series. The surprising appearance of "signs" in his El número y las aguas series in 1978 marked another level of his inquiry into "the moment of formation." Palazuelo's Yanta paintings, exhibited in 1985, represented diagrams of two-dimensional force and structures of three-dimensional force, which constituted figures of conception. Constantly changing lineal rhythms characterized his Nigredo, Anamne and Sinesis series, which were exhibited at the Galería Soledad Lorenzo in Madrid in 1991. Since 1955 Palazuelo has shared his relentless journey of formal discovery in twenty-three solo exhibitions, as well as in numerous group exhibitions in France, Spain and throughout Europe. Palazuelo continued the realization of the endless potentialities of form through his Sydus series. In order to appreciate fully the unique nature of Pablo Palazuelo's art, one must trace his ongoing investigation of "form."

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Красота в глазах смотрящего. Для меня красота. Оригинал взят у tanjand в Ню ХХ века. Насыщенность эротизмом, чувственностью и красотой, нашедшие свое отображение в живописи СССР - главный принцип этой подборки. Пару слов по поводу ситуации с этой…

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Happy Labor Day from the Clark. Today’s image of “New England Factory Life,” the 94th out of our 100-part Homer series, shows a scene common in nineteenth-century New England of workers leaving their factory job. Though the scene is based on a factory in Lawrence, Massachusetts, it could just as easily have taken place in North Adams at MASS MoCA’s current location!

Winslow Homer New-England Factory Life - “Bell-Time” Wood engraving on newsprint 1955.4467

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Broadside View of the H.M.S. Victory in the Medway, 1803 John Smart British, 1741/42 - 1811 Graphite on laid paper Overall (sheet): 20.4 x 25.5 cm The Thomson Collection © Art Gallery of Ontario

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Clown, 1846 Paul Gavarni French, 1804 - 1866 Watercolour over grey and red pen and ink heightened with white on wove paper sheet: 31.2 x 21 cm Gift of the Trier-Fodor Foundation, 1985 © 2013 Art Gallery of Ontario

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In the Studio of the Rue de Calais, c. 1920 Edouard Vuillard, French, 1868 - 1940 Pastel and charcoal on laid paper Overall: 24.2 x 31.2 cm Gift from the Estate of R. Fraser Elliott, 2005 © 2013 Art Gallery of Ontario

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A Seated Nude in profile to the right, unknown Giovanni Battista Cipriani, Italian, 1727 - 1785 Black chalk on antique laid paper support: 42.8 x 29.1 cm Gift of Sidney and Gladye Bregman, 2007 © 2013 Art Gallery of Ontario

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Roman Bowl, c. 1920 Emil Carlsen, American, 1853 - 1932 Oil on panel Overall: 45.9 x 38 cm Bequest of Gerald R. Larkin, 1961 © 2013 Art Gallery of Ontario

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The Dairy Door, Farringford, Lord Tennyson’s Home, c. 1890 Helen Allingham, British, 1848 - 1926 Watercolour, gum arabic and scraping out on wove paper Overall: 27.8 x 21.7 cm Purchased in memory of Alan Flacks, 1991 © 2013 Art Gallery of Ontario

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Seated Girl, Half Turned to the Right, unknown Ernst Barlach, German, 1870 - 1938 Charcoal on wove paper Overall: 34.6 x 26.2 cm Gift of Frank and Marianne Seger, 1994 © 2013 Art Gallery of Ontario

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Cottage Interior, unknown Miles Edmund Cotman, British, 1810 - 1858 Watercolour on wove paper Overall: 14.4 x 21.1 cm Gift in Memory of Andrew A. Kinghorn, 1982 © 2013 Art Gallery of Ontario

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Study of Two Trees, 19th century William Nicoll Cresswell, Canadian, 1818 - 1888 Watercolour and graphite 36 x 25.2 cm Purchase, 1984 © 2013 Art Gallery of Ontario

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Portrait of a Man wearing a Hat, bust length, c. 1650 Lambert Doomer, Dutch, 1624 - 1700 Brown wash on laid paper 21.8 x 18.2 cm Gift of Frank and Marianne Seger, 2007 © 2013 Art Gallery of Ontario

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Scene in the Eastern Townships, c. 1886 Aaron Allan Edson, Canadian, 1846 - 1888 Watercolour and graphite on wove paper 12.1 x 17.8 cm Gift of Dr. and Mrs. J.M. Goodman, 1985 © 2013 Art Gallery of Ontario