A T E L I E R L O G

dinsdag, september 18, 2018

Man Ray #5

Man Ray dans son studio, Paris, 1967. (bron: fubiz, foto: Gisèle Freund)

Man Ray: Studio Door, 1939. (collectie(?): Scottish National Gallery of Modern Art, Edinburgh)

> Man Ray Trust

Man Ray #4

Man Ray: Self-Portrait, Seated in Paris Studio, 1930s. (bron: Christie's)

> Man Ray Trust

Man Ray #3

31 bis rue Campagne Premier (Paris), Man Ray’s home and studio. He first moved here in 1926. He lived here with Lee Miller for three years. (bron: American Girls Art Club In Paris)

2 bis rue Férou (Paris) was the offices of the revolutionary journal ‘L’Atelier’ during the Paris Commune of 1871. Later, in the 1950s, it was the home of artist and surrealist photographer Man Ray. The wide, metal framed window looks as if it belongs to an artist’s studio of that era. (bron: Beyond the Window Box)

> Man Ray Trust

maandag, september 17, 2018

Magnus Plessen #3

Magnus Plessen’s studio, Berlin, 2018. (bron: elephant, foto's: Kristin Krause)

Magnus Plessen in the studio, 2017. (bron: Hong Kong Tadler)

Magnus Plessen #2

Discarded bits of tape on a fuse box in Magnus Plessen’s studio in Berlin, 2012.

Magnus Plessen's "Untitled (Dans La Serre)" in the artist’s studio shortly before completion, 2012. (bron: Tarea, foto's: Pia Gottschaller)

Maartje Korstanje

Maartje Korstanje in haar atelier, 2015. (bron: Pinterest)

> Maartje Korstanje

Maarten Ploeg #2

Atelier Overtoom, Amsterdam, 1983.

Atelier Overtoom, Amsterdam, 1984. (foto: Claude Crommelin)

Atelier Sassenheimstraat, Amsterdam, 1988. (uit: Ploeg is OK, bron: Yumpu)

Onlangs is er in beperkte oplage een nieuw boek "PLOEG + WERK" over Maarten Ploeg verschenen. T/m 24 september zijn schilderijen van Maarten Ploeg te zien in de etalage van Atheneum Boekhandel in Amsterdam.

> Maarten Ploeg

M C Escher

Escher at work in his study. (bron: Robs Webstek)

> M C Escher

vrijdag, september 14, 2018

Lyonel Feininger #5

Lyonel Feininger: Atelier des Künstlers, 1929-1931.

(bron: Die Protagonisten der Moderne in Halle (Saale))

Lyonel Feininger #4

Lyonel Feininger in his studio at home, New York, 1943. (bron: Paris Review, foto: Josef Breitenbach)

Lyonel Feininger, New York, 1951. (bron: gettyimages)

donderdag, september 13, 2018

Lynda Benglis #3

Lynda Benglis in studio at Baxter Street, New York with Night Sherbet, ca. 1969.

Lynda Benglis at work on a wax painting, Baxter Street Studio, New York, Ca. 1972. (foto: Elliot Schwartz)

Lynda Benglis in Bowery studio, ca. 1981. (foto: Hans Namuth, bron: Dazed)

Lynda Benglis in her studio. (bron: Thomas Brambilla)

Nicole Eisenman

Nicole Eisenman in her studio, New York. (bron: Frieze, foto: Jody Rogac)

woensdag, september 12, 2018

Lucio Fontana #5

The cellar of Lucio Fontana’s studio with the “large and mysterious terracotta forms”, exhibited in March 1961 at Milan’s Galleria del Grattacielo. The forms are grouped with his “new plastic paintings (i.e. not painted with oil, but with a new plastic substance)”. (bron: domusweb)

Ernst Ludwig Kirchner #10

Ernst Ludwig Kirchner: Selbstbildnis an Staffelei. (bron: wikimedia, collectie: Staatliche Kunsthalle Karlsruhe)

Looking at Lucian

Henry Goodman as Lucian Freud in Theatre Royal Bath's "Looking at Lucian".

"We are looking at the older Lucian Freud (1922-2011) in his London studio. Its sash windows are boarded up; daylight enters through glass panels overhead. Paint-smeared walls become extensions of the painter’s palette: Carla Goodman’s realistic set also symbolises a life contoured by painting. Freud is looking towards us, but not at us. He is looking at his sitter, who is an invisible presence located on an imaginary bed (or chaise longue) sited between stage and auditorium.

As he studies his subject, Freud talks, answering her questions about his past. We listen. Stories layer; shards of the life of the artist assemble into a picture – memories add shades of meaning to the present instant.

This new play by Alan Franks, who is also a novelist, songwriter and journalist, is beautifully written, elegantly constructed and tantalising. At one point, Franks has Freud describe the moment before a painting comes to life. The play is like that. It’s as though Franks is trying to use Freud’s stories the way Freud uses paint: by building up surface details to arrive at a deeper reality.
...."
(bron: The Guardian en The Telegraph, foto's: Nobby Clark)