donderdag, december 26, 2013

Walter De Maria



Walter De Maria's studio, 421 East 6th Street, New York, ca. 2008.

"421 East 6th Street between Avenue A and First Avenue in the East Village neighborhood of Manhattan, New York City was built in 1919 as a transformer substation for the New York Edison Co., and was designed by William W. Whitehill in the Neo-classical style. It converted DC current into AC. The bulding was converted to a multi-use commercial structure in 1963, and has been owned by artist Walter De Maria since 1980.
....
According to a 1919 Board of Appeals resolution, the “four-story fireproof transformer building” would accommodate a switchboard room, static air chambers, blower room and rotary foundations on the first floor; rotaries, transformer, and booster compensator on the second floor; a battery room on the third floor; and a high tension room and blower and exhaust chambers on the fourth floor. Three people would work on the first floor and two on the second." (bron: EV Grieve)

10th Street Studio Building


10th Street Studio Building

"In 1857, James Boorman Johnston commissioned the young Richard Morris Hunt, America's first French-trained architect, to design studios for artists to create, exhibit, and sell their work. The highly successful Tenth Street Studios, in which interconnected rooms radiated off a central domed gallery, became the center of New York's art world for the remainder of the nineteenth century. From his own studio, Hunt established the country's first architectural school, and an impressive array of academicians, including most of the Hudson River School, worked there.

In 1879, J. B. Johnston deeded the building to his son John Taylor Johnston, who subsequently became the first president of the Metropolitan Museum of Art. The same year, French-trained Impressionist painter William Merritt Chase took over the domed gallery, breathing new life into the establishment. With Chase's 1895 departure, the 10th Street Studios lost its place of prominence in New York art circles. In 1920, members purchased the building to fend off a commercial takeover. That arrangement lasted until 1956, when the building was razed to make way for the Peter Warren Apartments, an 11-story building named after an eighteenth-century Village landowner." (bron: New York Architecture)


William Merritt Chase in his Studio.

"He had taken for his individual studio what was originally designed as a main gallery for all the studios users in the building. The paintings below are all William Merritt Chase's depictions of scenes in his Studio in the building. He took the concept of the public studio to new heights in his time there." (bron: Helena de Kay Gilder)

Winslow Homer #2


Arnold Andersom: Winslow Homers Studio, Prout's Neck, Maine, 1931. (bron: Portland Monthly)


Winslow Homer with “The Gulf Stream” in his studio at Prout’s Neck, Maine, circa 1900. (bron: Everett Potter's Travel Report)

Yinka Shonibare #3




The colourful studio of Yinka Shonibare. (bron: Art Fund)

> Yinka Shonibare

Yinka Shonibare #2


Yinka Shonibare in his studio with a maquette of his Fourth Plinth commission “Nelson’s Ship in a Bottle”. (bron: All Art News)

Yinka Shonibare in his London Studio with some of his work, including a scaled-down model of his Nelson's Ship in a Bottle. (bron: The Guardian, foto: Andy Hall)

Yinka Shonibare in his studio, London. (bron: The Guardian, foto: Graeme Robertson)

Yinka Shonibare in the ‘tropical toyshop’ that is his studio in Hackney, London. (bron: The Guardian, foto: Antonio Olmos)

> Yinka Shonibare

woensdag, december 25, 2013

Roman Signer


Roman Signer in his studio, 2009. (bron en foto: Adri Pol)

> Roman Signer

dinsdag, december 24, 2013

donderdag, december 19, 2013

Bruce Nauman #5

Bruce Nauman in his studio in Galisteo-New Mexico. (bron: an experiment in depth)

Henri Rousseau #3


Henri Rousseau dans son atelier, Rue Perrel ,1910.


Henri Rousseau dans son atelier.


Henri Rousseau dans son atelier. (bron: Le rêve d' Henri Rousseau)

Henri Rousseau #2


Henri Rousseau dans son atelier Rue Perrel à Paris devant son tableau "Forêt Vierge au soleil couchant", 1906. (bron: Le monde des arts, foto: Harry Bloomfield(?))


Henri Rousseau, Paris, c.1900. (bron: Remy de Gourmont)


(bron: Le rêve d' Henri Rousseau)

Henri Rousseau #1


Henri Rousseau, dit le Douanier Lettre autographe signée à Joséphine Nourry, Paris, le 21 juin 1899. (bron: Wet Canvas)

Willem de Kooning #6

Willem De Kooning, 85 Fourth Avenue, NYC, 1952. (bron: Wet Canvas, foto: Kay Bell Reynal)

woensdag, december 18, 2013

Luc Tuymans #3


Luc Tumans in zijn atelier, Borgerhout, België.

"Niet echt flatterend, deze foto. Hij is genomen in mijn atelier in de Van Geertstraat in Borgerhout. De werkruimte is 450 vierkante meter groot en 4,5 meter hoog, en daarnaast is er een grote hal, een douche, een keuken en een bureau. Ik werk hier sinds 2006. Voordien zat ik in een gehuurd appartement wat verderop, dat in het begin ook mijn woonst was. Ik schilderde er in de living - heel ongezond, met al die terpentijn. Ik heb toen veel werk kapotgemaakt door er te lang aan te prutsen, en dingen overschilderd die ik niet had mogen overschilderen. Er was ook geen plaats voor grote werken, daarvoor moest ik naar een andere locatie. Op de dag dat mijn tiende tentoonstelling opende in Zeno X, kreeg ik te horen dat het huis verkocht was aan een Marokkaanse sportvereniging. Ik heb het pand altijd zelf willen kopen en uitbouwen tot een groot atelier, maar de eigenaars dachten dat ik het niet kon betalen, omdat ik kunstenaar ben. Dat was in 2000, toen het toch al redelijk goed ging. Ik mocht uiteindelijk blijven van die vereniging, maar toen het op een bepaald moment binnen begon te regenen en de verwarming het niet meer deed, heb ik beslist mijn eigen ruimte te kopen en die naar mijn hand te zetten. Dat is deze geworden.’

‘Ik werk tentoonstelling per tentoonstelling. Aan elke reeks schilderijen, gaat een maandenlange voorbereiding vooraf: tekeningen en polaroids maken, websites afschuimen, maquettes maken… Daarna worden de werken één voor één geschilderd, altijd op één dag. Dat kan een korte of een lange dag zijn, afhankelijk van mijn scherpte en de hoeveelheid werk. Aan Wonderland, een schilderij van zes meter lang en vier à vijf meter hoog, heb ik bijvoorbeeld van tien uur ’s ochtends tot twee uur ’s nachts gewerkt. Ondanks het feit dat ik al dertig jaar schilder en de trukendoos ken, zijn die eerste uren nog altijd hel. Pas als de eerste contrasten opduiken en het beeld wat in zijn plooi valt, begint het schilderplezier. Die snelheid mag je echter niet meteen zien. Bij een goed schilderij zie je eerst het beeld, dan pas hoe het gemaakt is. Voor velen komen mijn schilderijen op het eerste gezicht redelijk afstandelijk over. Pas als je dichterbij komt, zie je de nervositeit in de borstelstreek." (bron: Music For a New Society, tekst: Michael Ilegems, foto: Charlie De Keersmaecker)

Marc Chagall #3


Marc Chagall dans son Atelier, 1945. (bron: Fotki)


Marc Chagall peignant. (bron: La Metropole)

Marc Chagall #2


Marc Chagall: Zelfportret met zeven vingers, 1913. (collectie: Stedelijk Museum Amsterdam)

dinsdag, december 17, 2013

Fernando Botero #3

Fernando Botero: Self Portrait in Costume of Velazquez, 1986.

Pablo Picasso #15

Fernando Botero: Picasso, Paris 1930, 1998.

vrijdag, december 13, 2013

Frederic Leighton #3


The Studio of Sir Frederic Leighton. P.R.A, 1887. (bron: Amazon)

Frederic Leighton #2


Frederic Leighton in his studio, Leighton House at Holland Park, London. (bron: Europa Nostra Photostream)






Studio interior. (bron: Europa Nostra Photostream)

Frederic Leighton #1



"After a century of decline, artist Frederic Leighton’s London house has at last been restored to its exotic glory

Frederic Leighton was one of the most lauded British painters of the 19th century, the recipient of a knighthood, a baronetcy and finally — and with particular irony given that he was a lifelong bachelor — a hereditary peerage, one day before he died.

This career was built on an early and spectacular success: when he was a 25-year-old student living on the Continent, his first major work, Cimabue’s Celebrated Madonna is Carried in Procession Through the Streets of Florence, was bought by Queen Victoria at the opening of the Royal Academy’s 1855 summer show. Four years later and with his reputation made, he returned to London and rented a house and studio in Kensington. It was located in fashionable Orme Square but, as Leighton wrote to his mother at the time, represented “a sad falling off” of the lifestyle that he had enjoyed in Paris and Rome.

And so he determined to build a studio house of his own, eventually securing a site on Holland Park Road, immediately next to which the artist, Val Prinsep, was in the process of constructing his own residence to Philip Webb’s vigorously gothic design. Leighton’s house could have hardly been more different. It was designed by his friend, the architect George Aitchison, in the manner of an Italianate villa, a choice that deliberately recalled the classical imagery of Leighton’s paintings. Aitchison sited the long, double-height studio on the upper level of the garden elevation, thus allowing the street facade to retain a relatively conventional domestic appearance. Indeed, elegant as it is, the front of the building offers scant indication of what lies beyond, namely, the most sumptuously exotic interior of any house built in 19th century London.
...." (bron: bdonline, tekst: Ellis Woodman)

James Akerman: Artists' Homes No. 7 Studio and Residence at Holland Park Sir Fredk. Leighton PRA, 1880.

"Print cut from 'The Building News', October 1, 1880. This print cut depicts the back view of the house built by George Aitchison for the artist Frederic Leighton, now Leighton House Museum. The second storey studio has large windows and the domed Arab Hall can be seen on the right. In 1864 the artist Frederic Leighton commissioned architect George Aitchison to build this house near Holland Park. A number of other artists settled nearby and Leighton's residence and studio became one of the social centres of the London art world." (bron: Museum of London)


Leighton House. (bron: Tammy Tour Guide)


Leighton House. (bron: Panoramio, foto: Derek Lamden)


Leighton House. (bron: notasdesdealgunlugar)

Edward Burne-Jones


Edward Burne-Jones's garden studio at the Grange, 1887. (bron: Photography News, foto: Frederick Hollyer)

Studio Sittings


Antony Gormley.


Bill Woodrow.


Christopher Le Brun.


David Nash.


Grayson Perry.


Richard Deacon.

"Studio Sittings: Photographing Royal Academicians

What remains unchanged over a period of more than 150 years is the fascination of photographers, art lovers and collectors with images of artists and their creative spaces. We still see these pictures as a record and one possible key to understanding the artist, the creative process, and the social environment in which they lived. Anne Purkiss, 2013.

For over 25 years, portrait photographer Anne Purkiss has been taking pictures of Royal Academicians. Often posed in their studios, these images are a unique record of some of the most celebrated artists of recent times. From Dame Elisabeth Frink, to Sir Peter Blake and Sir Anthony Caro the images provide a telling insight into the artist’s working environment and their creative spaces.

Frederic Leighton’s own career was bound up with the Royal Academy. Elected an Associate in 1864, he became President in 1878. His era saw the emergence of the celebrity artist; whose image was widely photographed, published and collected. Studio Sittings includes photographs of Leighton and his RA contemporaries also posed in their studios allowing a fascinating dialogue to emerge." (bron tekst: Leighton House Museum, bron foto's: NPhotomag, foto's: Anne Purkiss)

Constant Permeke #3


(foto: Steven Decroos)



Constant Permeke ontwierp in 1929 zijn eigen woning met atelier. Architect Pierre Vandevoort tekende de plannen. Het huis en zijn omgeving vormden een dankbare inspiratiebron voor de kunstenaar. Huis en atelier werden na de dood van Permeke in 1952 opengesteld voor het publiek, zoals de kunstenaar dat zelf wenste. Vandaag is het gebouw beter bekend als het Permekemuseum. (bron: openmonumenten.be)

Huis en atelier van Permeke 2 jaar na zijn overlijden. (bron: Cobra.be) Werk van Permeke is tot en met 16 maart 2014 te zien bij de tentoostelling "Permeke en de Vlaamse expressionisten" in Rijksmuseum Twenthe. (hk)