Balthus, Pollock, Warhol, Magritte, Miró, Dalí, Picabia, et les autres

Judy Garland, par Andy Warhol, 1979

Ils sont tous là ou presque, tous les grands noms de la peinture moderne, de 1900 aux années 1960, grâce à Joe Berardo et sa collection, un milliardaire portugais, « collectionneur compulsif », au Centre Culturel de Belém.

Patrick Caulfield, Lit window, 1969

Toujours dans le domaine du Pop Art, quelques oeuvres, dont Mel Ramos qui peint Virna sur un hamburger, Virnaburger, 1965 :

Allen Jones, La Sheer, 1968

Morris Louis, Beta Tau, 1961

Antony Donaldson, Take Away, 1963

Warhol, Ten Foot Flowers, 1967

Warhol, Campbell’s soup, 1965

Roy Lichtenstein, Intérieur, avec peintures reposantes, 1991

Valerio Adami, Ecrasement de la balle, 1975

Larry Rivers, French vocabulary, lesson III, 1963

Michelangelo Pistoletto, Deux garçons à la fontaine, 1975

Balthus, portrait de Madame Georges Hillaire, 1935 :

An impression of absence, silence, withdrawal, and incommunicability emanates from this enigmatic portrait of a ‘bourgeois’ woman in her living quarters, holding a book in her hand and staring at the spectator. It is not a person that Balthus is painting but the relationships of absence and silence that connect her to her environment and to her tragic solitude in the world. The strangeness of the portrait also stems from the disproportionate size of the head in relation to the body and of the hieratic nature of the figure and the austerity of the background. No record exists of the name of the model but she is known to have been the wife of Georges Hillaire, who became sub-prefect of Pontoise in 1936. He was to become the right-hand man of Pierre Laval, a senior official in the Vichy regime who was appointed Secretary-General for the Fine Arts by Maréchal Pétain in 1944.

 

Fernand Léger, Composition, 1953

Nicolas de Staël, Paysage, 1953 http://en.museuberardo.pt/collection/works/1142

Giorgio de Chirico, La cohorte invincible, 1928

Paul Delvaux, Le bain des dames chez Georges Grard, 1947

Francis Gruber, Nu assis à la chaise verte, 1944

Jean Hélion, Les Pains, 1951

René Magritte, Le gouffre argenté, 1926

Philip Pearlstein, Deux figures, 1963

Francis Picabia, Balance, 1920

Jackson Pollock, Head, 1941

Pierre Soulages, Peinture, 1963

Sur Soulages et sa « Peinture », 1963 :

This painting is from Pierre Soulages’ pre-1979 period, before his use of relief. According to the painter ‘You need to look at the painting and appreciate the light reflected by the black surface. That’s essential. If you only see black, it’s because you’re not looking at the painting. If, on the other hand, you pay more attention, you can see the light reflected by the painting. This painting’s space is not the wall, it’s what is in front of it, and those who look at it, we are in that space. There is a different relationship with space than in traditional painting. This phenomenon can’t be photographed. Photography transforms that light into a banal painting in which qualities are static and produced by different greys.

 

Renato Guttuso, Studio e paesaggio, 1960

Man Ray, Café, 1948

 

Le Centre culturel de Belém, au fond le monastère des Hiéronymites, la statue est de Niki de Saint-Phalle, Les Baigneuses, 1985

 

L’art publicitaire dans la collection Berardo :

Étiquettes : Allen Jones, Andy Warhol, Antony Donaldson, Balthus, Centre Culturel de Belem, Dalí, Fernand Léger, Francis Gruber, Francis Picabia, Georges Hillaire, Giorgio de Chirico, Jackson Pollock, Jean Hélion, Joe Berardo, Judy Garland, Larry Rivers, Mel Ramos, Michelangelo Pistoletto, Miro, Morris Louis, Nicolas de Staël, Niki de Saint-Phalle, Patrick Caulfield, Paul Delvaux, Pierre Soulages, Pop art, Renato Guttuso, René Magritte, Roy Lichtenstein, Valerio Adami, Warhol