Suchergebnisse
Suchergebnisse:
The War Series. In 1964, American artists Nancy Spero, Leon Golub and their family returned from five years in Paris steeped in modern European art and cultural traditions. Spero soon used gouache and paper as a format to, in her words, deflate the “grand gesture” of large-scale American abstract painting. Her subject matter, though, was ...
Affected by images of the war broadcast nightly on television and the unrest and violence evident in the streets, Spero began her War Series from 1966 to 1970. These small gouache and inks on paper, executed rapidly, represented the obscenity and destruction of war.
Zwischen 1966 und 1969 produzierte sie die War Series, einen Zyklus aus mehr als 150 Malereien (Gouache, Tinte und Collage) auf Papier, der den Vietnamkrieg zum Thema hat. [9] Typisch für Spero waren auch die geschriebenen und gedruckten Worte in ihren Collagen, die sie zum ersten Mal in ihrer Serie Codex Artaud gebrauchte. [10]
31. März 2019 · Nancy Spero: Paper Mirror surveys the full scope of Spero’s career, including her Black Paintings of the 1950s; the War Series of the 1960s; the Artaud works of the 1970s; the Licit Exp and Hours of the Nights series of 1974; as well as numerous works from the 1980s, 1990s, and 2000s.
27. Feb. 2019 · Image from Spero's War Series. Museo Reina Sofia. By. Hall W. Rockefeller. Updated on February 27, 2019. Nancy Spero (August 24, 1926–October 18, 2009) was a pioneering feminist artist, best known for her appropriation of images of myth and legend culled from various sources collaged with contemporary images of women.
Horrified by the images being broadcast in the news and the extent of human suffering, she created The War Series (1966–70) to visualise and condemn the atrocities of war. She permanently abandoned canvas and started painting, drawing, collaging and printing on paper.
13. Apr. 2023 · The War Series. Male Bomb I by Nancy Spero, 1966 via MoMA, New York. Politics and violence are recurring themes in Nancy Spero’s art. Her War Series is far from timid and it is indeed supposed to shock the viewer. According to Spero, the obscenity of the war should not be lost in the images.
