The Brooklyn Bridge Variation On An Old Theme

Within these early portraits, Stella's ability to draw with an empathetic, detail driven style shone through. Fittingly, he depicted the bridge as a modern-day altar, its soaring cables and pointed Gothic arches reinforced by his palette of blues, reds, and blacks that resemble light filtering through a stained-glass window. Among his most famous work are depictions of the Brooklyn Bridge, Coney Island, and a factory in New York City. All of our art prints are produced on state-of-the-art, professional-grade Epson printers.

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The Brooklyn Bridge: Variation on an Old Theme is a Precisionist Oil on Canvas Painting created by Joseph Stella in 1939. Unfortunately, the exhibition was not the success he had hoped for, and it failed to renew interest in his work. "I was thrilled to find America so rich with so many new motives to be translated into a new art. Several of his works reflected revival of interest in Giotto led by Carlo Carrà and heralded in his earlier works (Irma B par 5). The Brooklyn Bridge: Variation on an Old Theme, 1939. Creator Dates/Places: 1877-1946. The people walking on the walkway coming towards you, walking with you, also remind you of the real diversity of the city. Although famous for his depictions of American scenes, Stella was never fully at home in his adopted country. For most countries, it takes 10-14 business days delivery. By offering a bold, bright new twist on a favorite subject, this painting perfectly illustrates the ways in which Stella's style had evolved into something more personal and idiosyncratic by the later years of his life. El puente era un símbolo emblemático de las posibilidades que ofrecía el nuevo mundo: grandiosas y aterradoras al mismo tiempo.

The Brooklyn Bridge Variation On An Old Theme Game

Rights and reproductions. He traveled to the Caribbean and North Africa, where he focused on capturing their pristine natural environments in his colorful still lifes and bold landscapes. We use Epson's state-of-the-art 12 colors printer. The painting is based off the Brooklyn bridge in New York. Stella grew up in the small mountain village of Muro Lucano, situated over a ravine in the Potenza province of southern Italy, near Naples. "Let us arise and go now. Around Manhattan other buildings, bathed in vivid colored light, brightly beam the urban nightscape. Thy cables breathe the North Atlantic still. This piece was " a scintillating hymn to electricity, urban noise and speed, [which] suggests a saint's-day procession, ablaze with candles, winding through the streets of Little Italy. " This led him to want paint it. Exhibition History: Leonard & Evelyn Lauder Galleries.

The Brooklyn Bridge Variation On An Old Thème Graphene

American Art @ The Phillips Collection. Offers subscriptions to this collection, the finest art image database available on the internet. The bold, brightly colored panels, each measuring over seven feet tall, depict distinct areas of the city. Stella saw the bridge in religious terms, as a "shrine containing all the efforts of the new civilization of AMERICA—the eloquent meeting of all the forces arising in a superb assertion of their powers, in APOTHEOSIS. " The Art Museum of South Texas. Additional Products.

However, a series of blue circles line the bottom of the image, forming a foundation for the bridge. AMICA Library Year: 2001. Contemporary poets such as Lawrence Ferlinghetti and Joseph Stanton have also made mention of these sites. What was happening politically, socially, personally? Dec 22, 2012–June 29, 2014. Stella moved back to New York permanently in 1934, settling in the Bronx with his wife Mary. It became a metaphor for material progress and included religious allusions. Viii] Stanton, Joseph; Moving pictures; Shanti Arts Publishing; Brunswick, Maine; 2019; p. 86. His earlier, more abstract pieces such as Battle of Lights, Coney Island, Mardi Gras (1913-14) can be said to have anticipated Abstract Expressionism and the Action Paintings of Jackson Pollock. Another of Stella's teachers was the leading Ashcan School painter Robert Henri, who asserted that no subject was too mundane for art.