Howard Tangye

Tom (Sitting, flowers, through Zoom), Mixed media on Pergameneta parchment

2020

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Wom...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Wom...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Wom...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Wom...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Wom...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Wom...

Rabbi in the synagogue at prayer wearing tallit and tefillin. Hugó Scheiber (born 29 September 1873 in Budapest – died there 7 March 1950) was a Hungarian modernist painter. Hugo Scheiber was brought from Budapest to Vienna at the age of eight where his father worked as a sign painter for the Prater Theatre. At fifteen, he returned with his family to Budapest and began working during the day to help support them and attending painting classes at the School of Design in the evening, where Henrik Papp was one of his teachers. He completed his studies in 1900. His work was at first in a post-Impressionistic style but from 1910 onward showed his increasing interest in German Expressionism and Futurism. This made it of little interest to the conservative Hungarian art establishment. However, in 1915 he met the great Italian avant-gardist Filippo Tommaso Marinetti and the two painters became close friends. Marinetti invited him to join the Futurist Movement. The uniquely modernist style that he developed was, however, closer to German Expressionism than to Futurism and eventually drifted toward an international art deco manner similar to Erté''s. In 1919, he and his friend Béla Kádar held an exhibition at the Hevesy Salon in Vienna. It was a great success and at last caused the Budapest Art Museum to acquire some of Scheiber''s drawings. Encouraged, Scheiber came back to live in Vienna in 1920. A turning point in Scheiber''s career came a year later, when Herwarth Walden, founder of Germany''s leading avant-garde periodical, Der Sturm, and of the Sturm Gallery in Berlin, became interested in Scheiber''s work. Scheiber moved to Berlin in 1922, and his paintings soon appeared regularly in Walden''s magazine and elsewhere. Exhibitions of his work followed in London, Rome, La Paz, and New York. Scheiber''s move to Germany coincided with a significant exodus of Hungarian artists to Berlin, including Laszlo Moholy-Nagy and Sandor Bortnyik. There had been a major split in ideology among the Hungarian avant-garde. The Constructivist and leader of the Hungarian avantgarde, Lajos Kassák (painted by Hugó Scheiber in 1930) believed that art should relate to all the needs of contemporary humankind. Thus he refused to compromise the purity of his style to reflect the demands of either the ruling class or socialists and communists. The other camp believed that an artist should be a figurehead for social and political change. The fall out and factions that resulted from this politicisation resulted in most of the Hungarian avant gardists leaving Vienna for Berlin. Hungarian émigrés made up one of the largest minority groups in the German capital and the influx of their painters had a significant effect on Hungarian and international art. Another turning point of Scheiber''s career came in 1926, with the New York exhibition of the Société Anonyme, organised by Katherine Dreier. Scheiber and other important avant garde artists from more than twenty-three countries were represented. In 1933, Scheiber was invited by Marinetti to participate in the great meeting of the Futurists held in Rome in late April 1933, Mostra Nazionale d’Arte Futurista where he was received with great enthusiasm. Gradually, the Hungarian artists began to return home, particularly with the rise of Nazism in Germany. Kádar went back from Berlin in about 1932 and Scheiber followed in 1934. He was then at the peak of his powers and had a special flair in depicting café and cabaret life in vivid colours, sturdily abstracted forms and spontaneous brush strokes. Scheiber depicted cosmopolitan modern life using stylized shapes and expressive colours. His preferred subjects were cabaret and street scenes, jazz musicians, flappers, and a series of self-portraits (usually with a cigar). his principal media being gouache and oil. He was a member of the prestigious New Society of Artists (KUT—Képzőművészek Új Társasága)and seems to have weathered Hungary''s post–World War II transition to state-communism without difficulty. He continued to be well regarded, eventually even receiving the posthumous honour of having one of his images used for a Russian Soviet postage stamp (see image above). Hugó Scheiber died in Budapest in 1950. Paintings by Hugó Scheiber form part of permanent museum collections in Budapest (Hungarian National Museum), Pecs (Jannus Pannonius Museum), Vienna, New York, Bern and elsewhere. His work has also been shown in many important exhibitions, including: "The Nell Walden Collection," Kunsthaus Zürich (1945) "Collection of the Société Anonyme," Yale University Art Gallery, New Haven, Connecticut (1950) "Hugó Scheiber: A Commemorative Exhibition," Hungarian National Museum, Budapest (1964) "Ungarische Avantgarde," Galleria del Levante, Munich (1971) "Paris-Berlin 1900-1930," Centre Georges Pompidou, Paris (1978) "L’Art en Hongrie, 1905-1920," Musée d’Art et l’Industrie, Saint-Etienne (1980) "Ungarische Avantgarde in der Weimarer Republik," Marburg (1986) "Modernizmus," Eresz & Maklary Gallery, Budapest (2006) "Hugó Scheiber & Béla Kádár," Galerie le Minotaure, Paris and Tel Aviv (2007) Hugó Scheiber''s paintings continue to be regularly sold at Sotheby''s, Christie''s, Gillen''s Arts (London), Papillon Gallery (Los Angeles) and other auction houses. He was included in the exhibition The Art Of Modern Hungary 1931 and other exhibitions along with Vilmos Novak Aba, Count Julius Batthyany, Pal Bor, Bela Buky, Denes Csanky, Istvan Csok, Bela Czobel, Peter Di Gabor, Bela Ivanyi...

A French drawing and watercolour portrait of a Breton Girl by Renée Béja noted pupil of Fernand leger. The work is signed on the right margin and presented in a gilt frame with a fine cut card mount. A wonderful character portrait of a girl in traditional Breton costume and head dress. Beja has completed a pencil drawing and then used washes, watercolour and gouache to give the composition life. Lifelike flesh tones and the blue of the subjects eyes give the whole a charming intimacy. Renée Anne Béja was a French painter and theatre decorator of Greek origin born in Thessaloniki (Ottoman Empire, today in Greece) on July 4, 1905 Renée Béja was still a young child when the family moved to Solliès-Pont in France, where her father worked as a flour miller at the Crédit Agricole. In the 1930s, Renée Béja was a pupil of Fernand Léger. Between 1935 and 1938, she exhibited at the Salon des Tuileries, presenting mainly Views of the Périgord, she also participated in 1938 in the Salon d'Automne and the Salon des Indépendants. During the Second World War, Renée Béja, her husband and some of her family were saved by being hidden by Eugène Viès, executive of the SNCF in Solliès-Pont, the industrialist Étienne Arnaud and the secretary of the town hall registering them under a false name on the register of inhabitants, so as to entitle them to food tickets. A Gestapo raid, however, meant that the Béja family had to leave Solliès-Pont for Saint-Paul-Trois-Châteaux, always with the help of Eugène Viès and his wife Walda, to whom the Yad Vashem Institute has since awarded the title of Righteous Among the Nations. Based at 41, rue Blomet in Paris, Renée Béja will then also work as a decorator for the theatre. She created the sets, costumes and masks for the play Les Choéphores by Aeschylus, performed in the great amphitheatre of the Sorbonne in June 1949, then at the Palais des Papes as part of the Avignon Festival in July 1950. The works of René Béjà, including portraits, nudes, still lifes, landscapes of Provence, Brittany and Paris, were presented at the Salon du Gemmail in Tours, stylistically, as with her colleague Andrée Bordeaux-Le Pecq, post-cubist and abstract experiments, but also classifying it, with Germaine Lacaze, Marguerite Bermond, Geneviève Gavrel and Guillemette Morand...

This recently rediscovered expressionist drawing by László Moholy-Nagy is part of a small group of drawings made by the artist early in his career, in Vienna and Berlin. The use of interlaced curves, typical of the artist''s technique, gives this hieratic portrait a magnetic radiance, while the absence of any connection with the rest of the body evokes a profane Holy Face. 1. From Hungary to Chicago, the ardent life of László Moholy-Nagy Moholy-Nagy was born in Borsod, now known as Bácsborsód in Southern Hungary, in July 1895. He studied law in Budapest in 1913, when he was drafted into the Austro-Hungarian army to serve as an artillery officer on the Italian and Russian fronts. While serving at artillery observation posts, Moholy-Nagy was able to execute numerous drawings, recording his traumatic war experience, on the reverse of military-issued postcards which he could easily carry with him. In 1917, he was seriously wounded and hospitalised. The following year (around 1918 at the age of 23), he abandoned his plans to become a solicitor in favour of a career as an artist, with the encouragement of his friend, the art critic Iván Hevesy. The drawings executed in those early years reveal Moholy-Nagy''s powerful Expressionist lines. In his autobiography of 1944, Abstract of an Artist, Moholy-Nagy explained his early figurative style, writing that contemporary art in those days was too chaotic and that and all the ''-isms'' were incomprehensible and puzzling to him. He was, however, experimenting with Dadaist compositions already in 1919 and then moved to Vienna and later to Berlin, where he would soon make his first works in his Constructivist style of the early 1920s. In Berlin he met photograph and writer Lucia Schultz who became his wife the next year. In 1922 he met Walter Gropius. During a holiday on the Rhome with Lucia, she introduced him to making photograms on light-sensitised paper. Walter Gropius invited him to teach at the Bauhaus in Weimar in 1923 where he replaced Paul Klee as Head of the Metal Workshop. The Bauhaus became known for the versatility of its artists and Moholy-Nagy was no exception: throughout his career, he became proficient in the fiels of photography, typography, sculpture, painting, printmaking, film-making and industrial design. In 1928 Moholy-Nagy left the Bauhaus and established his own design studio in Berlin. He separated from his first wide Lucia in 1929. In 1931 he met actress and scriptwriter Sibylle Pietzsch. They married in 1932 and has two daughters, Hattula (born 1933) and Claudia. After the Nazis came to power in Germany in 1933, he was no longer allowed to work there. He moved his family to London in 1935. In 1937, on the recommendation of Walter Gropius, Moholy-Nagy moved to Chicago to become the director of the New Bauhaus, but the school closed in 1938. Moholy-Nagy resumed doing commercial design work, which he continued for the rest of his life. In 1939 Moholy-Nagy opened the School of Design in Chicago, which became in 1944 the Institute of Design, becoming part of the Illinois Institute of Technology in 1949. Diagnosed with leukaemia in 1945, Moholy-Nagy died of the disease in Chicago in 1946. 2. Description of the artwork This drawing presents us with a frontal representation of a man in his thirties, whose penetrating gaze seems to stare at us. The face is highly symmetrical and is modelled by curved black lines. The very high forehead and the slightly dilated left pupil reinforce the very expressive character of the face. Like the Holy Face which appeared on the cloth stretched out to wipe Christ''s face by Saint Veronica, only the model''s face is represented on the cardboard piece. The curved lines that define the face, hollowing out the temples, the eyelids, the cheeks and the area around the mouth, create a kind of magnetic radiation around a median point located between the eyebrows. In some respects, this face may evoke one of the most famous representations of the Holy Face: the extraordinary engraving by Claude Mellan...

This intimate work by Camille Pissarro represents a period of significance for the Impressionist master. The early 1880s was a time of great experimentation for the artist, after he ...

Original Gouache for 1931 French Art Deco Poster, Josephine Baker Design/Study Jean Chassaing (French, 1905-1938) Study for the 1931 iconic poster, Jos...

Hank Aaron, nicknamed "Hammer" or "Hammerin'' Hank", was an American professional baseball right fielder who played 23 seasons in Major League Baseball, fro...