Antennae with Red and Blue dots c. 1953
붉은 점과 푸른 점이 있는 안테나
by Alexander Calder (콜더: 1898-1976)
born USA, worked France and USA
Aluminium and steel wire
purchased 1962
Calder was fascinated with making art that changed shape as it moved slowly in the air.
He attached together delicately balanced groups of objects that he suspended from
the ceiling. one of his friends, the French artist Marcel Duchamp invented the term
'mobile' to describe these works. So Calder invented the mobile. To keep things simple
he used mostly black, white and the primary colors of red, blue and yellow. Here, the colors
of small discs help us trace their movement against the black shapes below.
Strip (921-6) 2011
by Gerhard Richter (리히너: 1932 - )
born and works Germany
Digital print on paper between aluminium and acrylic
Presented by Tate Members 2015
Gerhard Richter made a rumor of multicolored paintings using a giant suqugee in tool
with a flat, smooth rubber blade. In 2011, at the age of 80, he used computer software
to divide a photograph of one of these paintings into thin strips, splitting and dividing it
again and again. The digital print here creates strange effects on your eyes.
The marks made by the paint when the artist painted the original picture
have disappeared. The digital picture makes us think about
what a painting might be in the computer age.
What has happened to the role of the artist?
by Benode Behari Mukherjee(무크헤르지: 1904-1980)
born and worked India
Colored paper collage on card
Purchased with funds provided by the South Asia Acquisitions Committee 2014
Indian artist artist Benode Behari Mukherjee wasinspired by art from around the world,
especially traditional Japanese and Indian art and modern European art. He was born
blind in one eye and when he lost the sight in both eyes he began to make paper collages.
Mukherjee thought that colour had mystical equalities He said he could tell the colour
of paper by touch and his inner eye guided his fingers to create art.
Three Figures c. 1960
세 인물
by Benode Behari Mukherjee(무크헤르지: 1904-1980)
born and worked India
Colored paper collage on card
Still Life with Key c. 1965
열쇄가 있는 정물화
by Benode Behari Mukherjee(무크헤르지: 1904-1980)
born and worked India
Colored paper collage on card
Game c. 1960
게임
by Benode Behari Mukherjee(무크헤르지: 1904-1980)
born and worked India
Colored paper collage on card
Lady with Fruit 1957
과일과 여인
by Benode Behari Mukherjee(무크헤르지: 1904-1980)
born and worked India
Colored paper collage on card
Conversation c. 1960
대화
by Benode Behari Mukherjee(무크헤르지: 1904-1980)
born and worked India
Colored paper collage on card
Two Triangles 1957
두개의 삼각형
by Benode Behari Mukherjee(무크헤르지: 1904-1980)
born and worked India
Colored paper collage on card
The Snail 1953
달팽이
by Henri Matisse Matisse(마티스: 1869-1954)
Born and worked France
Gouache on paper, cut and pasted on paper mounted on canvas
Purchased with assistance from the Friends of the Tate Gallery 1962
When Henri Matisse was in his sixties he wanted to make art but ill health made it difficult
for him to paint. Instead he started 'painting with scissors', cutting painted paper into
shapes. His assistants moved the paper pieces according to Matisse's directions, pinning
them to the walls of his studio. If you look closely at The Snail you can see small pin holes.
Matisse has arranged paper in the spiral shape of a snail's shell, placing colours next to
each other to create a vibrant effect: green and red, orange and blue, pink and yellow.
History Paintings 1995
그림의 역사
by Maria Lalic(랄리치: 1952- )
Born and works Britain
Oil paint on canvas
Presented by the Patrons of New Art through the Tate Gallery Foundation 1997
CAN COLOUR RELATE TO A PARTICULAR PERIOD IN TIME?
Maria Lilic's paintings explore the history ofcolour pigments that were used to make paint.
Each painting is made from semi0-transparent layers of pigment that were discovered in the
time referred to in the painting's title. The artist was inspired by an old colour chart
from paint manufacturer Winsor and Newton. It grouped pigments into six historical
periods: Cave, Egyptian, Greek, Italian,18th and 19th century, and 20th century.
There isone painting for each period displayed here. Looking closely at the edges you can
see the different paints she has layered to create the final colour of the painting.
Cosaques 1910-11
Cossacks/코사크
by Wassily Kandinsky(칸딘스키: 1866-1944)
Born Russia, worked Germany and France
Oil paint on canvas
Presented by Mrs. Hazel McKinley 1938
CAN YOU HEAR MUSIC WHEN YOU LOOK AT THE PAINTING?
The 'cossacks' of the title are Russian cavalrymen which you can just recognise from their
orange hats at the top and right of the painting. However Wassily Kandinsky believed
paintings did not need to represent the real world. He felt that emotions could be expressed
through the way colours and lines were arranged in a painting. He linked musical tones
to partiuclar colours, and considered colour to have powerful spiritual impact.
Yellow versus Purple 2003
노란색 대 보라색
by Olafur Eliasson(엘리아손: 1967 - )
Born Denmark, works Germany
Glass, steel cable, motor, floodlightand tripod
Yellow versus Purple 2003
by Olafur Eliasson(엘리아손: 1967 - )
Born Denmark, works Germany
Glass, steel cable, motor, floodlightand tripod
Yellow versus Purple 2003
by Olafur Eliasson(엘리아손: 1967 - )
Born Denmark, works Germany
Glass, steel cable, motor, floodlightand tripod
Yellow versus Purple 2003
by Olafur Eliasson(엘리아손: 1967 - )
Born Denmark, works Germany
Glass, steel cable, motor, floodlightand tripod
Yellow versus Purple 2003
by Olafur Eliasson(엘리아손: 1967 - )
Born Denmark, works Germany
Glass, steel cable, motor, floodlightand tripod
Purchased using funds provided by the 2003 Outset/
Frieze Art Fair Fund to benefit the Tate collection 2003
Why don't you walk through this space? Look at the shapes and colours that cover
your body. Olafur Eliasson uses space, colour and light to create his works. Here, the
light shining through the rotating disc of glass makes a yellow shape on wall. At the same
time a special filter on the glass that orbits the room like a planet. Why do you think
the artist has chosen to use yellow and purple? When you stare at something bright
yellow, and then at something white, you see a purple 'after image'.
Yellow versus Purple 2003
by Olafur Eliasson(엘리아손: 1967 - )
Born Denmark, works Germany
Glass, steel cable, motor, floodlightand tripod
Composition C (No. III) with Red, Yellow and Blue 1935
붉은색, 노란색과 파란색의 구성 C
by Piet Mondrian (몬드리안: 1872-1944)
Born Netherlands, worked Netherladns, France, Britain, USA
Oil paint on canvas
Lent from a private collection 1981
This composition is prime example Mondrian's astonishingly limited visual language.
It consists of just horizontal and vertical lines in black, with planes of white and the three
primary colours, from which all other colours are derived by mixing. The structure, the order
of the elements in a coherent whole and the pure colour were meant to suggest an ethical view
of society. Each individual element and the configuration to which it contributes were intended
to symbolise the relationship between the individual and the collective, or the universal.
P
Bicho-Maquete (320) 1964
Creature-Maquette (320)/생물체 모형
by Lygia Clark (클라크: 1920- 1988)
Born Brazil, worked Brazil, France
Aluminium
Presented by the American Fund for the Tate Gallery 2012
Clark made a series of geometric, hinged-aluminium sculptures which she titled 'Creatures',
for which this is a working model. They were originally intended to be manipulated by hand,
so that the sculpture offered multiple possible forms that could only be determined through
the participation of the viewer. This idea of the artwork as a lived experience was increasingly
important for Clark. It is underlined by the title, which encourages us to see the
sculpture as a living thing.
Deux femmes tenant des fleurs 1954
Two Women Holding Flowers/꽃을 든 두 여인
by Fernand Léger (레제르: 1881-1955)
Born France, worked France, USA, Switzerland
Oil paint on canvas
Purchased 1959
Léger often painted works showing two women together. This theme of pair of figures
had precedents in classical art, and allowed the artist to explore the rhyming shapes and
patterns created by the symmetrical image. Here two women are seen with their limbs
intertwined, in a state of physical ease and relaxation. one holds a flower, a symbol of
natural beauty and fertility. However, this is no rustic idyll. The figures are drawn as outlines
upon an abstract background of seemingly casually arranged rectangles of bright colours,
giving the painting a typically modern sense of energy and dynamism.
Composition abstraite 1934
Abstract Composition/추상적인 구성
by Jean Hélion (헬리옹: 1904-1987)
Born France, worked France, USA
Oil paint on canvas
Accepted by HM Government in lieu of inheritance tax and allocated to Tate 2002
Hélion saw himself as belonging to the second generation of abstract artists in Paris,
after pioneers such as Piet Mondrian and Theo van Doesburg. He was an energetic promoter
of abstract or non-figurative art, and helped to found international groups such as Art Concret
and Abstraction-Creation. He believed that abstract art, however radical, shared timeless values of
balance, rhythm and composition with the great art of the past. In this small painting he creates
a compositional unity through the visual resolution of vertical an horizontal forms and color relationships.
Composition with Two Ovals 1951
두개의 타원이 있는 구성
by SalouaRaouda Choucarr(슈케르: 1916-2017)
Born Lebanon, worked Lebanon, France
Oil paint on canvas
Purchased with funds provided by the Middle East North Africa Acquistions Committee 2014
Repetition against blue 1943
파란색을 저지하는 반복
by Josef Albers (알베르스: 1888-1976)
born Germany, worked Germany, USA
Albers was fascinated by the nature of visual perception. The interlocking shapes of Repetition Against Blue
teasingly play with ideas of perspective, and the question of what is foreground and what is background
cannot be satisfactorily resolved. This work also shows his growing interest in colour, which he rigorously
explored during his later years in the United States. The Bauhaus school of art and design had closed
after Hitler came to power, and Albers carried its utopian ideas with him to a new teaching post
at Black Mountain College in North Carolina.
Abstract in White, Green, Black, Blue, Red, Grey and Pink c.1963
하양, 초록, 검정, 파랑, 빨강, 회색, 핑크의 추상 모빌
by Victor Pasmore (패스모어: 1908-1998)
born and worked Britain
Perspex and painted wood
purchased 2005
He believed that art derived from nature, and specially from its underlying processes
and structures rather than its surface appearance. In his reliefs he brought ideas of growth and
abstract harmony into 3-dimensions.
Tecelar 1957
Weaving/직조
by Lygia Pape (파페: 1927-2003)
born and worked Brazil
woodcut on paper
purchased 2011
Weaving 1957 is a woodcut in black ink printed on thin paper by the Brazilian artist Lygia Pape. The
work is made up of a number of geometric forms, which overlap one another.
The forms are comprised of horizontal grooves or lines that appear to be the result of
the natural wood grain of the block used to make the print. Despite the simplicity of the shapes
and patterns, the composition is complex giving the semblance of intersection, tessellation and
superimposition, made more subtle by the effect of the wood grain
which gives the work an optical impact similar to later op art.
Grand relief fendu No. 34/4/74 1964-5
Large Split Relief No. 34/4/74/큰 규모의 부조
by Sergio de Camargo (데 카마르고: 1930-1990)
born Brazil, worked Brazil, France
Polyvinyl acetate paint on limewood on plywood support
Purchased 1965
Brazilian artist Camargo livein in Paril from 1961 to 1974. While living there he made
a number of monochrome white works composed of cylindrical pieces of diagonally
cut wood, including 'Large Split Relief'. These reliefs, which resemble crystalline growth,
generate a play of light and shadow across their surface. The work also highlights the natural
material roughness of the wood, creating a dialogue between the organic textures of nature
and the carefully crafted character of art.
Composition B (No. 11) with Red 1935
붉은색의 구성 B
by Piet Mondrian(몬드리안: 1872-1944)
born Netherlands, worked Netherlands, France, Britain, USA
Oil paint on canvas
Heritage Lottery fund, the Art Fund, the Friends ofthe Tate Gallery and the Dr. Daniel bequest 1999
Mondrian's pursuit of a new spirituality and a new art for the modern world was fundamental
to the modernist art movement. Here he reduces his colour to a single red rectangle,
giving the black lines greater importance as composisional elements. The structure
is slightly off-set, reflecting his opposition to the 'false ease' of symmetry in favor of
'the dynamic equilibrium of true life', for which he sought a pictorial equivalent.
1934(relief) 1934
1934(부조)
by Ben Nicholson (니콜슨: 1894-1982)
born Britain, worked Britain, Switzerland
Oil paint on mahogany
Purchased 1978
Nicholson was interested in the ways in which paintings can represent space.
In the 1930s, he made shallow reliefs in which areas of different depths define actual space.
In the most radical of these, colour was reduced to just white or grey to achieve
a sense of purity. Depth and plain colour make the play of light and shadow an intrinsic part
of the work. This emphasis was related to new ideas about living and, especially, to modern
architecture, in which natural light and formal simplicity were major concerns.
Quarante Huit Quai d'Auteuil 1935
48 Huit Quai d'Auteuil(니콜슨이 살던 집 주소)
by Winifred Noicholson(니콜슨: 1893-1981)
born Britain, worked Britain, France
Oil paint on board
purchased 1975
The title of this work refers to Winifred Nicholson's address in Paris, where she lived
from 1932 to 1938, befriending artists such as Piet Mondrian, Constantin Brancusi,
Jean Arp and Hean Helion. She painted her first abstract paintings in 1934, exhibiting
under the name Winifred Dacre. The paintings are ｅxpressions of colour and light,
and she wrote that 'the nature of abstract colour is utter purity - but colours wish to fly,
to merge, to change each other by their juxtapositions, to radiate, to shine, to withdraw
deep within themselves.'
Feb 2-54 1954
1954년 2월 2일
by Ben Nicholson (니콜슨: 1894-1982)
born Britain, woked Britain, Switzerland
Oil paint and graphite on canvas
Bequeathed by Miss E. M. Hodgkins 1977
This painting is typical of Nicholson's still lifes of the early fifties with its overlapping forms,
often transparent, but given a stronger presence by accents of colour or pencil shading. The construction
of these paintings is a development from his works of the mid 30s in which Nicholson allowed the forms
earlier paintings to penetrate later reworkings. The surface has been rubbed down repeatedly and,
in common with many other such works of the period, is smooth. The colour is applied both relatively
freely in thin washes and precisely and opaquely.
Sem titulo 1963
Untitled/무제
by Mira Schendel (쉔들: 1919-1988)
born Switzerland, worked Brazil
Oil paint on canvas
Presented by Tate Members 2006
In this work, geometric figures in subdued colours are suspended in a dark, abstract background.
The suble use of texture and treatment of the surface adds a three-dimensional aspect to the painting.
forms are deliberately asymmetrical and hand-drawn, exemplifying the subtle subversion of European
geometric abstraction in Brazilian art through the introduction of organic or destabilising elements.
Schendel contributed to the development of Concrete and Neo-concrete art in Brazil during the 1960s,
though she remained detached from those groups and developed a distinct and unique body of work.
Metaesquema 1958
by Helio Oiticica(오시시카: 1937-1980)
born Brazil, worked Brazil, USA
Gouache on cardboard
Purchased 2007
Oiticica often worked in series, or bodies of works. The 'Metaesquema' include over 350 small
scale paintings on card. These compositions of opaque, monochrome, geometric forms,
often in primary colours, were inspired by the abstract art of Piet Mondriand and
Kasimir Malevich. In contrast to the rigorous order and structure of both European artists, however,
Oiticicaintroduces elements of instability into his works. The forms appear to jostle and bump together.
Contre-compositie 1925
Counter-Composition VI/반 구성
by Theo van Doesburg(두스부르흐: 1883-1931)
born Netherlands, worked Netherlands, Germany, France
Oil paint on canvas
Purchased 1982
Van Doesburg was the editor of 'De Stijl' magazine and its combination of art, architecture
and design reflected his won wide-ranging activities. He painted his first 'Counter-Composition'
in 1924, using a diagonal grid to create a dynamic tension between the composition and the
rectilinear format of the canvas. For van Doesburg, the shift marked a spiritual liberation
from the 'earth-bound' verticals and horizontals used by the De Stijl group.
Femme en pleurs 1937
Weeping Woman/울부짖는 여인
by Pablo Picasso (피카소: 1881-1973)
born Spain, worked Spain, France
Oil paint on canvas
Accepted by HM Government 1987
One of the worst atrocities of the Spanish Civil Was was the bombing of the Basque town
of Guernica by the German air force,lending their support to the National forces of
General Franco. Picasso responded to the massacre by painting the vast mural 'Guernica'
and for months afterwards he made subsidiary paintings based on one of the figures in the
mural: a weeping woman holding her dead child. 'Weeping Woman' is the last and most
elaborate of the series. The woman's features are based on Picasso's lover Dora Maar.
Untitled 1967
무제
by Malangatana Ngwenya (응웨냐: 1936-2011)
born and worked Mozambique
Oil paint on hardboard
Purchased with funds provided by the Africa Acquistions Committee 2014
This painting depicts the violence and suffering endured by ordinary people in Mozambique
during the War of Independence from Portugal(1964-74) and was made while the conflict was
still raging. Figures overlap, seemingly merging into one another and collapsing any sense
of perspective, a reflection on the importance of community and social relationships, shown here
in meltdown. Three years before painting this, the artist had been imprisoned for 18 months
by the Portuguese secret police for his involvement in FRELIMO.
Autumnal Cannibalism 1936
가을의 카니발리즘
by Salvador Dali (1904-1989)
born Spain, worked Spain, France, USA
Oil paint on canvas
Purchased 1975
Painted just after the outbreak of the Spanish Civil War in 1936, this work shows a couple
locked in a cannibalistic embrace. They are pictured on a table-top, which merges into the
earthly tones of a Spanish landscape in the background. The conflict between countrymen
is symbolised by the apple balanced on the head of the male figure, which refers to
the legend of Eilliam Tell, in which a father is forced to shoot at his son.
Espagne martyre 1937
Martyred Spain/순교한 스페인
by Andre Fougeron (푸제롱: 1913-1998)
born and worked France
Oil paint on canvas
Presented by the Friends of the Tate Gallery 2001
Cosmos y desastre c. 1936
Cosmos and Disaster/코스모스와 대참사)
by David Alfaro Siqueiros (시케이로스: 1896-1974)
born Mexico, worked Mexico, USA
Duco, Pyroxilin, sand, wood on copper mesh over plywood
by the American Fund for the Tate Gallery 2002
'Cosmos and Disaster' reflects Siqueiros's technical experiments with paint thickened
by grit and splinters. The pessimistic theme almost certainly echoes his response to the
outbreak of the Spanish Civil War.
Disparates (A Little Night Music) 1969
우둔한 자들(소야곡)
Disparates (Romulus and Remus) 1974
우둔한 자들(로물루스와 리무스)
by Peter De Francia(드 프란시아: 1921-2012)
born France, worked Britain, Canada, USA
graphite and ink on paper
Purchased 1986
The title "Disparates' or 'follies' is borrowed from etchings made by Spanish artist
Francisco de Goya in the early 19th century that reflected the violence and unsettled politics
of the period through sinister allegories. De Francia's depictions of cruelty and greed update
Goya's project for the 20th century. 'Romulus and Remus' reimagines the foundation myth of
ancient Rome, showing contemporary military leaders suckled by a wolf. 'A Little Night Music'
puns on musical instruments and of torture. He commented on this work,
'terrible things happen and no one takes any notice.'
Five Day Forecast 1991
5일간의 일기예보
by Lorna Simpson (심슨: 1960 - )
born and works USA
5 photographs, gelatin silver print on paper
and 15 engraved plaques
Purchased with funds provided by the Outset 2010
If portraiture is intended to communicate something unique about its subject,
'Five Day Forecast' might be described as an 'anti-portrait'. The economy of the images,
their serial arrangement and the use of black and white recall the conventions
of 19th century ethnographic photography, in which the subject becomes a de-invidualised representative
of a wider group. But in Simpsons's work, rather than being available or scrutiny and categorisation,
the figure is photopraphed cropped so only her torso is visible. In this way, she remains ultimately
inaccessible to the viewer.
Lightning with Stag in its Glare 1958-85
번개와 반짝거리는 수컷
by Joseph Beuys(보이즈: 1921-1986)
born and worked Germany
Bronze, iron, aluminium, compass (39 elements)
Lent from a private collection 2009
In this massive installation, the suspended, bronze triangle embodies the energy of
a powerful flash of lightning, which illuminates a group of half-formed creatures.
The 'stag' of the title was originally made from an ironing board and then cast in bright
aluminium to suggest the glare of the lightning. The cart represents a goat, and the clods of
bronze on the floor are primodial creatures. A small compass, mounted on top of box,
is another reference, with the lightning flash itself, to the natural energies of the earth.
will continue...
