"If we cannot dedicate ourselves to his purposes, then clearly his work will look like nonsense." That sentiment, from an introduction to an English translation of the German philosopher Martin Heidegger, comes from filmmaker Terence Malick. The dream sequences in Malick's The Tree of Life (2011) show a vision of the creation of the cosmos that looks eerily like the paintings of Augustus Vincent Tack (1870-1949). In recent decades, Tack's work has been neglected, associated as it is with the unfashionable concept of synethesia. For Tack, colors made movement and emotion visible Synesthesia was popularized through the colored vowels of Arthur Rimabud's poem Les Voyelles and the paintings of Kandinsky. For post-war painters, the very idea was anathema.But that may change as his painting belongs to a third way in Western art, one that harmonizes European and Asian techniques of visual representation. As a young man, Tack admired the japoniste works of John La Farge (1835-1910) above those of all other American artists, and extended the older artist’s use of the abstract and decorative properties of Japanese art in his own work. Duncan Phillips saw it that way, too, writing that Tack’s work carried “forward the La Farge tradition in American painting." His early works (Winter Landscape) were a mixture of late 19th century techniques but he began to paint the mystical landscapes his name is known by towards the end of World War I. They belong to a mystical strain in American art that began with Albert Pinkham Ryder but they also point toward abstract expressionism. Clyfford Still, for one, admired Tack's paintings for their subtle harmonizing of colors and planes During his lifetime, Tack was fortunate to have a sympathetic patron in the critic Duncan Phillips, who bought dozens of Tack's paintings. When Phillips opened his eponymous museum, the Phillips Collection, in 1921, he commissioned murals from Tack for the museum, including a group of twelve lunettes from 1928-31 for the Music Room. One of Tack's last works, circa 1943, was the panoramic Time And Timelessness, a fireproof theater curtain for the Phillips. But having most of your work located in one place can limit your visibility, as the posthumous fate of Dwight William Tryon at the Freer Gallery (also in Washington, D.C.) illustrates. Phillips often displayed Tack's paintings with photographs by the contributors to Camera Work. And, in fact, Alfred Stieglitz had done something similar is his photographic series Equivalents.In 1928, Duncan Phillips realized his dream of having a gallery decorated with murals by Tack. The space, a music room which had irregular proportions, was challenging. Tack used all his favorite resources, including Catholic mysticism and Platonic philosophy. During several trips to Italy in the early 1920s, Tack studied the Renaissance paintings of Giotto. He also responded strongly to encounters with old Roman mosaics. Phillips was exultant at the result, calling it a "Hall of Cosmic Conceptions" , a place where the theoretical unity of life and art became visible. Tack puts the constant movement of human eyes to work for his artistic purposes. Some critics who dislike this, have called it Tack's "distortions." Even in his more conventional early works, Tack's landscapes are more decorative than representational His frequent use of the lunette, a half-moon arch was a conceit borrowed from architecture, as a framing device, disguises the absence of traditional perspective. Indeed, Tack's use of multiple perspective points gives the viewer a glimpse of something beyond restlessness, possibly even chaos, yet grounded in his emotional response to natural phenomena. As the quote below makes clear, Tack expressed the inspiration for his painting in a language more romantic, more mystical than we are used to. He made impressive use of large, architectural designed spaces in service to his ardent conviction of the spirit's transcendence. And yet, as he himself deepened his commitment to that expression, he painted in a way that speaks our visual language, a blending, perhaps premature, of the figurative and the abstract. Tack, at his best, can take your breath away. “Who has not watched the rhythmical serrations of sand, or snow -drifts blown by the wind, or wind blown clouds, or the reflections of leaves in the water, or patches of sweet fern growing on a hillside, or rain-stained walls or the the foliage of thick growing crops?” - ( Augustus Vincent Tack, c. 1944. ) Note: At top: Augustus Vincent Tack - Aspiration, 1931, Phillips Collection, Washington, D.C. Augustus Vincent Tack - Winter Landscape, c. 1898-1902, Phillips Collection, Washington, D.C. Augustus Vincent Tack - Windswept, c. 1900-02, Phillips Collection, Washington, D.C. Augustus Vincent Tack - Storm, c.1922, Phillips Collection, Washington, D.C. Augustus Vincent Tack - Canyon - c. 1923, Phillips Collection, Washington, D.C. Augustus Vincent Tack - Far Reaches (lunette), 1930, Phillips Collection, Washington, D.C. Augustus Vincent Tack - Dawn, c. 1934-36, Phillips Collection, Washington, D.C. Augustus Vincent Tack - Time and Timelessness (The Spirit Of Creation), c.1943, Phillips Collection, Washington, D.C.
Lovely oil on board study for a portrait of Mrs. Maitland Griggs by Augustus Vincent Tack. Griggs was a successful businessman who also was a benefactor of the arts whose world class collection graces several prominent museums. This is a double sided painting, with two females on one side and a lavish interior scene on the other. It measures 20” x 24” and is in very good condition, an old label and writing bottom left (see photos). Be sure to favorite Jigsandlarry and follow us on Facebook, Twitter and Instagram for information on new items and sales. Reasonable offers are always considered. Please note that everything we have listed is vintage or antique, and we try to describe and photograph each item as best as possible. They are sold AS IS. NO RETURNS unless the item is damaged in transit or not as described. SHIPPING If you we want expedited shipping, please let me know in advance. I am happy to combine orders and shipping, so if you want more than one item please let me know. I will ship internationally in most cases, just contact me for details and costs. Free shipping for most orders over $100. If it is oversized/overweight, shipping will be $25 and I will assume the remainder.
Lovely oil on board study for a portrait of Mrs. Maitland Griggs by Augustus Vincent Tack. Griggs was a successful businessman who also was a benefactor of the arts whose world class collection graces several prominent museums. This is a double sided painting, with two females on one side and a lavish interior scene on the other. It measures 20” x 24” and is in very good condition, an old label and writing bottom left (see photos). Be sure to favorite Jigsandlarry and follow us on Facebook, Twitter and Instagram for information on new items and sales. Reasonable offers are always considered. Please note that everything we have listed is vintage or antique, and we try to describe and photograph each item as best as possible. They are sold AS IS. NO RETURNS unless the item is damaged in transit or not as described. SHIPPING If you we want expedited shipping, please let me know in advance. I am happy to combine orders and shipping, so if you want more than one item please let me know. I will ship internationally in most cases, just contact me for details and costs. Free shipping for most orders over $100. If it is oversized/overweight, shipping will be $25 and I will assume the remainder.
From the pure yellow of the imagined sun, to the orange glow at the end of the day... colors of the sun. Above: Yellow vinyl 45 of The Beatles "Good Day Sunshine" released June 1966. They wrote a few songs with titles referring to the sun in addition to Good Day Sunshine...Here Comes the Sun, I'll Follow the Sun, Sun King, and countless lyrics including sun and sunshine. Above: Golden yellow paint like light streaming down the stairs becomes the focus for the room, and connects the different floors. Found here. Above: Alex Katz "4 pm" 1959 Above: Anthony Caro sculpture Above: Wall opening in India. Photographer unknown. Above: Irving Penn photo, 1963, Vogue Above: Great Gatsby linen covered book, designed by Aled Lewis. It was created recently, though it looks vintage. Above: Table with ceramic tile top from the 1960's, designer unknown. I found it at the Collective 2 Design Fair NYC summer 2014, shown by Maison Gerard. Above: Lucio Fontana "Concetto Spaziale" 1960 Galerie Karsten Greve Above: Anish Kapoor, "Yellow" 1999, Installed at the Royal Academy of Arts, London, 2009. Above: William Abranowicz photo of the television in the music room at Graceland, from the book "Elvis Then and Now", 2002. Above: Fairfield Porter, "Lizzie at the Table", 1958 Above: Anna Ancher (1859-1935) "The Girl in the Kitchen" 1883-86. Hirschsprung Collection, Copenhagen Above and below: Wes Anderson uses colors in a vivid way in every movie...saffron yellow is a strong element in most of them..."Moonrise Kingdom" above, and more examples below, from "The Life Aquatic with Steve Zissou", "The Royal Tenenbaums", "The Darjeeling Limited", and "The Grand Budapest Hotel". Above: Interior by Axel Vervoordt. The wood and leather glow in the golden light. Above: Saul Leiter photo 1959 Above: I took this photo of part of an installation by Emily Mast at the Hammer Museum's show "Made in LA" summer 2014. Below: Emily Mast working on the Hammer show, from a C magazine piece. Above: Glen Lukens, Untitled Ceramic Above: A vendor selling "sweet laddu", made of chickpea flour or wheat semolina, minced dough, ground coconut, ghee, cashews, raisins, cardamom, sugar and saffron for color as well as taste, though often it's just yellow food coloring. Above: Lemons on our dining table, in a ceramic dish my husband made. Above: Preserved lemons, coated in salt, from the new cookbook "Mourad New Moroccan" by Mourad Lahlou, chef of the Michelin starred San Francisco restaurant "Aziza". Above: Lumps of Indian Yellow pigment in the Winsor & Newton archive, purportedly made from the urine of cows fed only mango leaves. In 1996 Winsor & Newton developed a synthetic mixture that reproduced the color and lightfast qualities of the original pigment. When Victoria Finlay, author of the book "Color", went to the location where Indian Yellow was believed to originate there was no evidence that this was ever the way the color was created, and further investigation yielded no other confirmation of the theory, so the origin of this color remains a mystery. Above: Williamsburg paint makes a beautiful version of Indian Yellow. Above: Helio Oiticica, "B-11 Box Bolide 09", 1964, Tate Collection Above and below: Helio Oiticica, "Grande Nucleo", or "The Great Labyrinth" 1960-1966. Above and below: Sculptures by Aneta Regel Deleu at Pangolin, London Above: Turmeric Above: Turmeric powder and saffron strands. Turmeric is used as an inexpensive dye to recreate costly saffron. The saffron robes of buddhist monks are dyed with turmeric. Saffron comes from Crocus Sativus. The thin crimson stigmas of the flowers need to be tugged out gently by hand, and the rest of the flowers are thrown away. The stigmas have to be tugged early in the day they bloom...by the afternoon they are less valuable and worthless the next day. These days saffron grows mostly in Iran, with some farms in Spain as well. Above: Vintage French garden dining set I came across at an antique market in Nice. The patterns of rust look like the inside of the turmeric. Above: Golden yellow will always call to mind the spines of National Geographic. Above: Man carrying garlands of yellow marigolds at the flower market in Calcutta, India Above: Wolfgang Laib, "Without Place, Without Time, Without Body", 2007. Above: Barnett Newman, 1949 Above: Unknown Above: Augustus Vincent Tack (1870-1949), "Evening" 1934-36. Above: Aboriginal art found here. Above: Jan Vermeer "The Music Lesson" 1662-65 Above: Found here. Above: Milton Avery, "Interlude" Above: Wolfgang Laib working on an installation using pollen collected from Hazelnut trees. Laib has been collecting pollen around his home in a small village in southern Germany since the mid 1990s. Above: I took this photo recently of pollen produced by tiny pine cones on a tree in our neighborhood. When the pine cones are full of pollen it doesn't take much to knock it out...creating a yellow dust that we've collected...you can see the jar below. Above: Wolfgang Laib's installation at MOMA summer 2013. His largest pollen installation to date, it measures 18' x 21'. Above: Pierre Boncampain Above: Photographer Aldo Cicelyn, Ventotene Island, Italy Above: Joan Mitchell "Edouard" 1980 Above: Joan Mitchell Above: During the Indian festival of Holi the celebration includes throwing masses of powdered paints. Above: Christo and Jeanne-Claude "The Gates", Central Park, NYC, installed February, 2005. Above: Uta Barth Above: Fairfield Porter, "October Interior" 1963 Above: Window by Roy McMakin, Domestic Architecture, Manhattan Beach residence. Above: Howard Hodgkin "Bombay Sunset" 1972-3 Above: Pierre Bonnard "Girl with Parrot", 1910 Above: Lichen on a branch, Wales, from a beautiful blog called loglike. Above: Sheila Hicks textile piece Above: Stanley Boxer, "Still Life in an Interior", 1960, 56.5" x 55.5" Above: Fairfield Porter "Maine Interior" Above: James Bishop, at David Zwirner. You can see the shape of a house faintly in the golden field. Above: Esteban Vicente, "Early 1995" Above: Photo taken at a crepe stall on the beach, Antibes. Above: Luigi Ghirri photo. Above and below: From the Museum of International Folk Art in Santa Fe. The museum houses Alexander Girard's collection of folk art...an inspired, surprising, and generally wonderful group of objects. The exhibition help to show the connections from one country to another, and the spirit of the installation is in keeping with the colorful pieces on display. Above: Judy Ledgerwood, "April in Paris" Above: Bjork Above: Mary Ramsden, Untitled 2011 Above: Tangerine colored Datsun 510, made from 1968-1973. Above: John Mason "Orange Cross" 1963 Above: Howard Hodgkin "The North Sea" 2000 Above: Monks in saffron robes in Luang Prabang. Photographer Karen Chanlyemay Above: Taken by my husband on a late afternoon dog walk. Above: Karen Kilimnik, "Dancers in the Wings, Moths, Paris Opera, Degas" 2007 Above: Sunset colored budgie, from Luke Stephenson's book "The Incomplete Dictionary of Show Birds". Below: Installation views of Olafur Eliasson's "The weather project" 2003 at the Tate Modern.
Augustus Vincent Tack (1870 – 1949) was born in Pittsburgh and moved to New York City at the age of 13. By 19 his artwork had attracted the eye of painter John LeFarge, who mentored him and introduced him to other artists, such as Claude Monet. Later, he became very close to Duncan Phillips, whose
An image of spring for an unseasonably warm winter day
Bestel Augustus Vincent Tack,Hoofd model, profiel als print. Kies zelf de maat en het materiaal. Snel geleverd, hoge kwaliteit.
Born in Winnipeg, MB, Lionel LeMoine FitzGerald (1890–1956) captured the spirit of the prairie in a career that spanned forty years. Read his biography to find out more.
Here you have a magnificent portrait painting of a gentleman in his library or office by American artist Augustus Vincent Tack (1870-1949). I am guessing this painting was done in the 1920s or 1930s. Its very well done and I just love everything about this painting particularly lots of details. I am guessing he might be an engineer or an architect because of the blue print on his desk and I love the pencil and the painting in the background. He is wearing a classic grey suit with wider pants. He is a bit serious but there are small gestures in this painting that makes him also warm - did you see his blue eyes? Painting is painted on a canvas and mounted directly on a panel. It was once framed and you can see some paint loss around the edges and also sprinkled around but overall still displays very well. He would look great as a center piece or in a portrait gallery. Thank you and please feel free to reach out with any questions. Please remember, when buying vintage expect imperfections as these items have a history and have been in the possession of others. The colors of the computer screen may differ from actual painting. Dimensions are approximate only. **FIXED SHIPPING PRICE DOES NOT APPLY TO HAWAII, ALASKA AND PURETO RICO. PLEASE CONSULT ME BEFORE PURCHASING. SHIPPING IS ECONOMY ONLY AND METHOD OF MY CHOICE. FIXED SHIPPING MAY OR NOT BE BE OFFER FOR COMBINE SHIPPING. FIX SHIPPING CANNOT BE REFUNDED FOR ANY REASON. THANK YOU. **FOR INTERNATIONAL SHIPPING PLEASE CONTACT ME FIRST PRIOR TO BUYING, THIS IS VERY LARGE ITEM TO SHIP. THANK YOU.
▶ Please note that it's not possible to cancel, or change orders, nor update addresses once the orders are in production. ▶ Accept all major CREDIT CARDS through PayPal. You do NOT have to have a PayPal account when buying in my shop. See FAQ further down. ▶ GALLERY WRAP CANVAS ✔ Each customized Gallery wrap canvas begins with an Giclée print, with a guarantee of more than 100 years of colorfastness. The printing is made of multi-cotton mixed matte white canvas of artist-grade level. We then make a 1.25-inch thick Solid Wood Frames, which is hand-mounted by experienced framers to ensure that each folded corner is completely smooth and firm. The four edges of the canvas printing are wrapped with mirror images, and the surface has a anti-ultraviolet coating of scratch-resistant , which can be wiped clean with a wet cloth. The backs of the 4 corners have scratch-resistant mats on the wall, and are equipped with hooks that can be hung on the wall immediately. ▶ FRAMED CANVAS ✔ Our excellent Framed canvas is 1.25 inches thick. Three types of frames are available: black, white, and walnut. After putting on a picture frame, it will bring a completely different look to your canvas printing. The frame is made of hardwood, which is durable, light and environmental-friendly. The backs of the 4 corners have scratch-resistant mats on the wall, and are equipped with hooks that can be hung on the wall immediately.Sizes listed are for the canvases themselves. Frame thickness and gap add approximately 3/4 inch on all sides (3/8 inch for gap between the canvas and the frame, and 3/8 inch for the frame itself). ▶ IMAGE ✔ Using high-resolution images for printing, you can find the various brushstroke details of the painting. Each image has been professionally adjusted by a skilled designer, including tilt, repair of distortion, and adjustments of color saturation, sharpness, and contrast. As a result, the replica can maintain the charm of the original. ▶ SHIPPING ✔ Production takes about 2-8 working days. Our manufacturers are located in the United States, the United Kingdom, Canada, Australia, Mexico. Undoubtedly, we will choose the nearest factory based on your area, which means you can receive the goods faster and save transportation costs. ▶ RETURN ✔ We do not accept returns because they are customized products. If there is damage or wrong items when they are delivered, please send us three clear pictures of the broken goods. We will ship the goods again after confirmation.
