RMB

Roy Lichtenstein Mustard on white, 1963

Antoni Tàpies (Spanish, 1923–2012) The bread in the boat no.VI , 1963–1963 Medium: Mixed Media on Paper Size: 39 x 55.5 cm. (15.4 x 21.9 in.) Antoni Tàpies was a Spanish artist known for his mixed-media paintings that incorporated marble dust, found objects, and resin as seen in his seminal work Grey and Green Painting (1957). Social themes run throughout his highly textured and tactile paintings, which were influenced by his experience of the politics and environment of the wartime and the postwar state of the Spanish government. “If one draws things in a manner which provides only the barest clue to their meaning, the viewer is forced to fill in the gaps by using his own imagination,” he reflected. “He is compelled to participate in the creative act, which I consider very important.” Born on December 13, 1923 in Barcelona, Spain, he originally studied law while pursuing art, he became a friend of his fellow Catalan Joan Miró who was an integral influence on Tàpies’s early Surrealist work. Incorporating the scrawling marks of Paul Klee, Tàpies joined the Art Informel movement, as his work turned toward the abstract and seemingly anticipated the Arte Povera movement. Over the several decades to follow, the artist became more nuanced in his choice of materials and attempted to convey the accidental marks of walls and graffiti. He died on February 6, 2012 in Barcelona, Spain. Today, his works are held in the Fundació Antoni Tàpies Museum in Barcelona, The Museum of Modern Art in New York, the Tate Gallery in London, and the Reina Sofia National Museum in Madrid, among others.

Bread — The Movie Ray and Charles Eames

Jeff Koons (American, born 1955) Bread with Egg , 1997 oil on canvas 325.1 x 274.3 cm. (128 x 108 in.) http://www.artnet.com/artists/jeff-koons/bread-with-egg-IFTFMzYDuW0upwZDmRhwtg2

Still life 11, 1965

Claes Oldenburg Tartines, 1964

Claes Oldenburg Giant Loaf of Raisin Bread Slice, 1966-67 Tom Wesselmann, Claes Oldenburg, and Roy Lichtenstein, all used bread as a motif in their work. This use of everyday, middle-class products does a number of things; first, like much of pop art, it pushes back against the self-serious established art world, focusing instead on humor and playfulness. The food featured, like pop art itself, is often the product of mass production. These everyday products that most Americans could easily access become a metaphor for the pop genre; they comment on ideas of craft versus execution, and who and what can be art, thus helping to equalize and democratize the art world. https://www.minniemuse.com/articles/creative-connections/bread

Toaster, 1942

matthias harnisch frottage du jour, 2019

11 x 14 inches

Max Ernst The Vaccinated Bread (Le Pain vacciné) from Natural History (Histoire naturelle)c. 1925, published 1926 Ernst created these images by placing paper atop various materials—wood floorboards, lengths of twine, leaves, wire mesh, crumpled paper, crusts of bread—and rubbing the surface with a pencil or crayon. Inspired by the resulting textures, he added details to transform them into fantastical landscapes, objects, and creatures. Ernst called his process frottage (French for “rubbing”) and claimed it as a form of Surrealist automatism, whereby an artist attempts to let the unconscious guide his hand in the creation of an image.

Urs Fischer Bread House

MoMA | Salvador Dalí. Bust of a Woman (Spanish, 1904–1989)1933. Painted porcelain, bread, corn, feathers, paint on paper, beads, ink stand, sand, and two pens, 29 x 27 1/4 x 12 5/8" (73.9 x 69.2 x 32 cm)

URS FISCHER Bread House, 2004-06 Urs Fischer’s 2004 Untitled “Bread House” is one such example. Fischer’s works often consider untraditional materials that can be difficult and unpredictable to work with, finding beauty in imperfection. Bread House is a life-sized cabin made of loaves of bread, wood, and screws. In some versions of the piece (there are three) live parakeets inhabit the cabin and viewers can watch it slowly decay to crumbs.

Anna Bella Geiger Our Daily Bread, 1978 Our Daily Bread 1978 is comprised of six postcards and a brown paper bag with offset printing mounted on card. Each of the postcards repro- duce black and white photographic images. The first depicts the lower section of a woman’s face, focusing on her mouth, in front of which she holds a slice of white bread. Two postcards show close-ups of slices of bread with the cartographic shape of Latin America and Brazil removed from the centres. Another postcard shows the two slices alongside one another and a further postcard shows the slices in a breadbasket. The last postcard shows the breadbasket with no bread but with the outline of Latin America and Brazil remaining where previously the slices with their voids had been. The brown paper bag is of a type that was typically used in Brazil for bread. The work documents a performance by Geiger in 1978 that addressed the subject of poverty within Brazil, but also more widely within Latin America.

Mathieu Asselin, Monsanto: A Photographic Investigation on the activities of the multinational Monsanto Company which is monopolising the food industry, farming practices and introducing genetically modified seeds.

Anatoly Osmolovsky. From the series Bread Wall-mounted objects, carved stained wood, dimensions vary 2007-2008