#beyelercollection

- "So much elegance in a black rhino. Lunar Bird by Miró." Captured by visitor @redknockout_official Our Beyeler Collection is fully on view from October 6. #FondationBeyeler #BeyelerCollection #etabetapr_arte #etabetapr #mtpisani_etabetapr @mtpisani_etabetapr (presso Fondation Beyeler) https://www.instagram.com/p/BoXTodMiYce/?utm_source=ig_tumblr_share&igshid=y18ixfpcql7r

Henri Matisse, Océanie, la mer, (1946–47) and Océanie, le ciel (1946–47). Starting with Ellsworth Kelly’s sharply carved sculptures like White Ring (1963), it is quite appealing to gaze at Henri Matisse’s screen prints Océanie, la mer and Océanie, le ciel: at the forms dispersed in a gentle rhythm across the picture surface and at the empty spaces. In preparing his lively and playful composition, Matisse cut out birds and leaves, fish, algae, and ornaments from white paper and pinned them directly onto the walls of his home. He later used silkscreen printing to transfer the two works onto canvas. The juxtaposition of these two works reveals how Kelly, in his handling of form and colour, was influenced by Matisse’s cut-out forms—his so-called papiers découpées. The works of both artists consisted of not just clearly bounded, coloured shapes, but also the space between them. Matisse and Kelly were particularly interested in the interplay between fore- and background in their pictures, whereby the space surrounding the forms is accorded the same importance as the distinctive form itself. As Kelly put it: ‘The negative is just as important as the positive.’ "Beyeler Collection / Nature + Abstraction" is on view until August 12. Are you going to visit the show? Photo by @mark_niedermann #FondationBeyeler #BeyelerCollection #etabetapr_arte (presso Fondation Beyeler)

#WorkOfTheWeek Ellsworth Kelly, Yellow White, 1961 currently on view in our exhibition "Beyeler Collection / Nature + Abstraction" until August 12 — In his work, American artist Ellsworth Kelly transcended the concept of the right-angled panel painting and created compositions in which coloured shapes became pictures. They are form-events that loosen themselves from the supporting basis of the wall and whose shape, colour, and contrast are varied in the most diverse manner. Kelly’s pictures are not to be seen as abstractions, because they relate to real objects. "Green Curves", for instance, refers back to a trampled paper cup that the artist found in his studio. What fascinated him about the object was not its ordinariness, but the new, concise surface resulting from the deformation. In Kelly’s oeuvre we see how his works gradually evolved from ‘paintings’ into autonomous ‘shapes’. Whereas "Yellow White" presents a bulging yellow form that is still ‘restrained’ by a bordering picture ground, Kelly’s ‘shapes’ would come into their own over the following years. The wall and the surrounding space become actively incorporated into the picture—and Kelly’s forms are entirely liberated. Photo by @annawassmer #BeyelerCollection #FondationBeyeler #EllsworthKelly @fondationbeyeler #etabetapr_arte #etabetapr #mtpisani_etabetapr @mtpisani_etabetapr (presso Fondation Beyeler)

Olafur Eliasson, Polar fall fade (orange, turquoise, grey), 2013. Polar fall fade (light green, yellow, pink), 2013. Polar fall fade (light green, light blue, light red), 2013. The three glass works by Danish artist Olafur Eliasson (b. 1967) consist of hand-blown panes of differently coloured glass, in roughly the middle of which oval openings have been cut. The colours correspond to the spectrum of the basic colours named in the titles. In each piece, three glass sheets are layered one behind another, whereby the openings overlap rather imprecisely. The basic concept draws on watercolour studies in which Eliasson investigated the translucency of the medium. Transferred into three-dimensional space, the three works, associatively titled Polar fall fade, function in a similar fashion: due to the transparency and layering of the panes, the scale of the colour combinations and tones shifts as the light and the beholder’s standpoint change. The conditions and manifestations of different colour perceptions are central and recurring themes in Eliasson’s oeuvre. „Beyeler Collection / Nature + Abstraction“ is on view until August 12. Photos by @schalketto @fondationbeyeler #FondationBeyeler #BeyelerCollection #OlafurEliasson (presso Fondation Beyeler)

- @fondationbeyeler - #ASundayArtPic "For the stream always fun shooting at @fondationbeyeler camouflage at it’s best." Thank you @banditbloggers, it‘s a match. "Beyeler Collection / Nature + Abstraction" is on view until August 12. Will you visit us during @artbasel? #FondationBeyeler #BeyelerCollection #etabetapr_arte #etabetapr #mtpisani_etabetapr @mtpisani_etabetapr (presso Basel Art Center)

-@fondationbeyeler - #ASundayArtPic with this photo of Ellsworth Kelly, White Curves, 2001 by @ceeceeberlin. We had a wonderful art week, thanks to everyone who visited us! Tag @fondationbeyeler and #FondationBeyeler if you took some photos, we‘d love to see them. #BeyelerCollection #etabetapr_arte #etabetapr #mtpisani_etabetapr @mtpisani_etabetapr (presso Fondation Beyeler)

@fondationbeyeler #ThrobackThursday Happy Birthday Ellsworth Kelly #BornOnThisDay in 1923. Here you see Ernst Beyeler (left) and Ellsworth Kelly (right) back in 2007 at Fondation Beyeler. In his work, American artist Ellsworth Kelly transcended the concept of the right-angled panel painting and created compositions in which coloured shapes became pictures. They are form-events: dynamic structures that loosen themselves from the supporting basis of the wall and whose shape, colour, and contrast are varied in the most diverse manner. Artworks by Ellsworth Kelly are currently shown in our exhibition "Beyeler Collection / Nature + Abstraction" until August 12. #FondationBeyeler #BeyelerCollection #EllsworthKelly #etabetapr_arte #etabetapr #mtpisani_etabetapr @mtpisani_etabetapr (presso Fondation Beyeler)

@fondationbeyeler - #MondayMotivation with works by Brice Marden shown in our current exhibition "Beyeler Collection / Nature + Abstraction" until August 12. The exceptionally clear and seemingly simple pictures by American artist Brice Marden are deeply influenced by his personal interests and fascination with nature, light, and colour. The artist once remarked: "I believe there are highly emotional paintings not to be admired for any technical or intellectual reason but to be felt." The works by Brice Marden are on loan from the Daros Collection, in Zurich. Photo repost by @daroscollection #FondationBeyeler #BeyelerCollection #DarosCollection #BriceMarden #etabetapr_arte #etabetapr #mtpisani_etabetapr @mtpisani_etabetapr (presso Fondation Beyeler)