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ז'ול אוליצקי(1922-2007)

אמן ביו בירור
 
<div><font face=HelveticaNeue size=3 color="#191919">Jules Olitski’s <em>Beauty of Eve</em> (1989) exemplifies the artist’s signature “mitt” paintings, where color field abstraction, gesture, and texture converge into a richly tactile surface. Thick layers of acrylic are applied with expressive movement using unconventional tools such as mitts, brooms, and squeegees to explore the physical depth and material presence of paint. <em>Beauty of Eve</em> captures the height of this experimentation.</font></div><br><br><div> </div><br><br><div><font face=HelveticaNeue size=3 color="#191919">Olitski received major recognition at the Metropolitan Museum of Art in 1969, where he became the first living artist given a solo exhibition at the museum. His work is represented in many major permanent and public collections, including The Boston Museum of Fine Arts, Boston, MA; The Art Institute of Chicago, Chicago, IL; The Hirshhorn Museum and Sculpture Garden, Washington, D.C.; The Museum of Fine Arts, Houston, TX; Tate Modern, London, UK; Toledo Museum of Art, Toledo, OH; The Metropolitan Museum of Art; The Museum of Modern Art; The Solomon R. Guggenheim Museum; and The Whitney Museum of American Art, New York</font></div>
<div><font face=HelveticaNeue size=3 color="#191919">Jules Olitski’s <em>Beauty of Eve</em> (1989) exemplifies the artist’s signature “mitt” paintings, where color field abstraction, gesture, and texture converge into a richly tactile surface. Thick layers of acrylic are applied with expressive movement using unconventional tools such as mitts, brooms, and squeegees to explore the physical depth and material presence of paint. <em>Beauty of Eve</em> captures the height of this experimentation.</font></div><br><br><div> </div><br><br><div><font face=HelveticaNeue size=3 color="#191919">Olitski received major recognition at the Metropolitan Museum of Art in 1969, where he became the first living artist given a solo exhibition at the museum. His work is represented in many major permanent and public collections, including The Boston Museum of Fine Arts, Boston, MA; The Art Institute of Chicago, Chicago, IL; The Hirshhorn Museum and Sculpture Garden, Washington, D.C.; The Museum of Fine Arts, Houston, TX; Tate Modern, London, UK; Toledo Museum of Art, Toledo, OH; The Metropolitan Museum of Art; The Museum of Modern Art; The Solomon R. Guggenheim Museum; and The Whitney Museum of American Art, New York</font></div> <div><font face=HelveticaNeue size=3 color="#191919">Jules Olitski’s <em>Beauty of Eve</em> (1989) exemplifies the artist’s signature “mitt” paintings, where color field abstraction, gesture, and texture converge into a richly tactile surface. Thick layers of acrylic are applied with expressive movement using unconventional tools such as mitts, brooms, and squeegees to explore the physical depth and material presence of paint. <em>Beauty of Eve</em> captures the height of this experimentation.</font></div><br><br><div> </div><br><br><div><font face=HelveticaNeue size=3 color="#191919">Olitski received major recognition at the Metropolitan Museum of Art in 1969, where he became the first living artist given a solo exhibition at the museum. His work is represented in many major permanent and public collections, including The Boston Museum of Fine Arts, Boston, MA; The Art Institute of Chicago, Chicago, IL; The Hirshhorn Museum and Sculpture Garden, Washington, D.C.; The Museum of Fine Arts, Houston, TX; Tate Modern, London, UK; Toledo Museum of Art, Toledo, OH; The Metropolitan Museum of Art; The Museum of Modern Art; The Solomon R. Guggenheim Museum; and The Whitney Museum of American Art, New York</font></div> <div><font face=HelveticaNeue size=3 color="#191919">Jules Olitski’s <em>Beauty of Eve</em> (1989) exemplifies the artist’s signature “mitt” paintings, where color field abstraction, gesture, and texture converge into a richly tactile surface. Thick layers of acrylic are applied with expressive movement using unconventional tools such as mitts, brooms, and squeegees to explore the physical depth and material presence of paint. <em>Beauty of Eve</em> captures the height of this experimentation.</font></div><br><br><div> </div><br><br><div><font face=HelveticaNeue size=3 color="#191919">Olitski received major recognition at the Metropolitan Museum of Art in 1969, where he became the first living artist given a solo exhibition at the museum. His work is represented in many major permanent and public collections, including The Boston Museum of Fine Arts, Boston, MA; The Art Institute of Chicago, Chicago, IL; The Hirshhorn Museum and Sculpture Garden, Washington, D.C.; The Museum of Fine Arts, Houston, TX; Tate Modern, London, UK; Toledo Museum of Art, Toledo, OH; The Metropolitan Museum of Art; The Museum of Modern Art; The Solomon R. Guggenheim Museum; and The Whitney Museum of American Art, New York</font></div> <div><font face=HelveticaNeue size=3 color="#191919">Jules Olitski’s <em>Beauty of Eve</em> (1989) exemplifies the artist’s signature “mitt” paintings, where color field abstraction, gesture, and texture converge into a richly tactile surface. Thick layers of acrylic are applied with expressive movement using unconventional tools such as mitts, brooms, and squeegees to explore the physical depth and material presence of paint. <em>Beauty of Eve</em> captures the height of this experimentation.</font></div><br><br><div> </div><br><br><div><font face=HelveticaNeue size=3 color="#191919">Olitski received major recognition at the Metropolitan Museum of Art in 1969, where he became the first living artist given a solo exhibition at the museum. His work is represented in many major permanent and public collections, including The Boston Museum of Fine Arts, Boston, MA; The Art Institute of Chicago, Chicago, IL; The Hirshhorn Museum and Sculpture Garden, Washington, D.C.; The Museum of Fine Arts, Houston, TX; Tate Modern, London, UK; Toledo Museum of Art, Toledo, OH; The Metropolitan Museum of Art; The Museum of Modern Art; The Solomon R. Guggenheim Museum; and The Whitney Museum of American Art, New York</font></div> <div><font face=HelveticaNeue size=3 color="#191919">Jules Olitski’s <em>Beauty of Eve</em> (1989) exemplifies the artist’s signature “mitt” paintings, where color field abstraction, gesture, and texture converge into a richly tactile surface. Thick layers of acrylic are applied with expressive movement using unconventional tools such as mitts, brooms, and squeegees to explore the physical depth and material presence of paint. <em>Beauty of Eve</em> captures the height of this experimentation.</font></div><br><br><div> </div><br><br><div><font face=HelveticaNeue size=3 color="#191919">Olitski received major recognition at the Metropolitan Museum of Art in 1969, where he became the first living artist given a solo exhibition at the museum. His work is represented in many major permanent and public collections, including The Boston Museum of Fine Arts, Boston, MA; The Art Institute of Chicago, Chicago, IL; The Hirshhorn Museum and Sculpture Garden, Washington, D.C.; The Museum of Fine Arts, Houston, TX; Tate Modern, London, UK; Toledo Museum of Art, Toledo, OH; The Metropolitan Museum of Art; The Museum of Modern Art; The Solomon R. Guggenheim Museum; and The Whitney Museum of American Art, New York</font></div> <div><font face=HelveticaNeue size=3 color="#191919">Jules Olitski’s <em>Beauty of Eve</em> (1989) exemplifies the artist’s signature “mitt” paintings, where color field abstraction, gesture, and texture converge into a richly tactile surface. Thick layers of acrylic are applied with expressive movement using unconventional tools such as mitts, brooms, and squeegees to explore the physical depth and material presence of paint. <em>Beauty of Eve</em> captures the height of this experimentation.</font></div><br><br><div> </div><br><br><div><font face=HelveticaNeue size=3 color="#191919">Olitski received major recognition at the Metropolitan Museum of Art in 1969, where he became the first living artist given a solo exhibition at the museum. His work is represented in many major permanent and public collections, including The Boston Museum of Fine Arts, Boston, MA; The Art Institute of Chicago, Chicago, IL; The Hirshhorn Museum and Sculpture Garden, Washington, D.C.; The Museum of Fine Arts, Houston, TX; Tate Modern, London, UK; Toledo Museum of Art, Toledo, OH; The Metropolitan Museum of Art; The Museum of Modern Art; The Solomon R. Guggenheim Museum; and The Whitney Museum of American Art, New York</font></div> <div><font face=HelveticaNeue size=3 color="#191919">Jules Olitski’s <em>Beauty of Eve</em> (1989) exemplifies the artist’s signature “mitt” paintings, where color field abstraction, gesture, and texture converge into a richly tactile surface. Thick layers of acrylic are applied with expressive movement using unconventional tools such as mitts, brooms, and squeegees to explore the physical depth and material presence of paint. <em>Beauty of Eve</em> captures the height of this experimentation.</font></div><br><br><div> </div><br><br><div><font face=HelveticaNeue size=3 color="#191919">Olitski received major recognition at the Metropolitan Museum of Art in 1969, where he became the first living artist given a solo exhibition at the museum. His work is represented in many major permanent and public collections, including The Boston Museum of Fine Arts, Boston, MA; The Art Institute of Chicago, Chicago, IL; The Hirshhorn Museum and Sculpture Garden, Washington, D.C.; The Museum of Fine Arts, Houston, TX; Tate Modern, London, UK; Toledo Museum of Art, Toledo, OH; The Metropolitan Museum of Art; The Museum of Modern Art; The Solomon R. Guggenheim Museum; and The Whitney Museum of American Art, New York</font></div>
יופיו של איב198942 1/2 x 55 3/4 אינץ'. (107.95 x 141.61 ס"מ) אקריליק על בסיס מים ושמן על בד
מקור ומקור
עזבונו של האמן
אוסף פרטי
"יופי חוה" (1989) של ז'ול אוליצקי מדגים את ציורי ה"כפפה" האופייניים לאמן, שבהם הפשטה של ​​שדה צבע, מחוות ומרקם מתכנסים למשטח עשיר ומגעיל. שכבות עבות של אקריליק מיושמות בתנועה אקספרסיבית באמצעות כלים לא קונבנציונליים כמו כפפות, מטאטאים ומגבים כדי לחקור את העומק הפיזי ואת הנוכחות החומרית של הצבע. "יופי חוה" לוכד את שיא הניסוי הזה.





אוליצקי זכה להכרה רבה במוזיאון המטרופוליטן לאמנות בשנת 1969, שם הפך לאמן החי הראשון שהציג תערוכת יחיד במוזיאון. עבודותיו מיוצגות באוספים קבועים וציבוריים גדולים רבים, כולל מוזיאון בוסטון לאמנויות יפות, בוסטון, מסצ'וסטס; מכון האמנות של שיקגו, שיקגו, אילינוי; מוזיאון הירשהורן וגן הפסלים, וושינגטון הבירה; מוזיאון האמנויות היפות, יוסטון, טקסס; טייט מודרן, לונדון, בריטניה; מוזיאון טולדו לאמנות, טולדו, אוהיו; מוזיאון המטרופוליטן לאמנות; מוזיאון האמנות המודרנית; מוזיאון סולומון ר. גוגנהיים; ומוזיאון ויטני לאמנות אמריקאית, ניו יורק.
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