Ophavsret Dette værk er stadig beskyttet af ophavsret. David Hare døde i 1992; ophavsretten varer 70 år efter kunstnerens død, og er derfor gældende indtil 2062. Billedet vises her som undervisningsmateriale; rettighederne tilhører rettighedshaveren.
I kontekst
Cloud and Rain — David Hare
Øverste række: årene. Nederste række: kunstnerens alder ved begyndelsen og slutningen af hver periode — 0 ved fødsel, 75 ved død.
Malet da kunstneren var 33 år gammel. Kunstneren blev 75 år gammel. 0 af de 2 daterede værker af denne kunstner i vores katalog er skabt tidligere.
Skyggelagt: David Hare' livstid (1917–1992) ▲ dette værk, 1950 hvert dateret maleri, årti for årti
Vælg et af de ovenstående værker: nævn to ting, det har til fælles med dette, og én ting, der er forskellig.
Se flere lignende værker her: wikioo.org/da/art/similar/david-hare-cloud-and-rain-ARCD55-en/
Målt ud fra billedet
Primær farve
Gray #6d6c64
Katalogiseret palet
Disse farver i kunstnerens samlede palet Find andre malerier efter farve
De ti førende lande
Find de tre mørkeste lande på kortet. Findes det museum, der opbevarer dette maleri, i et af dem? Skriv én grund på, hvorfor folk langt væk måske ville se på det.
Sammen udgør disse værker 100,0% af den samlede opmærksomhed, som denne kunstners malerier har modtaget i løbet af de sidste tolv måneder. Kataloget indeholder 2 værker af denne kunstner, hvoraf 2 er blevet set mindst én gang. Dette maleri rangerer som nummer 2, med 50,0% af den opmærksomhed (100 besøg). Det samme gælder måned for måned
Søjlerne måler opmærksomhed, ikke kvalitet. Vælg værket øverst og dette her: nævn én ting, der kan gøre et maleri berømt udover selve det tekniske håndværk.
Kunstner og museum
Født i New York City, United States
To look at the work of David Hare is to confront a deliberate fragmentation of reality. He was an American sculptor who did not merely represent dreams but reconstructed them through heavy, tangible materials. While his contemporaries often drifted into pure abstraction, Hare anchored his explorations in the weight of steel and bronze. His practice was defined by a refusal to let the image remain purely symbolic; instead, he forced it into a physical, biomorphic presence that demands attention through its very mass.
His development was shaped by an unusual proximity to the exiled French Surrealists during World War II. This connection provided him with a technical vocabulary of subversion. He utilized heatage, or brulage, in his photography—a process of melting photographic negatives to distort the subject. In works like his Untitled piece from the VVV portfolio, the technique strips away anatomical certainty, leaving only the contour of a female body amidst black and white masses that suggest burnt flesh. This was not an aesthetic choice made for decoration; it was a method to negate the photographic ability to reproduce an objective truth.
Hare’s transition toward metalwork allowed him to bridge the gap between Surrealist philosophy and the emerging energy of Abstract Expressionism. He moved away from the ephemeral nature of paper and film toward the permanence of bronze and steel. His sculptures often feature organic, biomorphic shapes that feel as though they possess an independent life. These forms do not rely on recognizable figures but instead use abstract compositions to trigger instinctive emotional responses.
The structural logic of his work can be seen in specific series and pieces:
Sunrise: A series from the 1950s utilizing steel rods, rock, and gilt bronze solder to create a sun-like form.
Magician's Game: A 1946 bronze cast that incorporates an egg-shaped object and comb-shaped elements.
The Swan's Dream of Leda: A sculpture composed of irregular bronze sheets mounted on a stone base, drawing from Greek mythology.
Hare’s significance lies in his ability to use the tools of chance and intuition—such as automatic drawing and collage—to challenge the stability of the visual field. He did not seek to create a window into another world, but rather to break apart the existing one and reassemble it into something more complex. His work remains relevant because it avoids the trap of easy recognition. By manipulating negatives and melting surfaces, he mirrored the instability of a world undergoing profound political and physical transformation.
He remained a figure who straddled two distinct movements without being swallowed by either. His commitment to exploring human desire, death, and love through the lens of Surrealist technique persisted even when such themes lost their mainstream momentum. He proved that art could be both deeply psychological and physically undeniable.
Alle fakta vi har om Cloud and Rain by David Hare, på dens værkside
wikioo.org/da/art/download/david-hare-cloud-and-rain-ARCD55-en/
Se nærmere efter
Cloud and Rain — David Hare
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Den dominerende farve i "Cloud and Rain" af David Hare er Gray (#6d6c64).
"Cloud and Rain" af David Hare er stadig beskyttet af ophavsret. Ophavsretten beregnes ud fra kunstnerens dødsår, og David Hare døde i 1992.
Du kan bestille et tryk af "Cloud and Rain" af David Hare direkte på dens Kunstprint i høj kvalitet side: et fine art-print på bomuldscanvas eller arkivbestandigt lærredspapir.