Avtorske pravice Ta sklad je še vedno predmet avtorske pravice. David Hare je umrl leta 1992; avtorska pravica velja 70 let po smrti umetnika, zato ostaja v veljavi do 2062. Slika je tu prikazana le v izobraževalne namene; pravice ostajajo pri imetniku pravic.
V kontekstu
Cloud and Rain — David Hare
Zgornja vrstica: leta. Spodnja vrstica: starost umetnika na začetku in koncu vsakega obdobja — 0 ob rojstvu, 75 ob smrti.
Naslikano, ko je bil avtor star 33. Umetnik je doživel 75 let. 0 od 2 datiranih del tega umetnika v našem katalogu je nastalo prej.
Osenčeno: življenjsko obdobje David Hare (1917–1992) ▲ to delo, 1950 vsaka datirana slika, desetletje za desetletjem
Izberite eno od zgoraj navedenih del: navedite dve stvari, ki sta si z njim skupni, in eno stvar, ki je drugačna.
Več podobnih del za kombiniranje z tem: wikioo.org/sl/art/similar/david-hare-cloud-and-rain-ARCD55-en/
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Glavna barva
Gray #6d6c64
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Deset vodilnih držav
Na zemljevidu poiščite tri najtemnejše države. Ali se muzej, ki čuva to sliko, nahaja v kateri izmed njih? Zapišite en razlog, zakaj bi jo lahko obiskovali ljudje z daljave.
Skupaj ti deli predstavljajo 100,0% vse pozornosti, ki so platna te umetnice dobila v zadnjih dvanajst mesecih. Katalog vsebuje 2 del te umetnice, pri čemer je bilo 2 vsaj enkrat ogledanih. Ta slika je na 2 mestu, s čim si pridrži 50,0% te pozornosti (100 obiskov). Isto velja tudi za posamezne mesece
Stolpci merijo pozornost, ne kakovost. Izberite del na vrhu in ta: navedite eno stvar, ki bi lahko naredila sliko znano poleg tega, kako je dobro naslikana.
Umetnik in muzej
Rojen v 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.
Vsaka informacija o Cloud and Rain by David Hare, na njegovi strani dela
wikioo.org/sl/art/download/david-hare-cloud-and-rain-ARCD55-en/
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Cloud and Rain — David Hare
Odgovorite z lastnimi besedami. Tukaj ni napačnih odgovorov — so le odgovori, ki jih lahko razložite.
Napišite kratek odstavek o tem umetniškem delu. Uporabite dejstva iz prejšnjih delov tega priročnika in svoje odgovore zgoraj.
Prevladujoča barva dela "Cloud and Rain" avtorja David Hare je Gray (#6d6c64).
Del "Cloud and Rain" avtorja David Hare je še vedno pod avtorsko zaščito. Avtorske pravice se izračunajo od smrti umetnika, pri čemer je David Hare umrl leta 1992.
Tiskanino dela "Cloud and Rain" avtorja David Hare lahko preprosto naročite na njegovi strani Kakovostna umetniška tiskanina: umetniška grafika na bombažnem platnu ali arhivskem papirju za platno.