Autorska prava Ovo delo je i dalje zaštićeno autorskim pravima. David Hare je preminuo/la 1992; autorska prava traju 70 godina nakon smrti umetnika, pa ostaju na snazi do 2062. Slika je prikazana ovde u edukativne svrhe; prava zadržava vlasnik autorskih prava.
U kontekstu
Cloud and Rain — David Hare
Gornji red: godine. Donji red: starost umetnika na početku i na kraju svakog perioda — 0 u rođenju, 75 u smrti.
Naslikano kada je umetnik imao 33 godina. Umetnik je doživeo 75. 0 od ukupno 2 datiranih dela ovog umetnika u našem katalogu nastalo je ranije.
Osenčeno: životni vek umetnika David Hare (1917–1992) ▲ ovo delo, 1950 svaka datirana slika, deceniju po deceniju
Izaberite jedno od gore navedenih dela: navedite dve stvari koje su mu zajedničke sa ovim i jednu stvar koja ga razlikuje.
Još dela koja se mogu postaviti pored ovog: wikioo.org/sr/art/similar/david-hare-cloud-and-rain-ARCD55-en/
Izmereno na osnovu slike
Glavna boja
Gray #6d6c64
Katalogizovana paleta
Ove boje unutar cele umetnikove palete Pronađite druge slike prema boji
Deset vodećih zemalja
Pronađite tri najtamnije zemlje na mapi. Da li se muzej u kojem se čuva ova slika nalazi u bilo kojoj od njih? Navedite jedan razlog zbog kojeg bi je ljudi sa dalekih mesta mogli posmatrati.
Zajedno, ova dela zauzimaju 100,0% ukupne pažnje koju su slike ovog umetnika privukle tokom poslednjih dvanaest meseci. Katalog sadrži 2 dela ovog umetnika, od kojih je 2 pregledano barem jednom. Ova slika zauzima 2 mesto na listi, sa 50,0% te pažnje (100 poseta). Isto važi i za pojedinačne mesece
Barovi mere pažnju, ne kvalitet. Odaberite rad na vrhu i ovaj: navedite jednu stvar koja bi sliku mogla učiniti slavnom pored toga koliko je dobro naslikana.
Umetnik i muzej
Rođen/a u 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.
Svi podaci koje imamo o Cloud and Rain by David Hare, na njegovoj stranici o umetničkom delu
wikioo.org/sr/art/download/david-hare-cloud-and-rain-ARCD55-en/
Pogledajte pažljivije
Cloud and Rain — David Hare
Odgovorite svojim rečima. Ovde nema netačnih odgovora — postoje samo odgovori koje možete objasniti.
Napišite kratak pasus o ovom umetničkom delu. Koristite činjenice iz prethodnih delova ovog vodiča i svoje odgovore navedene iznad.
Dominantna boja dela „Cloud and Rain”, autor David Hare je Gray (#6d6c64).
"Cloud and Rain" autora David Hare je u i dalje je zaštićeno autorskim pravima. Autorska prava se računaju od godine smrti umetnika, a David Hare je preminuo/la 1992.
Da biste naručili print dela „Cloud and Rain”, autor David Hare, jednostavno ga poručite na njegovoj stranici Umetnički print: umetnička štampa na pamučnom platnu ili arhivskom kanvas papiru.