Theodoros Stamos (1922-1997)
The Viper, 1949
Huile sur toile
Signée et datée 49 en bas à gauche
Oil on canvas
Signed and dated 49 lower left
62 x 51,5 cm - 24 1/2 x 20 1/4 in.


    Notes:
  • Provenance :
    André Emmerich Gallery, New York
    Collection particulière, USA
    New York, Vente Doyle, 11 novembre 2009, lot 68
    Crane Kalman Gallery, Londres
    Collection particulière

    Theodoros Stamos était le plus jeune membre de la première générations des expressionnistes abstraits.
    Ses premières compositions, peintes dans des tons bruns, verts et or, évoquent l'aspect et la texture de la terre - roche, sable et eau. Les formes se ressemblent, dans certains cas des créatures fantastiques et des plantes amibes dérivent sous l'eau, dans d'autres les corps planétaires d'un autre monde, sorte de terrain stérile. Au fil des années 40, l'accent sur des qualités littérales et matérielles a fait place à une interprétation plus éthérée de ses motifs. Il a augmenté les subtilités de la lumière et la taille des toiles, la couche picturale est devenue plus mince et la gamme de couleurs plus large. À certains moments, son geste, qu’il soit rugueux ou délicatement calligraphique, était plus prononcée. Cependant, son intention sous-jacente a toujours été de créer une imagerie qui serait universelle dans l'idée, inspirée par la nature.
    Sa première exposition muséale personnelle a eu lieu à la galerie Phillips en 1950, la même année, il enseigne au Black Moutain College en Caroline du Nord.

    Theodoros Stamos was the youngest member of the first generation of abstract expressionists. His earliest compositions, painted in browns, greens, and golds, evoke the appearance and texture of the earth – rocks, terrain, sand, and water. The forms resemble, in some cases, fantastic amoeba-like creatures and plants drifting underwater, in others, planetary bodies inhabiting otherworldly, barren terrain. Over the 40’s, the emphasis upon literal and material qualities gave way to a more ethereal interpretation of his motifs. He increased the subtleties of light and the size of the canvases; his paint application became thinner and the color range broader. At times, the gesture of his brushstroke, whether rough or delicately calligraphic, was more pronounced. However, his underlying intent remained to create imagery that would be universal in spirit, drawn from nature.
    Theodoros Stamos first one-man museum exhibition was held at The Phillips Gallery in 1950, the same year he taught at Black Moutain College in North Carolina.

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