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Raoul Dufy

From 17 February to 17 May 2014

Early booking is recommended



Autor:
Raoul Dufy
Título:
Open Window, Nice, 1928
Técnica:
Oil on canvas
Medidas:
65,1 x 53,7 cm

Ubicacion:
The Art Institute of Chicago, Joseph Winterbotham Collection
© Raoul Dufy / VEGAP / Madrid, 2015

Paul Delvaux: A Walk with Love and Death

From 24 February to 07 June 2015

Early booking is recommended



Autor:
Paul Delvaux
Título:
The Table, 1946
Técnica:
Oil on canvas
Medidas:
86 x 76 cm

Ubicacion:
Private Collection on deposit at Musée d´lxelles, Brusssels
© Foundation Paul Delvaux, Koksijde, Belgium / VEGAP – SABAM – 2015
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Thyssen-Bornemisza Collection

Autor:
Charles Sheeler
Título:
Wind, Sea and Sail
Fecha:
1948
Técnica:
Oil on canvas
Medidas:
51 x 61 cm
Úbicacion:
Museo Thyssen-Bornemisza, Madrid
Numero de inventario
INV. Nr. 758 (1975.10)

More information about this work




The painter and photographer Charles Sheeler was a seminal member of the American avant-garde circle of Alfred Stieglitz. Following his trip to Paris in 1909, where he came into contact with Cubism, he devoted himself chiefly to photography, while his own Cubist-inspired style of painting gradually took shape. His original approach to objects — which came to be called Precisionism or Cubist-Realism — defined his entire artistic career.

Wind, Sea and Sail, dated 1948, is a later version of a similar painting and drawing executed in 1922. It is an emotionally distant, frozen image painted using the flat and impersonal technique characteristic of Precisionism. Both the earlier oil painting, entitled Pertaining to Yachts and Yachting, and the later work belonging to the Collection show a very abstract handling of a theme that is rarely found in Sheeler’s output — the study of light and the rhythms of the forms of sails, defined by the artist as a “study in polyphonic form.”

Sheeler’s most common subject matter is industrial landscapes, urban views and interiors, similar to the themes he had captured in his photographs. It is evident, not only from Sheeler’s choice of subject matter and optical angles but also, as with the present work, from the transparency, how much his painting is indebted to photography. The overlapping of planes may also recall the multiple exposures of experimental photography.

Paloma Alarcó

© 2009 Museo Thyssen-Bornemisza

Paseo del Prado 8, 28014 Madrid, España

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