Papel

Guia de Obras de Estudantes

Strips

Nome Turma Data

Gordon Bennett Ao, Strips (2005), Souls Grown Deep. Reproduzido para fins de referência; todos os direitos reservados ao detentor dos direitos. Veja esta tela sob uma luz em movimento: o desenho, a cor real sob o verniz, o pigmento puro

Dados principais

Artista
Gordon Bennett Ao artsdot.com/pt/artists/gordon-bennett-ao_pt/
Datas do artista
1955 – 2014
Pintura a óleo
2005
Realizado em
Souls Grown Deep artsdot.com/pt/museums/souls-grown-deep-atlanta_pt/

No contexto

Strips — Gordon Bennett Ao

Quando foi pintado?

  1. 1950
  2. 1960
  3. 1970
  4. 1980
  5. 1990
  6. 2000
  7. 2010

Linha acima: os anos. Linha abaixo: a idade do artista no início e no fim de cada período — 0 ao nascer, 59 ao falecer.

Pintado quando o artista tinha 50. O artista viveu até aos 59. 1 das 2 obras datadas deste artista em nosso catálogo são anteriores.

Sombreado: a trajetória de Gordon Bennett Ao (1955–2014) ▲ esta obra, 2005 cada pintura datada, década por década

Comparar com

Escolha uma obra acima: mencione duas semelhanças entre ela e esta, e uma diferença.

Mais obras para acompanhar esta: artsdot.com/pt/art/similar/gordon-bennett-ao-strips-D4D69B-en/

Cores

Medido a partir da imagem

    Cor principal

    Black #151514

    Paleta catalogada

    • #151514
    • #F8F8F9
    • #931D09
    • #3A528D

    Estas cores integradas em toda a paleta do artista Encontre outras pinturas por cor

    Paleta
    Neutrals A família de cores predominante na imagem.
    Nome da cor principal
    Black
    Intensidade
    Monochromatic O quão saturadas e variadas são as cores, desde um único tom suave até muitos tons vibrantes.
    Contraste
    Statement O grau de variação da luminosidade e saturação das cores ao longo da imagem.
    Harmonia
    Balanced Harmony A harmonia entre as cores, desde o contraste marcante até a total unidade.
    Brilho
    Brilliant O nível de luminosidade ou escuridão da imagem como um todo, desde as sombras profundas até os brilhos intensos.
    Saturação
    Muted Quão puras e intensas são as cores, do quase cinza ao totalmente vívido.

    Onde no mundo esta pintura é apreciada?

    • menos de 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% ou mais
    Esta pintura sozinha possui poucos visitantes registrados para mapear, portanto, a placa apresenta todas as obras de Gordon Bennett Ao nos últimos doze meses — 1 países ao todo. Origem destes dados

    Os dez principais países

    1. 1 Países Baixos 100,0%100 visits

    Encontre os três países mais escuros no mapa. O museu que guarda esta pintura está em algum deles? Escreva um motivo pelo qual pessoas de longe poderiam visitá-la.

    As 2 obras mais visualizadas de Gordon Bennett Ao

    1. 1 Home décor (Preston + de Stijl = Citizen) Panorama, 1997 100,0%100 visits
    2. — Strips, 2005 esta obra 0,0%0 visits

    Juntas, estas obras representam 100,0% de toda a atenção que as pinturas deste artista receberam nos últimos doze meses. O catálogo contém 3 obras deste artista, das quais 1 foram visualizadas pelo menos uma vez. Esta pintura ainda não foi visualizada neste período — ela encerra a lista sem uma classificação. Os mesmos números, mês a mês

    As barras medem a atenção, não a qualidade. Escolha a obra no topo e esta aqui: mencione um fator que poderia tornar uma pintura famosa para além da sua técnica de execução.

    Sobre esta obra

    Strips — Gordon Bennett Ao

    I was born December 29, 1960, in Gee’s Bend, Alabama. As a young child living in Gee’s Bend, I grew up on a farm and had to work in the fields. Because of my young age, I was only allowed to carry water to those who were big enough to chop cotton and the other things that we grew in our fields. Our field was located in an area called Carson, although my grandfather had two fields, one in Carson and the other one located in a place called Hotel (some people called it Long Bottom). Hotel was the area where the old cemetery was located. There, my family grew cotton, corn, peanuts, and sweet potatoes, just to name a few of our crops.We started our day early because my mother had to make breakfast and lunch so we could carry our lunch with us to the fields. When I got a little older, about eight years old, I also helped with getting the meals prepared, and now I was old enough to chop and pick cotton. This was not an easy job, and I can remember we hardly ever complained. And even if we did, we were only wasting time and energy. In my early teens, cotton started to fade away, and only a few people who were a little more well-off than the rest continued with planting cotton. So we “hired out,” working for those who had a bigger farm. To pick a hundred pounds of cotton a day was really hard for me because I was so small, but I am sure it was no problem for my grandfather, Tank Pettway, because he was a big, tall man. It was not long before cotton completely faded away from Gee’s Bend and another crop of hard work was born—the birth of cucumbers.We started our day early because my mother had to make breakfast and lunch so we could carry our lunch with us to the fields. When I got a little older, about eight years old, I also helped with getting the meals prepared, and now I was old enough to chop and pick cotton. This was not an easy job, and I can remember we hardly ever complained. And even if we did, we were only wasting time and energy. In my early teens, cotton started to fade away, and only a few people who were a little more well-off than the rest continued with planting cotton. So we “hired out,” working for those who had a bigger farm. To pick a hundred pounds of cotton a day was really hard for me because I was so small, but I am sure it was no problem for my grandfather, Tank Pettway, because he was a big, tall man. It was not long before cotton completely faded away from Gee’s Bend and another crop of hard work was born—the birth of cucumbers.Roman Pettway, the community entrepreneur, introduced Gee’s Bend to a new mode of farming. Cucumbers were the “new cotton,” but thank God, the season for cucumber picking was very short, from late May to the first week in July. We knew when the month of July came it would not be long before we could finally have a summer break. Growing cucumbers lasted for nearly a decade, and many families planted a second crop because this was a quicker and faster way to earn income. My family and others planted their own gardens and grew almost all the vegetables needed to survive the winter months. I learned to can vegetables and to make plum and blackberry jelly and jams. My mother Qunnie Pettway’s first paying job was working at the Freedom Quilting Bee. Her paycheck was not a whole lot, and sometimes she would have to work several weeks before getting any pay. During her absence, my oldest brother and I had to do most of the household chores. We didn’t have a water pump of our own, so we carried water from my aunt Lucy T. Pettway’s house. We also carried water from a natural spring, a spring called Cross Spring. Some of the men in the community tailored the spring into a well by damming it up with barrels; this made it much easier to obtain the water. The water was used to cook and wash our clothes. We also heated our bathwater in the same wash pot we used to wash our clothes. By the time I turned about fifteen, we got running water and paved roads. Now that the roads were paved and we had running water, washing, cleaning, riding the school bus, and walking got a lot better. I can recall that I was about five or six years old when I was first introduced to sewing. At that age we were only allowed to thread the needles for the quilters in my grandmother’s and my mother’s quilting group. The leftover scraps are what we got to sew and piece together, practicing on how to make a real quilt. We never actually made a quilt, because the leftover pieces were so small in size, so I looked for something else more interesting to do than sticking my fingers with a needle. During grade school the bulk of my school clothes were homemade by my mother, Qunnie Pettway; she has always had a passion for sewing. Since quilting and making quilts were such a big part of my grandmother’s, my mother’s, and my aunt’s life, I believe the seed of quiltmaking was planted into my genes. Whenever we would go to either aunt Lucy T. Pettway’s or aunt Ruth Mosely’s houses to play during the summer months, t../..

    Artista e museu

    Artista

    Gordon Bennett Ao

    Nascido em Mount Ommanoo, Austrália

    Uma figura pioneira na arte indígena australiana

    Gordon Bennett Ao, um proeminente artista australiano de ascendência aborígene e anglo-celta, deixou uma marca indelével na cena artística contemporânea. Nascido em 9 de outubro de 1955, em Monto, Queensland, a vida de Bennett foi um testemunho de sua identidade multifacetada, a qual ele expressou com audácia através de sua arte. Antes de se dedicar inteiramente às artes, Bennett trabalhou na Telecom Australia até os 32 anos, uma transição que marcou o início de sua prolífica jornada artística.

    Conhecido por suas obras vibrantes e instigantes, a arte de Bennett desafiou percepções sobre identidade, história e a construção do conhecimento. Seu estilo audacoso, de abordagem profundamente humana, ressoou com públicos em todo o mundo. Como uma figura de liderança na arte indígena australiana contemporânea, seu trabalho não apenas refletiu sua herança, mas também pavimentou o caminho para as futuras gerações de artistas aborígenes.

    Obras notáveis e exposições

    Embora a lista exata das obras notáveis de Bennett não seja detalhada aqui, suas contribuições para o mundo da arte estão bem documentadas em AllPaintingsStore.com. Algumas de suas obras podem ser encontradas na seção de movimentos artísticos 1/2, oferecendo um vislumbre de sua evolução artística.

    Legado e influência

    A influência de Bennett estende-se para além de sua própria geração, inspirando novos artistas a explorar temas de identidade e herança cultural. Suas contribuições garantiram a relevância contínua e o reconhecimento da arte indígena australiana em escala global.

    Lembrando Gordon Bennett Ao

    Bennett faleceu em 3 de junho de 2014, mas seu legado perdura. Para aqueles interessados em explorar mais de seu trabalho ou mergulhar no mundo da arte indígena australiana, as impressões acessíveis no AllPaintingsStore.com oferecem uma oportunidade única de vivenciar sua arte de uma maneira tangível e acessível.

    A lição principal: a vida e a obra de Gordon Bennett Ao servem como um poderoso lembrete do impacto que um artista pode ter no panorama cultural mais amplo.

    Perspectivas futuras: à medida que avançamos, é essencial continuar celebrando e apoiando artistas que, como Bennett, desafiam nossas percepções e ampliam nossa compreensão do mundo.

    Conclusão

    A jornada extraordinária de Gordon Bennett Ao, embora interrompida precocemente, deixou uma marca indelével no mundo da arte. Seu legado serve como um farol para as futuras gerações, inspirando novas vozes e visões no cenário em constante evolução da arte indígena australiana contemporânea.

    Museu

    Souls Grown Deep

    Em exibição em Atlanta, United States of America

    A Testament to Resilience: The Soul of the American South

    In the heart of Atlanta, where the urban pulse meets the quiet strength of the Appalachian foothills, lies a sanctuary for voices that have long echoed from the margins of history.

    Souls Grown Deep

    is far more than a mere repository of objects; it is a profound, living testament to the enduring legacy of African American artistic expression. The institution’s very name, drawn from the evocative imagery of Langston Hughes’ poem,

    "The Negro Speaks of Rivers,"

    serves as a guiding light for a mission dedicated to the idea that creativity, much like a river, possesses an infinite and deepening capacity to carry the weight of human experience. Here, the art does not merely sit in silence; it speaks of survival, of spiritual depth, and of a cultural heritage that has flourished even amidst the harshest landscapes of adversity.

    The collection is a breathtaking tapestry of medium and meaning, anchored by the legendary

    Gee’s Bend quilts

    . These are not simply textiles, but improvisational masterpieces born from the Alabama landscape. Characterized by bold, geometric abstractions and a vibrant, rhythmic use of color, these quilts represent a singular contribution to the global canon of modern art. To stand before them is to witness a visual language of storytelling, where every stitch and patch reflects the resourcefulness and communal spirit of the women who crafted them. Alongside these textile wonders, the institution presents a powerful dialogue through

    assemblage art

    . Sculptures by titans such as

    Thornton Dial

    and

    Lonnie Holley

    command the space, utilizing repurposed materials and found objects to construct monumental narratives. These works confront themes of poverty, justice, and perseverance, transforming the discarded into the divine.

    A Sanctuary of Light and Earth

    The architecture of Souls Grown Deep is an intentional extension of its curatorial mission. Designed to harmonize with its environment, the building utilizes natural light and organic materials to create a sense of transparency and connection between the viewer and the art. This deliberate design choice mirrors the very essence of the artists it celebrates—individuals who draw their inspiration from the earth, the community, and the ancestral traditions that surround them. The atmosphere is one of reverence and discovery, where the boundaries between formal art history and folk tradition dissolve, allowing for a more holistic understanding of American creativity.

    What truly distinguishes this institution is its unwavering commitment to the

    self-taught artist

    . In an era where art institutions often prioritize academic pedigree, Souls Grown Deep champions those who have forged their own paths outside the confines of formal training. By elevating wood carvings, mixed-media constructions, and paintings on unconventional surfaces, the museum ensures that the singular visions of these masters are recognized as vital components of our shared cultural identity. For the collector seeking depth, the designer searching for soul, or the art lover yearning for authenticity, Souls Grown Deep offers an encounter with art that is not merely aesthetically pleasing, but profoundly transformative—a reminder that even in the most challenging circumstances, the human spirit continues to grow deep, like the rivers.

    Onde ler mais

    Encontre online

    QR code que direciona para a página de download de Strips

    artsdot.com/pt/art/download/gordon-bennett-ao-strips-D4D69B-en/

    Como citar esta obra

    MLA
    Ao, Gordon Bennett. Strips. 2005, Souls Grown Deep. https://artsdot.com/pt/art/gordon-bennett-ao-strips-D4D69B-en/
    APA
    Ao, Gordon Bennett (2005). Strips [Painting]. Souls Grown Deep. https://artsdot.com/pt/art/gordon-bennett-ao-strips-D4D69B-en/
    Chicago
    Gordon Bennett Ao. Strips. 2005. Souls Grown Deep. https://artsdot.com/pt/art/gordon-bennett-ao-strips-D4D69B-en/
    Harvard
    Ao, Gordon Bennett (2005) Strips. Souls Grown Deep. Available at: https://artsdot.com/pt/art/gordon-bennett-ao-strips-D4D69B-en/

    Observe de perto

    Strips — Gordon Bennett Ao

    Observe de perto

    Responda com suas próprias palavras. Não existem respostas erradas aqui — apenas respostas que você possa explicar.

    1. O que chama a sua atenção primeiro e por quê?
    2. Quais cores ou formas criam a atmosfera — e que atmosfera é essa?
    3. O nosso catálogo classifica esta obra sob: gee's bend quilting, alabama textiles, geometric patterns. Concorda? O que acrescentaria ou removeria?
    4. Relembre Home décor (Preston + de Stijl = Citizen) Panorama (1997), apresentado anteriormente neste guia. Identifique dois elementos que esta obra compartilha com a anterior e um que seja diferente.
    5. Gordon Bennett Ao tinha cerca de 50 anos quando esta obra foi feita. O que nela parece ser o trabalho de um artista nessa fase?

    Sua resposta

    Escreva um pequeno parágrafo sobre esta obra de arte. Utilize as informações das etapas anteriores deste guia e as suas respostas acima.

    Perguntas e Respostas

    As cores de "Strips", de Gordon Bennett Ao são vibrantes ou suaves?

    "Strips", de Gordon Bennett Ao apresenta uma saturação Muted e uma intensidade Monochromatic.

    Por quais outros nomes Gordon Bennett Ao é conhecido(a)?

    Gordon Bennett Ao também é conhecido como Gordon Bennett.

    Qual paleta e cor predominante definem "Strips"?

    "Strips" é definido por uma paleta Neutrals com destaque para Black (#151514).