Entrevista a Milton Glaser


by Brad HollandMarch 15, 2002

As one of the founders of Pushpin Studios in 1954, Milton Glaser helped revive illustration in the 1960’s when photography was thought to have swept the field. After studying at the High School of Music & Art, then Cooper Union in New York, Glaser studied etching in Bologna with the painter Giorgio Morandi. In a speech in 1998, he cited two opposites–Morandi and Picasso as his “artistic models.” Artists who are driven by opposing passions often come to grief. But those who succeed in harnessing them often give off light. More often celebrated for his design, Milton’s drawings have become increasingly personal and spiritual. The integrity he brings to his work has made him a touchstone for many artists, including me.

Brad Holland: You’ve previously mentioned Morandi and Picasso as your two models. I think anyone could understand Picasso’s influence on you. His work is so protean, as your’s is. But the influence of Morandi is less obvious. What does he mean to you?

Milton Glaser: For me, Picasso and Morandi represent the full range of human artistic possibilities. Morandi was parochial and narrow. He went to Paris once, didn’t like it, and never went again. He lived modestly. He was an academic beaurocrat. He taught at the academy three times a week. He never married. He didn't seem to be interested in money, fame, or women. He painted about three portraits of people. The rest are landscapes. They’re not familiar, but they’re the same kind of painting as his still lifes. He would make the slightest change. Move a passage of gray a quarter of an inch. If you wanted to buy a painting from him, he would write your name and address on the back; then, years later, after he had finished the painting, he’d send it to you. He was selling paintings then for $200.

Picasso, on the other hand, was the most egocentric, narcissistic man in human history. For him, there was no world except Picasso. People were just instruments to be used, like subjects of a painting. He wanted all the money, all the fame, all the accomplishment. He sucked all the air out a room. I can’t image two more opposite manifestations of human potential, and I think I am equally affected by both. Morandi’s dedication, his simplicity, his desire for nothing except the work, his modesty. And this raging lunatic who wanted to devour the world.

BH: You studied with Morandi. Do you believe you’d have been as influenced by his work if you hadn’t met him?

MG: I knew his etchings before I went to study with him. He taught hard ground etching, where you have to draw with a needle and make a very precise line. There is no tint or anything else to confuse the issue. Either you draw it right or you go elsewhere. But I became more interested in what he did, as I became more acquainted with his drawings, which are very different than the etching, and then of course the paintings.

BH: Morandi’s work is so ascetic. It lacks all of the things you normally use to make a picture interesting. There something almost monastic about that kind of renunciation.

MG: He had that quality in his personality as well as his work. He was very austere, very reserved, very proper in every way. Very sweet. You couldn’t imagine him getting excited. He was well composed with a profound innocent decency.

When I say that I’m kind of between Picasso and Morandi, the thing that I love about Morandi is his clarity of vision. The fact that everything is so rational and unencumbered by emotionalism, although you have an emotional response to that. The paintings are small, undramatic, with no narrative. There’s no brilliant painting. So you have to ask the fundamental question of what makes a work of art meaningful. All the attributes you might use to dramatize your work are not there. So there’s a sense of modesty. But it becomes monumental and you can’t figure out why.

BH: There seems to be a similar ascetic quality to some of your recent pictures. The Flowers of Evil drawings and the monoprints for Purgatory. A lot of your stylistic flair has been sacrificed to directness.

MG: When you are in the field of illustration, you are always trying to persuade people to respond in a certain way. The work has to be assertive to establish its place. You have to make a strong statement in a short length of time. This is unlike painting, where you can look at a picture over a period of ten years and still find it unfolding. It’s like the difference between journalism and poetry. You require a different time interval to appreciate the difference.

BH: How did the Purgatory pictures come about? Were you commissioned to do a book?

MG: Yes. I have a gallery dealer in Italy, who gave me Purgatory to do. I thought it was a great opportunity to move towards a more complex work. I decided to do prints. I took a monotype course in Woodstock. In monotype, you can’t control the work. It depends on how much moisture there is in the air, how damp the paper is, the viscosity of the ink. So when you do a print, you don’t know what the results are going to be. For me, that was good. When you develop a lot of skill, you end up rendering an idea. That's different from letting the picture push you. So I was forced to accommodate the process of making the prints, and it pushed me elsewhere. I had to be more resourceful and react to what I was producing.

BH: Do you know Isiah Berlin’s essay, The Hedgehog & The Fox?

MG: I do. I quote it often.

BH: His theme is that everybody can be classified as either a fox or a hedgehog. A fox with many ideas. A hedgehog with one big idea. You’ve always seemed like a fox to me, with influences coming from everywhere. How much of a hedgehog are you?

MG: I’m interested in all the things that have happened in the visual world. And probably like yourself, my influences are more outside the profession than inside it. I never use the profession as a guide for what I aspire to. I’ve always believed that you could do everything. Not that this is necessarily desirable. If you're a fox, you don't want to act like a hedgehog and vice versa. There’s no ultimate value in doing many things or doing one thing. These seeming contradictions are really part of the same universe. People want to think of them as opposites, but they’re made of the same cloth.

BH: I’ve always thought that people who draw tend to be rational, and painters emotional. Of course, great artists tend to be both. And since opposites attract, a lot of the best artists seem to come from families where one parent was very rational and the other very emotional. Were your parents opposites?

MG: They were very different. It would be hard to characterize them. My mother was very courageous, a sort of outgoing woman who didn't care about the opinion of the world. My father was a modest, more conformist personality.

BH: We all grow up with parental influences and as we go out into the world, we look for bigger influences who will extend those parental ones. So in my experience, people who are always trying to harmonize opposites in their lives tend to come from homes where their parents were opposites.

MG: My mother was enormously supportive without qualification. She convinced me I could do anything. My father was more resistant. He represented the resistance of the world. My secret realization was that I could use my mother to overthrow my father. But I realized not long ago what I had not been willing to admit in my life, and that was a presence of my father in myself. It’s a complicated issue when your identification with your mother is so complete.

BH: When you started doing this, did you think of being a painter?

MG: When you start, you don’t know about the distinction. All you know is that you like to make things. I had already realized that a painter's life was not my life. I couldn’t imagine painting pictures, selling them in a gallery, and having people put them on a wall in their house. It didn’t make sense. I wanted to do something else. At first, it was comic strips. When I was in Music & Art High School, I realized there were other alternatives. When I got to Cooper Union, I was pretty well on my path to the applied arts. I liked the idea of being public and useful and solving problems. I like storytelling.

BH: How conscious were you of all this when you started Pushpin? Or was it a couple of guys sitting around in a bar saying, “Let’s rent space together?”

MG: I think it was that. We were all in school studying design. We wanted to continue the feeling of being in school. We had no idea what the consequence was. We had never worked professionally. I had worked in a package design studio between high school and college, but outside of that, we didn't know what a studio was or how you ran one. We started after I had come back from Italy in ‘53/’54, so I was very interested in the difference between Modernism and the history of the Renaissance and the Baroque. I realized there was another way of thinking about art and imagery. Also, I never felt part of the history of illustration. I felt no continuity with the Saturday Evening Post and the Westport School. That kind of illustration had lost it’s passion, it's ability to look fresh. We took advantage of a change that was going on with artists like Tom Allen and Robert Weaver.

BH: Yet you brought a unique sensibility to illustration. Your model was more Reubens running a studio than, say, Van Gogh. And that was at a time when Van Gogh and the whole melodrama of his life had become kind of a dysfunctional model for 20th century artists.

MG: Yes, and unfortunately it’s a very egocentric model. It says, Do your work and you will be convincing. They’ll change their opinion of you, love you, pay you a lot of money and make you famous. All you’ve got to do is stick to it. This a total delusion about what really happens in the world. Unfortunately, this idea of self-expression has infected the schools as well, telling students that all you have to do is reveal your talent and the world will kneel at your feet. It’s such a total, miserable lie. It’s perpetuated by frustrated painters who encourage the innocent to think it’s true so they have the strength to go on themselves. In fact, the opposite is true. It produces a generation of bitter people who can’t figure out why they can’t make a living. There is something fundamentally wrong with that expectation of talent in society. At Pushpin, all we were trying to do was make a living. We didn't know exactly what that meant. We started the studio. We looked for work. We got jobs. We inspired each other. Then, at a certain point, we realized we were doing something different.

BH: Ok. We’ve discussed Morandi. But what about Picasso? He was the poster-boy for self-expression. The original gangster with genius. Frankly, I always thought he was less original than Matisse, who in some ways he pursued as if he were Captain Ahab trying to catch Moby Dick.

MG: Well, it’s interesting what you say about Picasso. Picasso was constantly referring back to Matisse. He was considered Matisse’s great adversary, but he had tremendous admiration for Matisse. When Matisse died, he said, “Now I will have to paint for both of us.” What I like about Picasso–and you could say this about Matisse as well–was his willingness to take chances. He abandoned one thing after another: Surrealism, Synthetic Cubism, whatever. He was always willing to give it up. Artistic courage is usually over emphasized. But it’s the ability to leave something behind and try something else when you don’t know where you’re going. I think that’s admirable and I love that quality in Picasso. You never lose the fear that you're going to f__k up and your whole reputation will be ruined, but he was fearless about what he did. There have been very few figures like that in history, willing to abandon their success in favor of possibility.

BH: Did you ever think that you’d get out of commercial art and do something else?

MG: No, I had no other ambitions. But I never thought there was a distinction between being a painter or an applied artist. Admittedly, you often have to deal with criteria that make it hard to create work of emotional or aesthetic significance. But once in a while, you do a book jacket, an album cover, an illustration that isn’t compromised by having to do it for a purpose or for a client. Some people use commercial considerations as an excuse not to do extraordinary work. They say “well, we’re not really free.” But as you know, that’s rarely true. Meaningful work presses through regardless of the constraints. In fact, for many people, constraints make good work possible. I’ve never believed I was being compromised as an applied artist.

BH: Were you influenced by figures like William Morris?

MG: Yes. I was very influenced by him and the Arts & Crafts movement and by other social movements that linked aesthetics and society through the idea that a well-made object produces good effects. I’ve always believed that if you do something well, it will have meaning. In recent years, I’ve been interested in African sculpture. There, the intent is totally unrelated to what we call art. It’s the desire to produce an effect, to change people. Who cares about whether its art or not. Even though the intent of a vase is to hold water, somebody says, “look at that again; it’s art.” Ultimately, it’s the work you do. Do it at the highest level and let other people worry about whether its art or not.

BH: I had mentioned earlier that I tend to think of people who draw as logical and rational. Your work is basically drawing.

MG: Yes. I’m a graphic artist in that sense. In recent years, I’ve moved from pen and ink and water color to crayons and softer materials. I think that’s moved me away from the linear a little, but I still think in terms of form and edges rather than in tonality. I guess that’s the difference: Painters see tonality. My strength has always been in shapes: Forms, edges and line.

BH: Those Wizard drawings you’ve done of Clarence Barron for Barron’s magazine seem to embody the essence of your style. They’re similar to the linear style I first saw of yours in the ‘60’s, but the style is cleaner now. It describes more with less.

MG: I must say, I like those drawings. My early drawings in that style were not as good. They were more decorative. More about pattern than drawing. I was learning on the job. These are much better. I’m more sure of the form.

BH: They distill all the elements of your past work.

MG: I think the work has become clearer as I’ve become older. It wasn’t so much the intent to distill things as it was to make things clearer. Stuff drops away.

BH: They’re like your pictures for the Flowers of Evil, where you seem to have renounced style. Yet, in the Purgatory prints, it seems as if you had renounced everything but style. There are no descriptive elements, but they encompass a whole range of emotion.

MG: It is interesting that you say that. There were two things that were happening. One was that they weren’t drawn. They were cut out. So, whatever facility I have at drawing had to be transformed into physically cutting something out, and I cut as well as an average person. Then there’s the fact that the work itself was not predictable or controllable. I had to respond to whatever was occurring and get out of the way. I guess, to some degree, it’s a way of avoiding premeditated style because the work comes from yielding to the circumstances. That is a very different idea than imposing your will on your work. The best drawings come when you look at something with reverence and yield to its uniquenes.

BH: It’s this renunciation of control by someone who has spent his entire career in control that’s interested me. That’s why I began by asking you about Morandi. We live in a terribly prosaic age, and most poetry has become self-conscious and cliché and melodramatized. But there’s poetry in your work and that’s necessarily what you’d expect to find in a business-minded designer.

MG: It’s certainly an aspiration. Work is not simply functional. Whatever it is that makes art worth looking at doesn’t come out of your intention, but from what you are.

Copyright Milton Glaser and Brad Holland. Reprinted with generous permission of Brad Holland, Milton Glaser and Step inside design magazine where it originally appeared.

Via: AIGA

206 sitios de descargas de libros

Ciberoteca
Todas las materias. Ediciones propias para descargar, catálogo, enlaces a más de 54.000 textos, foro, referencias. También escolar con libros para descargar

Ignoria
E-books, audiolibros, música para descolgar

Critical Art Ensamble
Intersecciones entre arte, tecnología, política y teoría crítica. Libros para descargar

Libros Gratis
Descargas y on-line. También dibu
Especializada en autoayuda, terapias alternativas, filosofías orientales, varios

Bajalibros
Todo Cortázar, Isabel Allende, Anne Rice, Tolkien, Baudelaire, otros. Con comentarios (blog)

Marxists Internet Archive
Education, philosophy, psychology, ethics, art and literature, alienation, natural science, politics, etc. Books and articles on-line

Olavarríajos para colorear

Libroteca.net
Por autor, por países, web de autores, distintos formatos de descarga

Katarsis
Por autor. Baudelaire, Verlaine, otros. Links a otros sitios de descargas

LeerGratis
Reseñas y descargas

Alcibuper
Los clásicos en castellano, por autor. Literatura, pensamiento, filosofía, más. Completo

Formarse
Descargas libros filosofía, educación, psicología, sociología. Marcusse, Lacan, Heidegger, Piaget, otros

Library Thing
De pago, 10$ ó 20$. Todas las materias. Descargas, intercambio, catálogo, castellano, inglés, otros

IPL
Archivo en inglés de links a sitios de descargas y website por materias. Todas las materias

Project Gutenberg
Catálogo on-line del Proyecto Gutenberg. Por autor y materias. Todos los idiomas. El sitio más antiguo de e-boks e e-texts. También hay catálogos para descargar

Recursos Teológicos
Para descargar, diccionarios bíblicos, teológicos y filosóficos, libros de referencia, libros de autores, teólogos, hermenéutica, Nuevo y Antiguo Testamento, apologética, pastoral, historia eclesial, pensadores. Josefo, Agustín, Calvino, más

AFU Biblioteca Virtual
Sobre todo filosofía. Simone de Beauvoir, Benjamin, Bergson, Giddens, Gramsci, más. También literatura. Audioteca. Links

ConocimientosWeb
Portal de la educación no formal. Libros digitales (economía, teatro, poesía, místicos, novela, informática), artículos, descarga de software, enciclopedias y diccionarios, traductor, tests on-line, diversos temas, cápsula del saber, cursos y manuales, más

INFOAMERICA
Comunicación, cultura y sociedad. Textos y libros para descargar. Buscador por orden alfabético. Biografías y más de 15.000 artículos de revistas académicas. Espacio informativo iberoamericano. Habermas, Barthes, Vigotski, Chomsky, más

Psicología On-line
E-books, manuales, artículos, distintos autores de distintas Universidades, autoayuda, consultoría, tests, cursos, empleo

Liblit
Gratis. Por orden alfabético. Todos los temas y autores. Cuchitril literario, foro, esclavo lector. Heine, Victor Hugo, Hoffman, Henry James, Maimónides, Mahoma, Tomás Moro, Moliére, Marco Aurelio, K. Mansfield, Safo, Spinoza...

Zen y budismo zen
Para descargara, leer on-line y comprar. Los grandes maestros. Osho, Bodhidharma, T. Deshimaru, Philip Kapleau, Alan Watts, Dogen, David Chadwick, Lin-Chi, Eugene Herrigel, D.T. Suzuki, más. Haikus



Sociología Contemporánea
Descargar libros y artículos de sociólogos reconocidos

Libros budistas
Libros para descargar gratis o comprar

Quedelibros
Libros para descargar varias asignaturas

Libros Full Gratis
Psicología. Todas las materias

Biblioteca Virtual Universal
Biblioteca educativa, técnica, arte, joven y literaria. Bibliotecas rurales argentinas. Proyecto Crecer

Libros de Luz
Libros y artículos variados temas. Por orden alfabético

Edumet
Libros gratis de economía

Libro-s
Variados para descargar

Libros y Trabajos
Portal completo con enlaces a bibliotecas digitales, descarga de libros. Material sobre Historia Medieval, mentalidades (socio-cultural), fuentes para estudiantes universitarios

Grammata
Descarga de libros de calidad superior de lectura. Con registro

Librosintinta
Enlaces a descargas de libros, muy bueno. Todos los formatos y para ver online

Mancia
Descarga de libros de psicología (previa inscripción)

EnPlenitud
Descarga de libros, psicología, miscelánea (previa inscripción)

Sector Matemáticas
Buenos libros de matemáticas para niños y profesorado para descargar

Psicosystem
Manuales, enlaces a descarga de libros, cursos, y descarga de libros gratuitas sobre psicología, en general

Ciudad@City
Libros y textos compilados sobre cybercultura, comunicación y periodismo digital, web 2.0

Intercambiar
Libros sobre economía y finanzas

Puericultura y obstetricia
Links a descargas

Bejomi1
Audiolibros

Biblioteca Borges
Los libros que leyó Borges para descargar

Many books
Variados

Libros-pdf
Libros relacionados con todos los temas

Libroos
Todas las materias. Hay que registrarse

relibros
Libros de religión para descargar

xenciita
Manuales de medicina para descargar

Molwick
Libros de ciencias y otros

Libros Maravillosos
Ciencias, matemáticas, otros. para leer online o descargar

Personales
Bibliotecas virtuales, libros de autor

srtamartinez
Libros sobre periodismo y comunicación

Descarga Libros Gratis
Variados

¡Quiero leer!
Selección de libros electronicos, ebooks, elibros, libros digitales gratis, para leer online, bestsellers, textos, literatura en español, biblioteca online

Relatividad
Variados, erótica, matemáticas, wikilibros, enlaces

Portal psicológico
Pdfs sobre diversos temas

Libros de médicos
Atlas, manuales en español

Libros de médicos
Descarga de libros de medicina y afines, con comentarios

Novela negra
Reseñas

Genio Maligno
Variados

Feminismos, género e identidades
Libros y monografías para descargar. Bibliografía. Red de Bibliotecas. Ministerio de Educación

Antorcha
Libroteca virtual, descargas, fonoteca. Filosofía, derecho, psicología...

Dianoia Psicoanálisis
Varios descargar, Ferenczi, Freud, Reik, Thomas Mann

Biblioteca solidaria
Más de 200 libros para descargar

Repositorio de ciencia
Libros de ciencias

Portal psicología
Libros de psicología para descargar. Hay que registrarse

Literatura Libre
Varios

Biblioteca de la Iglesia Reformada
Variados. Reforma

Alieve
Libros de economía, matemáticas, y otros

eumet.net
Libros sobre economía y afines. Para leer online o descargar

Sociología contemporánea
Descargar gratis libros de sociología

ebookbrowse
Subir y bajar ebooks variados (gracias Sylvia!)

Descargar libros gratis área salud
Medicina y otros

Todotegusta
Libros de historia. Magnífica selección de libros, descarga gratuita o leer online

Ayúdame Freud
Descarga de ebooks sobre psicoanálisis

Textos en línea
Muchos textos interesantes. Filosofía, sociología, psicología, otros.

ConoZe.com
Textos para leer online. Filosofía y otras materias. ¡Interesante!

BookOnlineWorld
Buscador de ebooks gratis

Shakenataaagmeun
Blog con libros para descargar. Antropogeografía, psicopatología...

psicosocial.net
Grupo Acción Comunitaria. Descarga de libros de supervivientes del holocausto y otros genocidios

aula intercultural
Libros, guías, manuales, literatura infantil para descargar en pdf sobre interculturalidad

Fundación Luis Chiozza para el Enfermo Psicosomático del Enfermo Orgánico
Obras completas de Luis Chiozza

Biblioteca fragmentada
Feminismos, movimiento queer...

Bookcamping
Biblioteca virtual del 15M

Biblioteca Solidaria
Libros variados

Simone Weil
Site de la filósofa. Libros para descargar en diferentes idiomas

Descarga de libros de diseño
18 libros y manuales de diseño

Bookcamping
¿Qué libros te llevarías a la acampada? Copyleft

Biblioteca médica
Todas las áreas

Antropología en línea
Libros de antropología para descargar

Videoteca de humanidades
Vídeos y subtítulos en castellano para descargar

Omega Alfa
Descarga de libros variados por orden alfabético, por tema, por autor...

Libros franciscanos
Libros de Francisco de Asís y en torno a su figura

Salud y psicología
Libros para descargar, psicología, psicoanálisis

Libros en línea
Todo filosofía. Interesante

Calibre
Un programa gratuito e imprescindible para gestionar y cambiar el formato digital de los ebooks y poder cargarlos en tu lector de libros electrónicos. Imprescindible para hacer más práctico el Kindle y no depender sólo de la tienda de Amazon.

Manybooks
Libros de dominio público en 40 idiomas. También en español.

Feedbooks.com
Gran colección en inglés de obras contemporáneas de dominio público

Novaro
Un pequeño blog donde poder encontrar enlaces de descarga a cómics antiguos de la editorial Novaro 1949-1984 (Fantomas, Batman, Archie, La pequeña Lulú, etc.)

Free-ebooks
Variados

issue
Variados leer online

Recursos para pensar
Filosofía

joryx
Variados

lecturasinegoismo
Variados

e-prints Complutense
Artículos, documentos...

E-Books de la Fundación Wallemberg
Libros sobre Wallemberg, holocausto, judaísmo y otros

Descarga de guiones de cine fantástico
2001 Odisea del espacio, Blade Runner y otros

Asuntos sociales



Telemadre
Modelo social de intercambio entre madres desempleadas y personas que no pueden cocinar

El Observatorio
Responsabilidad social

Expat.com-Vivir en otro país
Blog de expatriados

Surt
Interesante web de ayuda a la mujer. Perspectiva construccionista y por competencias

Empleo, asuntos sociales e igualdad de oportunidades, Comisión Europea
Portal de la UE para asuntos sociales

Inserción Social
De Caja Madrid. Apoyo a la inserción social y laboral

Iniciativa ciudadana de la Comisión Europea
Documentos sobre iniciativa ciudadana en la UE

Link Social
Links diversos de interés social (infancia, maltrato, violencia, guerra...)

ciberacciones
Recogida de firmas para distintas causas

Canal Solidario
Voluntariado, ONGs, solidaridad, sostenibilidad

Comercio Justo
Noticias, propuestas, información

Negligencias Médicas
Denuncias

Denuncia pública
Denuncias a Salud Mental, Asistencia Social...

Maltrato y violencia
Blog del Instituto Europeo Campus Stellae. Cursos. Enlaces

Expact.Clic
Expatriación en femenino. Sitio para compartir la experiencia de la expatriación. Foros, artículos, experiencias, talleres. Testimonios. Galería. Links. Varios idiomas


Biblioteca Virtual Ser Indígena
Enlaces. Archivo digital, animaciones, bancos de imágenes, música, libros, monografías, infografías. Diccionarios lenguas indígenas. Weblogs indígenas


Acoso moral desde la óptica social
Página de María Parés. Artículos por ámbitos y por temas. Noticias. Enlaces

Actuable
Peticiones que puedes hacer a los a gobiernos y empresas para que actúen para cambiar el mundo

ATTAC
Justicia económica global

InspirAction
Movimiento global cuyo objetivo es ser el portavoz de los olvidados

Avaaz
Activistas

tupatrocinio
Búsqueda de patrocinadores para tus proyectos

No cruces el río con botas
Blog y radio sobre asuntos sociales


Europa para los ciudadanos y no para los mercados

ACSUR
Iniciativas solidarias. Publicaciones, información, enlaces

Discapnet
Todo para el discapacitado

Asociación Federal Derecho a Morir Dignamente
Suicidio asistido

Capenoa
En defensa de los pueblos indígenas

La ciudad viva
Web de información y participación ciudadana de la Consejería de Obras Públicas y Vivienda que se inscribe dentro de un proyecto político de mejora de la habitabilidad urbana y territorial, a través del diseño social, sostenible y productivo de los espacios públicos y domésticos de nuestras ciudades


Asociación Federal Derecho a Morir Dignamente
Testamento vital, cuidados paliativos, videoteca, etc.

SID Servicio de Información sobre Discapacidad
Artículos, agenda, legislatura

Solidaridad Digital
Discapacidad

Memoria Abierta
Documentación sobre los años de dictadura en la Argentina

Jiri Sliva




Más información en: www.toonpool.com y www.gallery.cz

Jessie Hartland


Jessie Hartland has illustrated numerous picture books for children, including two she wrote. Her fine artwork has been exhibited in New York, Venice, Tokyo, and elsewhere. She lives and works in New York City.

Jutta Bauer



Leer más en Los cuatro azules

Joan Brossa

Más información: Fundación Joan Brossa

Hernández Pijoan

Leer más en Anuaris cat

Matadero Madrid

FontShop

Angie Arscott

Robert Doisneau

Rob mack

Centre Pompidou

Man Ray

Everystreet

coco chanel

Máximo

Chema madoz

Giorgio Morandi

Lucio Fontana

Francis Picabia

Cy Twombly

Micro Marchelli

Alex Verney-Elliot

Sebastian Salgado

Saymour Chwast

Lewis Carroll

Raymond Queneau

Cedric Price

Juan Kancepolski

Robert Rauschenberg

Sight Unseen

Antoni Tapies

André Kertesz

Federico García Lorca

Anna Ticho

Joseph Beuys

Dorothea Lange

Maarten Brinkman

Ronald Ceuppens

Óscar Molina

Mateo Vidal Redondo

Mateo Vidal Redondo
Logo