Aquatints
Aquatints
From the mid-sixties of the twentieth century, the colored aquatint occupies a central place in his artistic work. During that period, Barry's mature style also took shape. It is marked by the consistent tendency to focus on the values of form and structure as elements that dictate the artistic content of the work.
In Bari's abstract aquatints from the beginning of this period (1965), the influence of the Tacheist style disappears. The place of the organic tissues is taken by geometric motifs which have been at the center of the artist's work ever since. The color scale of the aquatints also changes and shades gradually and is characterized by the use of pure color surfaces.
Only a few of Barry's mature works are modeled on the purity of the abstract style. Already in the early aquatints, apart from the abstract meaning, Bari sometimes added to the circles that appear in them a "concrete" conceptual meaning, linking them to celestial bodies (sun, moon, stars, etc.).
In later prints, the circles as well as the other geometric shapes are seen surrounded by amorphous color surfaces and soft fog-like edges, and they create a halo environment that can be interpreted as a cosmic space, in which mysterious celestial bodies float.
The titles that Barry himself gave to some of the aquatints, which link them to the stories of creation, to classical myths related to space, to astronomical phenomena and to flights in outer space, indeed open a door to the interpretation of his icon
By Prof. Avraham Ronan
Acrylic
Acrylic images
A composition rich in elements
Beeri's style is also expressed in acrylic images, maintaining a style of plenty of graphic elements that can also be seen in watercolor images. You see his distinct style, a maximalist artist who believes that the artist must create an artistic work rich in elements to catch the viewer's eye
Watercolor
1998
1998
1977
1998
Watercolor images
By Prof. Avraham Ronen
Beeri's watercolor paintings are a division that stands on its own within the entirety of his work. From 1965 onwards, a rich and incredibly diverse pictorial system was built in them consisting of a series of layers, arranged on both sides of a vertical axis. The contrasting structure of these layers refreshes the seemingly symmetrical composition. In some of these paintings, Beeri deviates completely from the symmetrical structure and designs a free structure with a dynamic nature.
Tuvia Beeri, the romantic, used to give his beloved wife, Esther Shulman Beeri, a painting of a flower with a dedication on her birthday as a gift.
(photo by Cairo to Elio)
Oil
Oil paintings
By Prof. Avraham Ronen
Beeri's first works were oil paintings. In the early ones (1957 - 1955) there are sections of stylized urban landscapes. However, his paintings from 1958 onwards bear the stamp of the influence of the abstract, tacheist (stained), and "lyrical" style. This style is one of the phenomena of "informal" painting - the dominant trend in European art in the years after World War II, which also influenced Israeli painting of that time. This is how Beeri, at the beginning of his career as an artist, joins the pioneers of abstract painting in Israel
Sculpture
Green Sculpture
Tuvia Beeri has quite a few figurines. He used to sculpt for fun from materials he found on trips in Israel in the Yarkon River area and around the world.
A central theme for the sculpture was self-image, the family, and animals – which can be seen in some of the sculptures.
(Photos: Ciro Elio)
Sculpture
Flowers
Flowers 2002
Flowers of the Land of Israel
Flowers 2002 A catalog of the flowers of the Land of Israel was ordered from him. Later, the flowers became a series that was printed in letterpress for a catalog. (Photo by Cairo Elio)
Print technique an image that has been
transferred to paper or another substrate from a frame made of durable material. A drawing is recorded on vellum and then it undergoes processing that allows it to be smeared with color and the image printed on the paper, manually or using an embosser.
A drawing is recorded on vellum and then it undergoes processing that allows it to be smeared with color and the image printed on the paper, manually or using an embosser.
Intaglio printing, such as etching and engraving, cuts parts of the pulp and in the grooves that are created by the accumulation of color, a lot of pressure is needed for the color to move from the grooves and depressions of the pulp to the paper. Therefore, the pressure of a press is required. A relief print, such as the woodcut and linoleum, is printed from a relief in which the prominent parts left after the relief are those that are painted. This is an easier printing and can also be done with manual pressure - using the surface process, and planographic print method. The relatively new, such as lithography and offset, prepare parts of the surface of the pulp to absorb the printing color. At the time of the development of printing, in Europe in the 15th century, it was the only means of reproduction that allowed the installation and distribution of paintings and any other visual material. Defined and independent, parallel to the painting.
the teacher
Teacher and friend
Johnny Friedlander was born in 1912 in a town in the region of Silesia, which was part of the German Empire at the time. In 1922, he completed his studies in Barcelona and began studying art. In 1930, he moved to Dresden, and in 1933, he settled in Berlin and also visited Paris. During the 1950s, Friedlander participated in several exhibitions and achieved success.
He traveled with his exhibitions to the United States, Japan, and Brazil.
Simultaneously, he established an art school where painters from around the world studied. Tobia Bari was one of his students, who later studied with him after receiving a scholarship in the country. Over time, Friedlander became a mentor in the workshops and eventually friends. His influence can be seen in his artworks.
1983
1982
1988
1983