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He later wrote, “I felt deeply moved, as if on the threshold of a new religion.”The cables that dominate this picture are the suspension cables. May 1–Sept 27, 2015 Stella saw this bridge as a force of inspiration, and a symbol of technology. En esta obra, el artista captura los inmensos cables, las luces parpadeantes, el tráfico bullicioso y las vistas espectaculares de su querido puente.Imaginen que acaban de entrar dentro de la pintura, quizás junto a alguien que nunca antes ha visitado Nueva York. It’s just a spectacular, spectacular experience. His fascination with the bridge began with his first sight of it shortly after his arrival in America in 1896 from his native Italy. Notice the different types of lights Stella added to the top and in between the openings of the bridge. Or maybe the headlights of cars rushing across the bridge, or the bright lights of theater on Broadway. O quizás a los faros delanteros de los autos que cruzan el puente a toda velocidad o a las luces brillantes de los teatros de Broadway.El artista Joseph Stella vio por primera vez el Puente de Brooklyn cuando llegó a Nueva York desde un pueblito del sur de Italia. El puente era un símbolo emblemático de las posibilidades que ofrecía el nuevo mundo: grandiosas y aterradoras al mismo tiempo. He is also associated with the American Precisionist movement of the 1910s–1940s. It gives you ample time to reflect upon the magnitude of the city, the achievements of the engineers and architects who made the city what it is. However, Stella quickly abandoned his medical studies and turned instead to art, studying with William Merritt Chase at the New York School of Art. Es posible que les recuerden a las estrellas que hay en el cielo. In 1939, Joseph Stella, an Italian immigrant tried to capture the excitement he found on the city streets of New York in his painting The Brooklyn Bridge. The people walking on the walkway coming towards you, walking with you, also remind you of the real diversity of the city. Apr 28, 2017–June 2, 2019 To Italian-born Joseph Stella, who immigrated to New York at the age of nineteen, New York City was a nexus of frenetic, form-shattering power. This massive bridge is almost shaking with energy. Cruzar el puente a pie y acercarse a Manhattan andando es algo que es difícil de reproducir en cualquier otra parte.
To walk across the bridge and to approach Manhattan at a walking pace is something that is hard to reproduce anywhere else. (220 × 199.4 × 5.9 cm)Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. He was struck by the technological wonders of the city. Permite reflexionar sobre la magnitud de la ciudad, sobre los logros de los ingenieros y arquitectos que han hecho de esta ciudad lo que es hoy. The large scale of the work—it is nearly six feet tall—conjures a Renaissance altar, while the Gothic style of the massive pointed arches evokes medieval churches. Aug 29, 2007–Jan 13, 2008 Dec 22, 2012–June 29, 2014 June 29–Sept 3, 2006 The Brooklyn Bridge was really a ground-breaking suspension bridge. New Haven, Connecticut Joseph Stella, a modernist who explored numerous styles and subjects, is best known for his images of the Brooklyn Bridge. Sin duda es una experiencia sencillamente espectacular.Artist Joseph Stella first saw the Brooklyn Bridge when he arrived in New York from a small town in southern Italy. Review and updating of such records is ongoing. Muchas noches Stella visitaba la vasta extensión de la pasarela peatonal del puente. They might remind you of the stars above. Although he would experiment with a variety of approaches throughout his career, Stella pioneered Futurism in the United States upon his return to New York in 1912.

Fue diseñado por John Roebling, el ingeniero civil que quiso conectar Brooklyn con Nueva York, dos ciudades separadas por el río Este.La pasarela del Puente de Brooklyn es una de los paseos más emblemáticos del mundo. Find the city sparkling ahead of you. This piece, painted toward the end of his life, blends the Futurist and Cubist sensibilities of his early work with the religious undertones and saturated color that typify the paintings he produced in Europe during the late 1920s and early 1930s.

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