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Supplementary Information For
1 2 Supplementary Information for 3 Dissecting landscape art history with information theory 4 Byunghwee Lee, Min Kyung Seo, Daniel Kim, In-seob Shin, Maximilian Schich, Hawoong Jeong, Seung Kee Han 5 Hawoong Jeong 6 E-mail:[email protected] 7 Seung Kee Han 8 E-mail:[email protected] 9 This PDF file includes: 10 Supplementary text 11 Figs. S1 to S20 12 Tables S1 to S2 13 References for SI reference citations www.pnas.org/cgi/doi/10.1073/pnas.2011927117 Byunghwee Lee, Min Kyung Seo, Daniel Kim, In-seob Shin, Maximilian Schich, Hawoong Jeong, Seung Kee Han 1 of 28 14 Supporting Information Text 15 I. Datasets 16 A. Data curation. Digital scans of landscape paintings were collected from the two major online sources: Wiki Art (WA) (1) 17 and the Web Gallery of Art (WGA) (2). For our purpose, we collected 12,431 landscape paintings by 1,071 artists assigned to 18 61 nationalities from WA, and 3,610 landscape paintings by 816 artists assigned with 20 nationalities from WGA. While the 19 overall number of paintings from WGA is relatively smaller than from WA, the WGA dataset has a larger volume of paintings 20 produced before 1800 CE. Therefore, we utilize both datasets in a complementary way. 21 As same paintings can be included in both datasets, we carefully constructed a unified dataset by filtering out the duplicate 22 paintings from both datasets by using meta-information of paintings (title, painter, completion date, etc.) to construct a unified 23 set of painting images. The filtering process is as follows. -
Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker
Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker Volume One Carol Ann Gilchrist A thesis submitted for the degree of Doctor of Philosophy Department of Art History School of Humanities Faculty of Arts University of Adelaide South Australia October 2015 Thesis Declaration I certify that this work contains no material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. In addition, I certify that no part of this work will, in the future, be used for any other degree or diploma in any university or other tertiary institution without the prior approval of the University of Adelaide and where applicable, any partner institution responsible for the joint-award of this degree. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying, subject to the provisions of the Copyright Act 1968. I also give permission for the digital version of my thesis to be made available on the web, via the University‟s digital research repository, the Library Search and also through web search engines, unless permission has been granted by the University to restrict access for a period of time. __________________________ __________________________ Abstract Gestural abstraction in the work of Australian painters was little understood and often ignored or misconstrued in the local Australian context during the tendency‟s international high point from 1947-1963. -
Despite the Stereotype That an Artistic Stage of Cracow After World War 2
uart ↪Q Nr 3(25)/2012 Summary TOMASZ GRYGLEWICZ/ Geometric Abstraction in Cracow artistic milieu in 1960-2010 Despite the stereotype that an artistic stage of Cracow after World War 2 was domi- nated by Colourism, Surrealism, Tachisme and Matter Painting – distinctly present in the circle of the Second Krakow Group and its leader Tadeusz Kantor, and in the later period dominated by expressionistic figuration, we may also observe in the Cra- cow milieu a significant interest for cold Geometric Abstraction that is based on opti- cal effects. Especially after 1960 we can follow in Cracow development of various tendencies in Geometric Abstraction to name only Op Art, Minimal Art or Post Painterly Abstrac- tion. This development was undoubtedly affected by succeeding exhibitions of the International Print Biennial (at present Print Triennial) within which works from this artistic circle appeared next to popular in the 1960s Pop Art. Different versions of Geometric Abstraction were practised, for instance, by the following artists: Alina Kalczyńska, Ryszard Otręba and Jan Pamuła who, as one of the first artists in Poland, paid his attention to computer graphic art. The initiated in the 1960s trend for Geo- metric Abstraction in Cracow painting and graphics has been continued till today, being at the same time an alternative to figurative tendencies and multimedia art. The author discusses the succeeding generations of artists from Cracow dealing with Geometric Abstractionism, starting from emigrant artist Mieczysław Janikowski, who studied in Cracow as early as before the war and was a joint between inter-war and post-war avant-garde, and reaching at the Action of Abstraction Revaluation, un- dertaken by the Cracow gallery F.A.I.T in 2008–2009 with participation of the young- est artistic generation. -
Judit Nagy Cultural Encounters on the Canvas
JUDIT NAGY CULTURAL ENCOUNTERS ON THE CANVAS: EUROPEAN INFLUENCES ON CANADIAN LANDSCAPE PAINTING 1867–1890 Introduction Whereas the second half of the 19th century is known as the age of transition in Victorian England, the post-confederation decades of the same century can be termed the age of possibilities in Canadian landscape painting, both transition and possibilities referring to a stage of devel- opment which focuses on potentialities and entails cultural encounters. Fuelled both by Europe’s cultural imprint and the refreshing impressions of the new land, contemporary Canadian landscapists of backgrounds often revealing European ties tried their hands at a multiplicity and mixture of styles. No underlying homogenous Canadian movement of art supported their endeavour though certain tendencies are observable in the colourful cavalcade of works conceived during this period. After providing a general overview of the era in Canadian landscape painting, the current paper will discuss the oeuvre of two landscapists of the time, the English-trained Allan Edson, and the German immigrant painter Otto Reinhold Jacobi1 to illustrate the scope of the ongoing experimentation with colour and light and to demonstrate the extent of European influence on contemporary Canadian landscape art. 1 Members of the Canadian Society of Artists, both Edson and Jacobi were exceptional in the sense that, unlike many landscapists at Confederation, they traded in their European settings into genuine Canadian ones. In general, “artists exhibited more scenes of England and the Continent than of Ontario and Quebec.” (Harper 179) 133 An overview of the era in landscape painting Meaning to capture the spirit of the given period in Canadian history, W. -
Happy Valentine's 2020
Happy Valentine's 2020 Americans began exchanging Valentines in the 1700s. In the 1800s Esther Howland took it to a new level during the Civil War when Valentines were very popular. Families, friends and loved ones were separated and feared they would never see each other again. Esther Howland popularized and mass-produced Valentine’s Day cards like this one, using lace, ribbons and colorful paper. She had an all-women assembly line in Worcester, Massachusetts, which started in her bedroom in her family home and grew to have annual revenues of $100,000. (substantial at that time). This forgotten entrepreneur - Esther who? - was a classmate of Emily Dickinson at Mount Holyoke and named her booming business The New England Valentine Company. 1 of 23 People enjoyed sending tokens of affection, poems, pictures, locks of hair and simple homemade cards. Now they could purchase elaborate ones with hidden doors, gilded lace and artistic illustrations. The visionary Esther became known as "The Mother of the American Valentine." (Courtesy American Antiquarian Society) 2 of 23 I can't send you a three dimensional Valentine with accordion effects and a string which moves a bouquet of flowers to reveal a verse (Esther's innovation - still used today), but I am sending you some paintings evocative of the spirit of Valentine's Day. I am featuring American painters in our GDAS year of Americana. 3 of 23 Sundown at Yosemite , Alfred Bierstadt, 1863 Romantic souls love sunsets. A recent survey showed most adults feel a sunset puts them in a romantic mood, even more than dinner by candlelight. -
The Pennsylvania State University the Graduate School College Of
The Pennsylvania State University The Graduate School College of Arts and Architecture CUT AND PASTE ABSTRACTION: POLITICS, FORM, AND IDENTITY IN ABSTRACT EXPRESSIONIST COLLAGE A Dissertation in Art History by Daniel Louis Haxall © 2009 Daniel Louis Haxall Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2009 The dissertation of Daniel Haxall has been reviewed and approved* by the following: Sarah K. Rich Associate Professor of Art History Dissertation Advisor Chair of Committee Leo G. Mazow Curator of American Art, Palmer Museum of Art Affiliate Associate Professor of Art History Joyce Henri Robinson Curator, Palmer Museum of Art Affiliate Associate Professor of Art History Adam Rome Associate Professor of History Craig Zabel Associate Professor of Art History Head of the Department of Art History * Signatures are on file in the Graduate School ii ABSTRACT In 1943, Peggy Guggenheim‘s Art of This Century gallery staged the first large-scale exhibition of collage in the United States. This show was notable for acquainting the New York School with the medium as its artists would go on to embrace collage, creating objects that ranged from small compositions of handmade paper to mural-sized works of torn and reassembled canvas. Despite the significance of this development, art historians consistently overlook collage during the era of Abstract Expressionism. This project examines four artists who based significant portions of their oeuvre on papier collé during this period (i.e. the late 1940s and early 1950s): Lee Krasner, Robert Motherwell, Anne Ryan, and Esteban Vicente. Working primarily with fine art materials in an abstract manner, these artists challenged many of the characteristics that supposedly typified collage: its appropriative tactics, disjointed aesthetics, and abandonment of ―high‖ culture. -
Abstract Expressionism
A Visual History of the Visual Arts Part 2: From Abstract Art to Conceptual Art Piero Scaruffi www.scaruffi.com 1 The Space Age MOMA Flowchart for “Cubism and Abstract Art” (1936) 2 The Space Age • Painting – Abstract Expressionism • The center of mass of modernism shifts from Paris to New York • New York imports cubism (abstraction) and surrealism (automatism), which create the dialectic between the conscious (geometric shapes) and unconscious (spontaneous expression) • Alienation of humans from the technological world causes angst (while European abstract painters marvel and rejoice) • Little abstract expressionism in sculpture 3 The Space Age • Painting – Abstract Expressionism/Action Painting • Hans Hofmann (1880, Germany) • Arshile Gorky (1905, Armenia) • Wilhelm de Kooning (1904, Holland) • Jackson Pollock (1912, USA) • Adolph Gottlieb (1903, USA) • Robert Motherwell (1915, USA) • Joan Mitchell (1926, USA) 4 The Space Age • Abstract Expressionism – Arshile Gorky • Automatism but grounded in autobiography 5 “Garden in Sochi” series (1940-41) The Space Age • Abstract Expressionism – Jackson Pollock • The subconscious • Jung’s influence “Male and Female” (1942) 6 “Lavender Mist” (1950) The Space Age • Abstract Expressionism – Jackson Pollock • Action painting • Holistic • Non-referential “Autumn Rhythm” (1950) 7 “Blue Poles” (1952) The Space Age • Abstract Expressionism – Wilhelm de Kooning • More cubist than surrealist “Attic” (1949) 8 “Excavation” (1950) The Space Age • Abstract Expressionism – Wilhelm de Kooning • And even expressionist -
Canadian, Impressionist & Modern
CanAdiAn, impressionist & modern Art Sale Wednesday, december 2, 2020 · 4 pm pt | 7 pm et i Canadian, impressionist & modern art auCtion Wednesday, December 2, 2020 Heffel’s Digital Saleroom Post-War & Contemporary Art 2 PM Vancouver | 5 PM Toronto / Montreal Canadian, Impressionist & Modern Art 4 PM Vancouver | 7 PM Toronto / Montreal previews By appointment Heffel Gallery, Vancouver 2247 Granville Street Friday, October 30 through Wednesday, November 4, 11 am to 6 pm PT Galerie Heffel, Montreal 1840 rue Sherbrooke Ouest Monday, November 16 through Saturday, November 21, 11 am to 6 pm ET Heffel Gallery, Toronto 13 Hazelton Avenue Together with our Yorkville exhibition galleries Thursday, November 26 through Tuesday, December 1, 11 am to 6 pm ET Wednesday, December 2, 10 am to 3 pm ET Heffel Gallery Limited Heffel.com Departments Additionally herein referred to as “Heffel” Consignments or “Auction House” [email protected] appraisals CONTACt [email protected] Toll Free 1-888-818-6505 [email protected], www.heffel.com absentee, telephone & online bidding [email protected] toronto 13 Hazelton Avenue, Toronto, Ontario M5R 2E1 shipping Telephone 416-961-6505, Fax 416-961-4245 [email protected] ottawa subsCriptions 451 Daly Avenue, Ottawa, Ontario K1N 6H6 [email protected] Telephone 613-230-6505, Fax 613-230-6505 montreal Catalogue subsCriptions 1840 rue Sherbrooke Ouest, Montreal, Quebec H3H 1E4 Heffel Gallery Limited regularly publishes a variety of materials Telephone 514-939-6505, Fax 514-939-1100 beneficial to the art collector. An Annual Subscription entitles vanCouver you to receive our Auction Catalogues and Auction Result Sheets. 2247 Granville Street, Vancouver, British Columbia V6H 3G1 Our Annual Subscription Form can be found on page 103 of this Telephone 604-732-6505, Fax 604-732-4245 catalogue. -
Rise of Modernism
AP History of Art Unit Ten: RISE OF MODERNISM Prepared by: D. Darracott Plano West Senior High School 1 Unit TEN: Rise of Modernism STUDENT NOTES IMPRESSIONISM Edouard Manet. Luncheon on the Grass, 1863, oil on canvas Edouard Manet shocking display of Realism rejection of academic principles development of the avant garde at the Salon des Refuses inclusion of a still life a “vulgar” nude for the bourgeois public Edouard Manet. Olympia, 1863, oil on canvas Victorine Meurent Manet’s ties to tradition attributes of a prostitute Emile Zola a servant with flowers strong, emphatic outlines Manet’s use of black Edouard Manet. Bar at the Folies Bergere, 1882, oil on canvas a barmaid named Suzon Gaston Latouche Folies Bergere love of illusion and reflections champagne and beer Gustave Caillebotte. A Rainy Day, 1877, oil on canvas Gustave Caillebotte great avenues of a modern Paris 2 Unit TEN: Rise of Modernism STUDENT NOTES informal and asymmetrical composition with cropped figures Edgar Degas. The Bellelli Family, 1858-60, oil on canvas Edgar Degas admiration for Ingres cold, austere atmosphere beheaded dog vertical line as a physical and psychological division Edgar Degas. Rehearsal in the Foyer of the Opera, 1872, oil on canvas Degas’ fascination with the ballet use of empty (negative) space informal poses along diagonal lines influence of Japanese woodblock prints strong verticals of the architecture and the dancing master chair in the foreground Edgar Degas. The Morning Bath, c. 1883, pastel on paper advantages of pastels voyeurism Mary Cassatt. The Bath, c. 1892, oil on canvas Mary Cassatt mother and child in flattened space genre scene lacking sentimentality 3 Unit TEN: Rise of Modernism STUDENT NOTES Claude Monet. -
NINETEENTH CENTURY AMERICAN PAINTINGS at BOWDOIN COLLEGE Digitized by the Internet Archive
V NINETEENTH CENTURY^ AMERIGAN PAINTINGS AT BOWDOIN COLLEGE NINETEENTH CENTURY AMERICAN PAINTINGS AT BOWDOIN COLLEGE Digitized by the Internet Archive in 2015 https://archive.org/details/nineteenthcenturOObowd_0 NINETEENTH CENTURY AMERICAN PAINTINGS AT BOWDOIN COLLEGE BOWDOIN COLLEGE MUSEUM OF ART 1974 Copyright 1974 by The President and Trustees of Bowdoin College This Project is Supported by a Grant from The National Endowment for The Arts in Washington, D.C. A Federal Agency Catalogue Designed by David Berreth Printed by The Brunswick Publishing Co. Brunswick, Maine FOREWORD This catalogue and the exhibition Nineteenth Century American Paintings at Bowdoin College begin a new chapter in the development of the Bow- doin College Museum of Art. For many years, the Colonial and Federal portraits have hung in the Bowdoin Gallery as a permanent exhibition. It is now time to recognize that nineteenth century American art has come into its own. Thus, the Walker Gallery, named in honor of the donor of the Museum building in 1892, will house the permanent exhi- bition of nineteenth century American art; a fitting tribute to the Misses Walker, whose collection forms the basis of the nineteenth century works at the College. When renovations are complete, the Bowdoin and Boyd Galleries will be refurbished to house permanent installations similar to the Walker Gal- lery's. During the renovations, the nineteenth century collection will tour in various other museiniis before it takes its permanent home. My special thanks and congratulations go to David S. Berreth, who developed the original idea for the exhibition to its present conclusion. His talent for exhibition installation and ability to organize catalogue materials will be apparent to all. -
Sigrid Ruby the Give and Take of American Painting in Postwar Western Europe
The American Impact on Western Europe: Americanization and Westernization in Transatlantic Perspective Conference at the German Historical Institute Washington, D.C., March 25–27, 1999 Sigrid Ruby The Give and Take of American Painting in Postwar Western Europe www.ghi-dc.org/conpotweb/westernpapers/ruby.pdf ©Sigrid Ruby 1 The Give and Take of American Painting in Postwar Western Europe (Sigrid Ruby) The standard narrative of 20th century art maintains that with the advent of abstract expressionism in the late 1940s American painting for the very first time made a genuine contribution to the course of Western art history. This at first sight eurocentristic narrative relies on the conceptualization of modern art as an evolutionary process, mainly conditioned by the esthetic qualities of the autonomous art work and urged on by successive vanguard movements. Pointing out its formal inventiveness and radical newness, its painterly grandeur, purity of means, and artistic self-consciousness, art historical writing has naturalized abstract expressionism as an integral part - if not the climax or glorious finale1 - of the modernist adventure. In 1970, the American art critic Irving Sandler published „Abstract Expressionism. The Triumph of American Painting.“2 The book perpetuated the by then well- established modernist interpretation of abstract expressionism, but the somewhat self-congratulatory title suggests a bias which became crucial for a revisionist reading of this „triumph“ in the following years. Max Kozloff‘s article „American Painting During the Cold War,“3 Eva Cockroft’s „Abstract Expressionism. Weapon of the Cold War,“4 and, especially, Serge Guilbaut’s book „How New York Stole the Idea of Modern Art“5 are landmarks of a new, materialist approach in dealing with post- 1945 art history and its American contribution. -
Francis Bacon: the Logic of Sensation
Francis Bacon: the logic of sensation GILLES DELEUZE Translated from the French by Daniel W. Smith continuum LONDON • NEW YORK This work is published with the support of the French Ministry of Culture Centre National du Livre. Liberte • Egalite • Fraternite REPUBLIQUE FRANCAISE This book is supported by the French Ministry for Foreign Affairs, as part of the Burgess programme headed for the French Embassy in London by the Institut Francais du Royaume-Uni. Continuum The Tower Building 370 Lexington Avenue 11 York Road New York, NY London, SE1 7NX 10017-6503 www.continuumbooks.com First published in France, 1981, by Editions de la Difference © Editions du Seuil, 2002, Francis Bacon: Logique de la Sensation This English translation © Continuum 2003 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical including photocopying, recording or any information storage or retrieval system, without prior permission in writing from the publishers. British Library Gataloguing-in-Publication Data A catalogue record for this book is available from The British Library ISBN 0-8264-6647-8 Typeset by BookEns Ltd., Royston, Herts. Printed by MPG Books Ltd., Bodmin, Cornwall Contents Translator's Preface, by Daniel W. Smith vii Preface to the French Edition, by Alain Badiou and Barbara Cassin viii Author's Foreword ix Author's Preface to the English Edition x 1. The Round Area, the Ring 1 The round area and its analogues Distinction between the Figure and the figurative The fact The question of "matters of fact" The three elements of painting: structure, Figure, and contour - Role of the fields 2.