DOCSLIB.ORG

An Investigation of “Revelation” in Contemporary Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
An Investigation of “Revelation” in Contemporary Art Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses 1969 An Investigation of “Revelation” in Contemporary Art John Brian Skoor Central Washington University Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Art Education Commons, and the Liberal Studies Commons Recommended Citation Skoor, John Brian, "An Investigation of “Revelation” in Contemporary Art" (1969). All Master's Theses. 1030. https://digitalcommons.cwu.edu/etd/1030 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. AN INVESTIGATION OF "REVELATION" IN CONTEMPORARY ART A Thesis Presented to The Graduate Faculty Central Washington State College Ellensburg, Washington In Partial Fulfillment of the Requirements for the Degree Master of Art by John Brian Skoor June, 1969 ~-9 M'jlnqstta\B 0 :.li~uo::> :.lle'lS -~u,'\s-e M \"1lua') £.J.-e1qn '' ROl!03110J 1V103dS i-eo;s f ·\LLS Ql APPROVED FOR THE GRADUATE FACULTY ________________________________ E. Frank Bach, COMMITTEE CHAIRMAN _________________________________ Louis A. Kollmeyer _________________________________ Edward C. Haines ACKNOWLEDGMENTS To Mr. Edward Haines and Dr. Louis Kollmeyer, I extend grateful appreciation. Their support of my efforts over the past few years has been most encouraging. The amount of understanding and concern given me by my committee chairman, Mr. Frank Bach, was greatly appreciated. His whole outlook on life, and his attitude toward the concept developed in this thesis, made the research a pleasure. A special thanks is here extended to Mr. Bach. To Dr. Roy A. Cheville, presiding Patriarch of the Reorganized Church of Jesus Christ of Latter Day Saints, whose very life is a living example of the concept of revelation in the life of an individual, and who gave me the idea for this thesis, I extend my thanks. TABLE OF CONTENTS CHAPTER PAGE I. THE PROBLEM AND DEFINITIONS OF TERMS USED • . 1 The Problem • . 1 Statement of the problem . 1 Importance of the study • . 2 Definitions of Terms Used • . 2 Revelation • • • • • • . 2 Self-Revelation • • • • . 2 Revelation of God • . 2 Form 3 Content . 3 II. REVIEW OF THE LITERATURE . 4 Revelation: In a Universe Under Continual Creation . 4 Revelation: A Revealing of Self Through One's Own Unique Individual Expression • 10 III. ANALYSIS AND INTERPRETATIONS OF CREATIVE WORKS •• 14 Marc Chagall • • • • • • • • • • • • • • • . • 14 Naum Gabo . • 20 Vincent van Gogh . • • . • • • . • . • 25 Wassily Kandinsky • • • . • • • • . • 32 Jacques Lipchitz ••• . • 37 IV. SUlYIMARY AND CONCLUSIONS . 41 iii CHAPTER PAGE BIBLIOGRAPHY 46 APPENDIX 50 AN INVESTIGATION OF "REVELATION" IN CONTEMPORARY ART CHAPTER I THE PROBLEM AND DEFINITIONS OF TERMS USED This research is based on the hypothesis that basic to any work of art, or religious organization, is the concept of revelation. The majority of lay individuals tend to deemphasize this "spiritual force" and to label those who claim to have experienced it as "mystics"; certain visual artists, poets, musicians, and others, however, consider this concept vital to the life of their creative works. In essence, this research is being proposed for the purpose of showing that basic to the form of a work of art, as well as a religious organization, is the content. This writer will attempt to emphasize the great significance of revelation in a universe experiencing continual creation. I. THE PROBLEM Statement of the problem. It is the purpose of this study (1) to investigate various examples of paintings and sculptures in which the artist claimed to have revealed himself or to have had a spiritual experience in the creation of the work; (2) to present several select state­ ments by artists and theologians who claim revelation is 2 the dynamic, sustaining force in all creation; \,3) to correlate art and religion, emphasizing that the common thread which underlies them both is revelation. Importance of the study. Most observers, whether in an art gallery or a church, tend to see only the form of the object under consideration, and fail to see the abstract, intangible content of the work. This study attempts to emphasize the importance of becoming sensitive to that certain force which soars above and beyond the form. This writer believes that this force is revelation and may be expressed in the artist's work as a part of a universe undergoing continual creation. II. DEFINITIONS OF TERMS USED Revelation. The act of revealing or disclosing to others (38:725). The dynamic force which is basic to all creative activity. Self-Revelation. The disclosure of an individual's unique insights, and vision, in his creative work. The reflection of one's inner self in an outward, visual manifestation. Revelation of God. God's disclosure or manifesta- ----------- ~ ~ tion of Himself or of His will to man, as through some 3 act, oracular words, signs or laws (38:725); that which is revealed by God to man. This study accepts as a limitation the idea of "God" as professed generally in the Christian dogma; it strongly emphasizes the concept of continued revelation. God's revelation is not bound in a book, such as the Bible, but is a continuous occurrence in the lives of men. This writer believes that the Bible contains the revelation of God; however, he does not believe that revelation ceased when the scriptures were canonized. Form. The outward, physical appearance of an object. In art this would involve the arrangement of the elements of line, color, texture, shape, and space. In religion this would involve the organizational structure, including the physical appearance as well as the liturgy. Content. The dynamic force underlying the form. The force which gives the form life. This writer considers "revelation" to be the basic power of content. CHAPTER II REVIEW OF THE LITERATURE Revelation as a concept is not new. Throughout the ages, man has attempted to discover himself and his rela- tionship with a "God," or a force or power beyond the self. This research will deal with the artist's concept of revelation in his creative expression. In order to under- stand the meaning of revelation, it is necessary to present some contemporary thought in regard to the concept of revelation as related to The Creator. The following will be a brief review of contemporary thought relating to the revelation of God. In conclusion, a presentation of various artists' comments on revelation will be given. This discussion will involve revelation in the narrow sense as related to the Christian church, as well as the broader sense, the revelation of God in His creation. I. REVELATION IN A UNIVERSE UNDER CONTINUAL CREATION The pattern of the creative mind, an external idea, manifested in material form by an unresting energy, with an outpouring of power that at once inspires, judges, and communicates the work; all these three being one and the same in the mind and one and the same in the work (30-23). This, Dorothy Sayers emphasizes in her book, The Mind of The Maker, is the pattern laid down by the theologians, 5 as the pattern of the "Being of God." She goes on to say that if this is true, then the mind of the maker and the Mind of The Maker are formed on the same pattern, and all their works are made in their own image (30-213). The theme of her writings deals with the evercreating God, the living author whose span of activity extends infinite beyond our racial memory in both directions. We never see his great work finished •••. There is indeed a school of thought which imagines that God having created His Universe • left his work to get on with itself. • We simply do not know of any creation which goes on creating itself in variety when the creator has withdrawn from it {30:58). Sayer suggests that it is the nature of the word to reveal itself and to incarnate itself. The word assumes material form. She compares it to a book which, she says, has a three-fold being: (1) As thought, which is an idea existing in the creators; (2) the book as written, being the energy or word incarnate; (3) the book as read, which is the power of its effect upon the responsive mind (30:113-115). Martin Buber, an Existentialist theologian, says that in the Bible, life is a constant dialogue between the above and the below. Then he goes on to ask the question: "Does this still apply to our present day life?" Believers 6 and unbelievers deny it. A common belief today is that though everything contained in the scriptures is literally true, though God did certainly speak to men chosen by Him, yet, since then, the Holy Spirit has been taken from us, heaven is silent to us, and only through books of the written and oral tradition is God's will made known to us as to what we shall or shall not do. Certainly even today, the worshiper stands immediately before his creator; but how could he dare, like the psalmist, report words of per­ sonal reply as spoken immediately to him (8:194-195). Buber goes on to say that a faithful unprepossessed reader of scripture must endorse the view he has learned from it: What happened once happens now and always, and the fact of its happening to us is a guarantee of its having happened. Kierkegaard once remarked: " • • to say that the eternal God, conceived as absolute perfection, revealed Himself in His fullness in one specimen of the temporal world is indeed a thought which is the downfall of reason." (35:6).
Load more

Recommended publications
  • The Origins and Meanings of Non-Objective Art by Adam Mccauley
    The Origins and Meanings of Non-Objective Art The Origins and Meanings of Non-Objective Art Adam McCauley, Studio Art- Painting Pope Wright, MS, Department of Fine Arts ABSTRACT Through my research I wanted to find out the ideas and meanings that the originators of non- objective art had. In my research I also wanted to find out what were the artists’ meanings be it symbolic or geometric, ideas behind composition, and the reasons for such a dramatic break from the academic tradition in painting and the arts. Throughout the research I also looked into the resulting conflicts that this style of art had with critics, academia, and ultimately governments. Ultimately I wanted to understand if this style of art could be continued in the Post-Modern era and if it could continue its vitality in the arts today as it did in the past. Introduction Modern art has been characterized by upheavals, break-ups, rejection, acceptance, and innovations. During the 20th century the development and innovations of art could be compared to that of science. Science made huge leaps and bounds; so did art. The innovations in travel and flight, the finding of new cures for disease, and splitting the atom all affected the artists and their work. Innovative artists and their ideas spurred revolutionary art and followers. In Paris, Pablo Picasso had fragmented form with the Cubists. In Italy, there was Giacomo Balla and his Futurist movement. In Germany, Wassily Kandinsky was working with the group the Blue Rider (Der Blaue Reiter), and in Russia Kazimer Malevich was working in a style that he called Suprematism.
    [Show full text]
  • Berta Fischer, Björn Dahlem, Naum Gabo Into Space
    PRESS RELEASE Exhibtion Berta Fischer, Björn Dahlem, Naum Gabo Into Space Haus am Waldsee International Art in Berlin 18 October 2020 to 10 January 2021 Press preview: Fri, 16 October 2020, 11 am. Berta Fischer and Björn Dahlem will be present. „Into Space“ deals with the human longing for space, weightlessness, distant galaxies and the belief in hitherto incomprehensible energies beyond our perception. Three sculp- tors reflect upon the interfaces between art and science over a century and from Berlin. Following the exhibition „Lynn Chadwick, Hans Uhlmann, Katja Strunz“, which explored the subject of „Fold“ at Haus am Waldsee in 2019, Björn Dahlem (*1974), Berta Fischer (*1973) and Naum Gabo (1890 - 1977) are now taking up an artistic conversation about space and time between 1920 and 2020 with installations and sculptures. For Naum Gabo, art in the 1920s was a means of gaining knowledge about the physics of our planet. The Jewish-Russian artist, who had emigrated to Berlin, had shortly before written the „Realistic Manifesto“ with his brother Antoine Pevsner, which was ground-breaking for sculpture. He was constantly searching for new materials and means of expression, „not for the sake of the new, but to find expression for the new view of the world around me and for new insights into the forces of life and nature within me”. Even before the First World War, the latest disco- veries in natural science, Albert Einstein‘s theory of relativity and the idea of the fourth dimen- sion as hyperspaces had already profoundly shaken the previous understanding of the laws of nature, which Gabo experienced directly during his studies of medicine and natural sciences in Munich from 1910 onwards.
    [Show full text]
  • Naum Gabo Rediscovered: Revelations on a Constructivist Pioneer” with Stephen Nash, 1986
    Guggenheim Museum Archives Reel-to-Reel collection “Naum Gabo Rediscovered: Revelations on a Constructivist Pioneer” with Stephen Nash, 1986 PART 1 SUSAN HIRSCHFELD [00:11] Good evening, ladies and gentlemen. My name is Susan Hirschfeld. I’m assistant curator at the Guggenheim, and I’m delighted to welcome you all here this evening to the second of two lectures being given in conjunction with the Naum Gabo exhibition. I am particularly pleased to introduce tonight’s speaker, Dr. Stephen Nash, who organized the Gabo retrospective and wrote the main catalogue essay. Dr. Nash received his PhD from Stanford University, and wrote his dissertation on the drawings of Jacques-Louis David. Dr. Nash subsequently served on the art history faculties of the University of Delaware and the State University of New York at Buffalo. He served on the staff of the Albright-Knox Art Gallery [00:01:00] in Buffalo from 1973 to 1980 as research curator, chief curator, and then assistant director. In addition to the many lectures and symposia papers he has delivered, Dr. Nash has also written extensively for art journals and publications on such subjects as David, Rodchenko, [Carilli?], and Bonnard. While at the Albright-Knox Art Gallery, Dr. Nash organized exhibitions on Ben Nicholson, modern European sculpture from 1918 to 1945, and also on constructivism and the geometric tradition in the collection of the McCrory Collection. Since becoming chief curator and deputy director of the Dallas Museum of Art in 1980, Dr. Nash has prepared numerous exhibitions, including a show of Picasso’s graphics, and he was co- organizer of the 1984 exhibition of Pierre Bonnard’s [02:00] Late Paintings.
    [Show full text]
  • The R U T G E R S a R T R E V I E W Published Annually by the Students
    The RUTGERS ART REVIEW Published Annually by the Students of the Graduate Program in Art History at Rutgers, The State University of New Jersey 1991-1992 Volume XII-XI1I Co-Editors, Volume 12: Scott Montgomery Elizabeth Vogel Editorial Board, Volume 12: Marguerite Barrett Arnold Victor Coonin David Foster Cheryl Kramer Stephanie Smith Faculty Advisor, Volume 12: Professor Matthew Baigell Editor, Volume 13: Marguerite Barrett Editorial Board, Volume 13: Shelly Adams Sheilagh Casey Arnold Victor Coonin Pamela Cohen Joanna Gardner Cheryl Kramer Stephanie Smith Faculty Advisor, Volume 13: Archer St Clair Harvey Consulting Editors Volume 12 and 13: Caroline Goeser Priscilla Schwarz Advisory Board, Volume 12 and 13: Patricia Fortini Brown, Princeton University Phillip Dennis Cate, Jane Voorhees Zimmerli Museum Joseph Connors, American Academy in Rome Patricia Leighten, University of Delaware Constance Lowenthal, International Foundation for Art Research David G. Wilkins, University of Pittsburgh Benefactors ($1,000 or more) The Graduate School, Rutgers, The State University of New Jersey The Graduate Student Association, Rutgers, The State University of New Jersey The Johnson and Johnson Family of Companies Contributors ($100 or more) Rona Goffen Supporters ($50 or more) Shelly Adams and Edgar Morales Matthew and Ren6e Baigell Catherine Puglisi and William Barcham Daniel and Patricia Sheerin Friends ($25 or more) Charles L. Barrett III M. B. Barrett Alice A. Bauer Arnold Victor Coonin Marianne Ficarra Donald Garza Marion Husid Tod Marder Joan Matter Brooke Kamin Rapaport Claire Renkin Stephen A. Somers, with an Employer Match Donation from the Robert Wood Johnson Foundation Jack Spector David and Ann Wilkins The following persons generously donated funds to Volume 11 of the Rutgers Art Review.
    [Show full text]
  • Naum Gabo [And] Antoine Pevsner Introduction by Herbert Read, Text by Ruth Olson and Abraham Chanin
    Naum Gabo [and] Antoine Pevsner Introduction by Herbert Read, text by Ruth Olson and Abraham Chanin Author Museum of Modern Art (New York, N.Y.) Date 1948 Publisher [publisher not identified] Exhibition URL www.moma.org/calendar/exhibitions/3228 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art . n a u m I G A B O Introduction by Herbert Head Text by The Museum of Modern Ruth Olson and Abraham Chanin Art , New York City Introduction by Herbert Head Text by t he Museum of Modern Ruth Olson and Abraham Chanin Copyright, 1948, The Museum of Modern Art. Printed in the United States of America. tit? A j> & °i Contents page fy. Acknowledgment 6: Trustees of The Museum of Modern Art 7: Constructivism: The Art of Naum Gabo and Antoine Pevsner by Herbert Read 14: ISau m Gabo by Ruth Olson and Abraham Chanin 47 : Catalog of the Gabo exhibition 48: Gabo bibliography by Hannah B. Muller 50: Antoine Pevsner by Ruth Olson and Abraham Chanin 82: Catalog of the Pevsner exhibition 83: Pevsner bibliography by Hannah B. Muller 4 Acknowledgmen t On behalf of the Trustees of the Museum of Modern Art , I wish to extend grateful acknowledgment to Naum Gabo and Antoine Pevsner for their unsparing cooperation; to Wallace K. Harrison , Societe Anonyme at Yale University and to Washington University, St. Louis, for lending works in the exhibitions ; to Alfred H.
    [Show full text]
  • Sliceform Sculptures - a Bridge Between Art and Mathematics
    BRIDGES Mathematical Connections in Art, Music, and Science Sliceform Sculptures - a Bridge between Art and Mathematics John Sharp 20 The Glebe, Watford, England, WD2 6LR email: [email protected] Abstract At the end of the nineteenth century, mathematicians created many models of geometrical surfaces which were beautifully crafted. They are as artistic as the many mathematical computer graphics created at the end of this century. Following the Great Exhibition of London in 1851, a museum was set up to display the arts and sciences. In 1876 this held an exhibition of scientific apparatus which included a large section on mathematical models. As a result of this exhibition, the Science Museum separated from the museum of the decorative arts (the Victoria and Albert Museum). One of the exhibits in the 1876 exhibition was a group of models of quartic surfaces constructed as sets of circular slices. They were slotted together in such a way as to continuously defonn. They were discovered by a mathematician called Olaus Henrici and are often seen described in books on mathematical models [1] and three dimensional geometry [2]. The models that were displayed were by the Gennan A Brill. It is thought that the Russian constructivist artist Naum Gabo saw these models in Munich around 1910. He then used them as inspiration for his sculptured heads which are now in the Tate Gallery, London's museum of modem art. [3] Mathematically, the idea does not generally appear other than as illustrations of quartic surfaces. I have developed it in many ways both to create models of standard mathematical surfaces and to create collapsible paper sculptures which I have called Slicefonns [4].
    [Show full text]
  • Heirs of George Costakis, Naum Gabo and Leading Scholars Disputed
    AiA Art News-service The Art Newspaper's exposé helps close dubious Russian avant-garde art display in Ghent museum Heirs of George Costakis, Naum Gabo and leading scholars disputed provenance claims of works on show at the Museum voor Schone Kunsten SIMON HEWITT 29th January 2018 18:16 GMT Vladimir Hofmann, the world’s leading authority on Yury Annenkov, points out the striking similarity between a fully authenticated Annenkov dated 1918 (left) and a work ascribed to the artist, labelled Synthetic Landscape and dated 1919Dieleghem Foundation (Synthetic landscape) In a shock U-turn on 29 January—the day our article was published in the February issue of The Art Newspaper—all 24 Russian avant- garde works loaned by the Dieleghem Foundation to the Museum voor Schone Kunsten (MSK) in Ghent were removed and placed in museum storage. When the works’ authenticity was first publicly questioned by ten dealers, curators and art historians in an open letter released on 15 January, the museum’s initial response—at the prompting of Flemish Culture Minister Sven Gatz—was to announce the creation of an "expert committee" to examine half-a-dozen works, with all the others remaining on display until the committee’s findings (slated for the end of February) were released. But a museum statement issued (in Flemish) at 17:10 on January 29 – four hours after Flemish Culture Minister Sven Gatz was forwarded a copy of The Art Newspaper’s 3,000-word exposé – acknowledged that, because "discussion of the authenticity of the Toporovskys’ collection has taken on great proportions", the committee would now be granted "unlimited access to all works..
    [Show full text]
  • Spatial Impressions Cristea Roberts Gallery
    Cristea Roberts Gallery Exhibition Information | November 2019 43 Pall Mall, London SW1Y 5JG Press Contact: Elle Shea +44 (0)20 7439 1866 [email protected] [email protected] +44 (0)20 7439 1866 www.cristearoberts.com Naum Gabo: Spatial Impressions 9 January - 8 February 2020 Private View Wednesday 8 January 2020, 6 - 7.30pm The Realistic Manifesto was published on the occasion of an open air exhibition in Moscow by Gabo and Pevsner, just three years after the Russian Revolution and two years after the end of the First World War. It acted as the focal point of debate within Russia on what the role of art should be. Gabo and Pevsner’s belief was that art should reflect the modern world or that, in their words, “the realisation of our perceptions of the world in the forms of space and time is the only aim of our pictorial and plastic art.” It was 30 years after the publication of The Realistic Manifesto that Gabo, encouraged by William Irvins, a former curator of prints at the Museum of Modern Art, made his first print. This initial experiment, an impression taken from the bottom of a chair leg, whetted Gabo’s appetite for the medium and he went on to produce an extensive body of woodcuts over the next 25 years. His main body of monoprints, Opus I – XII, some of which will be on display in this exhibition, consisted of twelve works or ‘Opera’ of which he made numerous printed variants. None were editioned, but instead the artist used the woodblocks to create unique versions, in each case showing how, by altering colour, tone, paper and orientation, he could radically change the nature and balance of a single composition.
    [Show full text]
  • Challenging Tradition
    CHALLENGING TRADITION: BAUHAUS, DE STIJL, and RUSSIAN CONSTRUCTIVISM (Kandinsky, Mondrian, Breuer, Tatlin, and Stepanova) WASSILY KANDINSKY Online Links: Wassily Kandinsky - Wikipedia, the free encyclopedia Der Blaue Reiter - Wikipedia, the free encyclopedia Quotes from Wassily Kandinsky http://www.smarthistory.org/Kandinsky-CompositionVII.html Theosophy - Wikipedia, the free encyclopedia Arnold Schoenberg - Wikipedia, the free encyclopedia Helen Mirren on Kandinsky – YouTube Kandinsky Drawing 1926 – YouTube Schonberg and Kandinsky - YouTube FRANZ MARC Online Links: Franz Marc - Wikipedia, the free encyclopedia Meditation on Blue Horses by Franz Marc - YouTube PIET MONDRIAN Online Links: Piet Mondrian - Wikipedia, the free encyclopedia De Stijl - Wikipedia, the free encyclopedia http://www.smarthistory.org/de-stijl- mondrian.html Gerrit Rietveld - Wikipedia, the free encyclopedia Theo van Doesburg - Wikipedia, the free encyclopedia Bauhaus Online Links: Accommodation inside the Studio Building at Bauhaus Bauhaus - Unesco Site Bauhaus – Wikipedia Bauhaus: Design in a Nutshell Architecture - Dessau Bauhaus - YouTube KAZIMIR MALEVICH Online Links: Kazimir Malevich - Wikipedia, the free encyclopedia Suprematism - Wikipedia, the free encyclopedia Tabula rasa - Wikipedia, the free encyclopedia Plays: Victory over the Sun, Introduction and Costume Design Victory over the Sun - Wikipedia, the free encyclopedia Malevich's White on White compared with Monet - Smarthistory VLADIMIR TATLIN and the RUSSIAN CONSTRUCTIVISTS Online Links: Vladimir Tatlin - Wikipedia, the free encyclopedia Constructivism (art) - Wikipedia, the free encyclopedia Tatlin's Tower - Wikipedia, the free encyclopedia Naum Gabo - Wikipedia, the free encyclopedia Stepanova's Results from the First Five Year Plan Rodchenko - Spatial Construction No. 12 (with video) – MOMA Rodchenko's Lines of Force - Tate Modern Vassily Kandinsky. Picture with an Archer, 1909 The Russian artist Vassily Kandinsky (1866-1944) was among the first to eliminate recognizable objects from his paintings.
    [Show full text]
  • The Interwar Years,1930S
    A STROLL THROUGH TATE BRITAIN This two-hour talk is part of a series of twenty talks on the works of art displayed in Tate Britain, London, in June 2017. Unless otherwise mentioned all works of art are at Tate Britain. References and Copyright • The talk is given to a small group of people and all the proceeds, after the cost of the hall is deducted, are given to charity. • My sponsored charities are Save the Children and Cancer UK. • Unless otherwise mentioned all works of art are at Tate Britain and the Tate’s online notes, display captions, articles and other information are used. • Each page has a section called ‘References’ that gives a link or links to sources of information. • Wikipedia, the Oxford Dictionary of National Biography, Khan Academy and the Art Story are used as additional sources of information. • The information from Wikipedia is under an Attribution-Share Alike Creative Commons License. • Other books and articles are used and referenced. • If I have forgotten to reference your work then please let me know and I will add a reference or delete the information. 1 A STROLL THROUGH TATE BRITAIN • The Aesthetic Movement, 1860-1880 • Late Victorians, 1880-1900 • The Edwardians, 1890-1910 • The Great War and After, 1910-1930 • The Interwar Years, 1930s • World War II and After, 1940-1960 • Pop Art & Beyond, 1960-1980 • Postmodern Art, 1980-2000 • The Turner Prize • Summary West galleries are 1540, 1650, 1730, 1760, 1780, 1810, 1840, 1890, 1900, 1910 East galleries are 1930, 1940, 1950, 1960, 1970, 1980, 1990, 2000 Turner Wing includes Turner, Constable, Blake and Pre-Raphaelite drawings Agenda 1.
    [Show full text]
  • Wassily Kandinsky Papers, 1911-1940 (Bulk 1921-1937)
    http://oac.cdlib.org/findaid/ark:/13030/kt1r29n4zp Online items available Finding aid for the Wassily Kandinsky papers, 1911-1940 (bulk 1921-1937) Isabella Zuralski. Finding aid for the Wassily Kandinsky 850910 1 papers, 1911-1940 (bulk 1921-1937) Descriptive Summary Title: Wassily Kandinsky papers Date (inclusive): 1911-1940 (bulk 1921-1937) Number: 850910 Creator/Collector: Kandinsky, Wassily Physical Description: 2 Linear Feet(3 boxes, 1 flat file folder) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Russian-born artist considered to be one of the creators of abstract painting. Papers document Kandinsky's teachings at the Bauhaus, his writings, his involvement with the Russian Academy of Artistic Sciences (RAKhN) in Moscow, and his professional contacts with art dealers, artists, collectors, and publishers. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in German and Russian with some English and French. Biographical / Historical Note Wasily Kandinsky [Vasilii Vasil'evich Kandinskii] was born in 1866 in Moscow, Russia and died in 1944 in Neuilly-sur-Seine, France. He is considered one of the first creators of purely abstract painting. In 1896, after academic studies and initial career in law and social sciences, Kandinsky turned down an offer of professorship in jurisprudence, and together with his first wife Anja Shemiakina, left Russia for Munich with the intention of becoming a painter.
    [Show full text]
  • Naum Gabo (1890 - 1977)
    Cristea Roberts Gallery Artist Biography 43 Pall Mall, London SW1Y 5JG +44 (0)20 7439 1866 [email protected] www.cristearoberts.com Naum Gabo (1890 - 1977) Naum Gabo was born in Russia in 1890 and became a pioneer 1977 Naum Gabo 1980-1970, Museum of Modern Art, of the Constructivist movement and one of the most important New York, USA and influential sculptors of the twentieth century. He first studied 1968 Retrospective exhibition, Albright-Knox Art Gallery, engineering in Munich in 1910 and held his first public exhibition Buffalo, New York, USA in Moscow in 1920. Following this he moved to Berlin where 1965 Retrospective exhibition, Stedelijk Museum, he lectured at the Bauhaus. With the outbreak of war in Europe Amsterdam, The Netherlands; and touring in 1939, he moved to St. Ives in Cornwall, England, and settled 1950 Baltimore Museum of Art, USA into an artistic community that included Ben Nicholson, Barbara 1948 Museum of Modern Art, New York, USA Hepworth and Peter Lanyon. He remained there until 1946 when 1942 New Movements in Art: Contemporary Work in England, he moved to the USA. Gabo exhibited widely in both the USA London Museum and Europe, and lectured at Yale, Harvard, and Chicago. He took The Exhibition of the Collection of the Societé American citizenship in 1952, taught at the Harvard University Anonyme, Museum of Modern Art, Yale University Art Graduate School of Architecture (1953-54) and delivered the Gallery, New Haven, USA A.W. Mellon Lectures in 1959 in Washington DC. He completed 1939 San Francisco Golden Gate exhibition, USA a number of large commissions, including a 25 metre high free Museum of Modern Art, New York, USA standing sculpture for the Bijenkorf Building in Rotterdam.
    [Show full text]