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March 5, 2019 Press Release WINNERS of the 7TH ANNUAL
March 5, 2019 Press release WINNERS OF THE 7TH ANNUAL THE ART NEWSPAPER RUSSIA AWARD ANNOUNCED On March 1, the 7th Annual Award of The Art Newspaper Russia took place. 2018 winners in categories “Museum of the Year”, “Exhibition of the Year”, “Book of the Year”, “Restoration of the Year” and “Personal Contribution” were announced at the Gostiny Dvor. The annual award of The Art Newspaper Russia is one of the most anticipated events in the art world, an acknowledgment of outstanding achievements in the field. The award highlights the past year's most significant events in Russian art both in Russia and abroad, as well as the work of patrons of the art in developing and preserving cultural heritage. The choice of winners was determined by both public response and the professional community's feedback. The award itself is a sculpture by Russian artist Sergey Shekhovtsov depicting the Big Ben of London and the Spasskaya Tower of the Moscow Kremlin as intersecting clock hands. The Art Newspaper highlights the events that incorporate Russia into the international art scene, promote Russian art abroad and, on the other hand, allow Russians to see and appreciate the art of the world. Inna Bazhenova, publisher and founder of The Art Newspaper Russia Award, the head the Department of Culture of Moscow Alexander Kibovsky and the editor-in-chief of The Art Newspaper Russia Milena Orlova opened the ceremony. This year the jewellery company Mercury became the general partner of The Art Newspaper Russia Award. For Mercury, cooperation with the number one art newspaper was a continuation of the company’s strategy to support the most significant cultural events. -
Una Mirada a La Inmigración Española De 1939-40 En Santo Domingo
Una mirada a la inmigración española de 1939-40 en Santo Domingo Disertaciones presentadas en la Universidad APEC Semanas de España en la República Dominicana 2015 Santo Domingo, R.D. Octubre 2016 Una mirada a la inmigración española de 1939-40 en Santo Domingo : disertaciones presentadas en la Universidad APEC : Semanas de España en la República Dominicana 2015 / José del Castillo Pichardo ...[et al.] ; Jaime Lacadena, introducción. – Santo Domingo : Universidad APEC, 2016 168 p. : il. ISBN: 978-9945-423-39-6 1. Emigración - Española 2. Inmigración - República Dominicana 2. España - Historia - Guerra civil, 1936-1939 3. Exilio - España 4. República Dominicana - Influencias españolas 3. Arte dominicano - Influencias españolas 5. España - Vida intelectual - República Dominicana. I. Castillo Pichardo, José del. II. González Tejera, Natalia. III. Vega, Bernardo. IV. Gil Fiallo, Laura. V. Mateo, Andrés L. VI. Céspedes, Diógenes. VII. Lacadena, Jaime, introd. 304.8 I57e CE/UNAPEC Título de la obra: Una mirada a la inmigración española de 1939-40 en Santo Domingo Disertaciones presentadas en la Universidad APEC Semanas de España en la República Dominicana 2015 Primera edición: Octubre 2016 Gestión editorial: Oficina de Publicaciones Vicerrectoría de Investigación, Innovación y Relaciones Internacionales Composición, diagramación y diseño de cubierta: Departamento de Comunicación y Mercadeo Institucional Impresión: Editora Búho ISBN: 978-9945-423-39-6 Impreso en República Dominicana Printed in Dominican Republic JUNTA DE DIRECTORES DE LA UNIVERSIDAD APEC Lic. Opinio Álvarez Betancourt Presidente Lic. Fernando Langa Ferreira Vicepresidente Lic. Pilar Haché Tesorera Dra. Cristina Aguiar Secretaria Lic. Álvaro Sousa Sevilla Miembro Lic. Peter A. Croes Miembro Lic. Isabel Morillo Miembro Lic. -
Biennals 10-13 CUBAN
Iniva: Stuart Hall Library: Select Bibliography 2008 States of Exchange: Artists from Cuba/ Estados de Intercambio: Artistas de Cuba Jeanette Chávez Autocensura / Self-Censorship , 2006 Video, 2:52 min Image courtesy of the artist CONTENTS CUBAN ARTISTS 2-7 CUBAN ART 7-9 CUBAN ART: Biennals 10-13 CUBAN ART: Biennals: Journal articles 13 CUBA ART: Context 14-15 Iniva: Stuart Hall Library: Select Bibliography 2008 States of Exchange: Artists from Cuba/ Estados de Intercambio: Artistas de Cuba ITEM LIBRARY SHELF NUMBER CUBAN ARTISTS Alfonzo, Carlos AS ALF Viso, Olga M. (ed.) Triumph of the Spirit, Carlos Alfonzo: a survey 1975-1991 . Miami: Miami Art Museum 1998. Bedia, Jose AS BED Jose Bedia: Fabula . Bogota: Galeria Fernando Quintana, 1993. Brugera, Tania AS BRU Tania Bruguera: esercizio di resistenza = exercise in resistance . Turin: Franco Soffiantino Arte Contemporanea, 2004. Campos-Pons, Maria Magdalena AS CAM Maria Magdalena Campos-Pons: meanwhile, the girls were playing . Cambridge Mass.: MIT List Visual Arts Centre, 2000. Capote, Ivan AS CAP Ivan Capote . Herausgabe: Havana Edition, 2007. Ivan Capote: Aforismos . AS CAP Cuba: Galeria Habana, 2007. Capote, Yoan AS CAP Yoan Ca pote. Herausgabe: Havana Edition, 2007. Carmona, Williams AS CAR Todos miran, pocos ven /they all look, but few only see . [Paris]: Corinne Timsit International Galleries, [n.d.] Castro, Humberto AS CAS Humberto Castro: le radeau d'Ulysse Paris: Le monde de l'art, [n.d.] [Text in French] Ceballos, Sandra AS CEB Ceballos, Sandra and Suárez, Ezequiel (curs.) Dónde está Loló: Pinturas: Sandra Ceballos . La Habana: Centro Wifredo Lam, 1995. Text in Spanish] 2 Iniva: Stuart Hall Library: Select Bibliography 2008 States of Exchange: Artists from Cuba/ Estados de Intercambio: Artistas de Cuba ITEM LIBRARY SHELF NUMBER Cuenca, Arturo AS CUE Arturo Cuenca: Modernbundo . -
Art Market in Russia. Report 2016 Year 2016 Proved That People in Russia Are Really Desperate Art Lovers
Art Market in Russia. Report 2016 Year 2016 proved that people in Russia are really desperate art lovers. How else would you explain that thousands of them spent hours in the freezing cold queueing to visit museum exhibitions? Russians were so motivated to see Valentin Serov exhibition in Tretyakov Gallery last January that the government had to bring military field kitchens in order not to let them freeze to death standing in line. Later another thousands of art-maniacs were freezing in the cold for hours to see the paintings of Ivan Aivazovsky and Raphael. Governmental statistics show that almost 120 000 000 people visited Russian museums and art galleries in 2016. Overwhelming figure. And it would be logical to assume that such a great number of experienced museum visitors was an indication of a big number of art buyers on the local market. But (spoiler alert!) it wasn’t! At least not in 2016. Overall, 2016 was ineffectual year for the Russian art market. The economic crisis affected the country more than in 2015. The business climate deteriorated. The Russian Ministry of Culture cut almost to zero the real export capa- bilities of the auctions and art galleries. Several well-known professionals of the art market suffered unconvincing lawsuits. Some of them got criminal records for «smuggling» (like dealer Sergey Stepanov) or even were put in prison (as Russian avant-garde books gallerist Anatoly Borovkov). All these cases had bad consequences for weak art market and mood of art business elite. At the same time, 2016 brought some good signs to the local art market. -
Oral History Interview with Pietro Lazzari, 1964
Oral history interview with Pietro Lazzari, 1964 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Interview HP: DR. HARLAN PHILLIPS PL: PIETRO LAZZARI HP: I think while we have the opportunity it's, I think, important to assess in a way what one begins with. You have at least, you know, a dual cultural view, more, probably, so what did you fall heir to in the way of luggage and baggage that you've carried? PL: Well, I do believe I was quite lucky, if we can put it this way, I was born in the last century, 1898, in Rome and not from a family were cultural marked point was strong. My father was very inventive himself, he could draw horses. He loved to walk long distances. I remember as a young boy we used to walk outside the gates of Rome in Via Solaria or toward Ostia, and he was not a very tall man but while he walked, and while he talked he grew, I thought he was very tall, and he was inspired, his chest forward because he was the bandolier, which is a sort of an elite corps in the Italian army and he volunteered very young. So going back to our walks, he was familiar with the Roman ruins and frescoes in churches particularly those churches on the outskirts of Rome. -
Art in America
MAGAZINE NOV. 01, 2013 THE PARSONS EFFECT by Judith E. Stein, Helène Aylon Betty Bierne Pierson, the rebellious, selfassured offspring of an old New York family, was 13 when she visited the historic Armory Show in 1913 and set her course on becoming an artist. Her conservative parents acquiesced to art lessons but drew the line at higher education for women. At 20, she married Schuyler Livingston Parsons, a man of wealth and social standing. He proved to be as captivated by men Betty Parsons, 1963. as she was by women, and a gambler and an alcoholic to boot. The Photo Alexander Liberman. The Getty couple divorced amicably in Paris, where she spent the 1920s in Research Institute, Los comfort, sharing her life with Adge Baker, a British art student, and Angeles. © J. Paul Getty Trust. taking classes with Ossip Zadkine and Antoine Bourdelle, among others. Her friends included expatriate Americans Hart Crane, Man Ray, Alexander Calder, and Gerald and Sara Murphy, as well as lesbian literati Gertrude Stein, Natalie Barney and Janet Flanner. Disinherited after her divorce, Parsons also lost her alimony support when the stock market crashed. Generous girlhood friends aided her return to the U.S. in 1933, first to Hollywood, where her acquaintances numbered Greta Garbo, Marlene Dietrich, Tallulah Bankhead, Dorothy Parker and Robert Benchley. She then lived in Santa Barbara, teaching art, painting portraits and consulting on French wines at a liquor store. In 1935, she funded a move to New York by selling her engagement ring. Parsons's loyal circle supplemented the slender income she earned from sales of her own art and from commissions by dealers such as Mrs. -
Download Lot Listing
IMPRESSIONIST & MODERN ART POST-WAR & CONTEMPORARY ART Wednesday, May 10, 2017 NEW YORK IMPRESSIONIST & MODERN ART EUROPEAN & AMERICAN ART POST-WAR & CONTEMPORARY ART AUCTION Wednesday, May 10, 2017 at 11am EXHIBITION Saturday, May 6, 10am – 5pm Sunday, May 7, Noon – 5pm Monday, May 8, 10am – 6pm Tuesday, May 9, 9am – Noon LOCATION Doyle New York 175 East 87th Street New York City 212-427-2730 www.Doyle.com Catalogue: $40 INCLUDING PROPERTY CONTENTS FROM THE ESTATES OF IMPRESSIONIST & MODERN ART 1-118 Elsie Adler European 1-66 The Eileen & Herbert C. Bernard Collection American 67-118 Charles Austin Buck Roberta K. Cohn & Richard A. Cohn, Ltd. POST-WAR & CONTEMPORARY ART 119-235 A Connecticut Collector Post-War 119-199 Claudia Cosla, New York Contemporary 200-235 Ronnie Cutrone EUROPEAN ART Mildred and Jack Feinblatt Glossary I Dr. Paul Hershenson Conditions of Sale II Myrtle Barnes Jones Terms of Guarantee IV Mary Kettaneh Information on Sales & Use Tax V The Collection of Willa Kim and William Pène du Bois Buying at Doyle VI Carol Mercer Selling at Doyle VIII A New Jersey Estate Auction Schedule IX A New York and Connecticut Estate Company Directory X A New York Estate Absentee Bid Form XII Miriam and Howard Rand, Beverly Hills, California Dorothy Wassyng INCLUDING PROPERTY FROM A Private Beverly Hills Collector The Collection of Mr. and Mrs. Raymond J. Horowitz sold for the benefit of the Bard Graduate Center A New England Collection A New York Collector The Jessye Norman ‘White Gates’ Collection A Pennsylvania Collection A Private -
En Un Principi Era…
En un principi era… Dibuix, figura i màscara en l’obra d’Eugeni d’Ors Laura Mercader Amigó Aquesta tesi doctoral està subjecta a la llicència Reconeixement- NoComercial – SenseObraDerivada 3.0. Espanya de Creative Commons. Esta tesis doctoral está sujeta a la licencia Reconocimiento - NoComercial – SinObraDerivada 3.0. España de Creative Commons. This doctoral thesis is licensed under the Creative Commons Attribution-NonCommercial- NoDerivs 3.0. Spain License. En un principi era… Dibuix, figura i màscara en l’obra d’Eugeni d’Ors projecte de tesi doctoral de Laura Mercader Amigó direcció de Mireia Freixa Serra pla de doctorat EEE H1801 1 Universitat de Barcelona novembre de 2015 En un principi era… Dibuix, figura i màscara en l’obra d’Eugeni d’Ors tesi doctoral Laura Mercader Amigó Direcció de Mireia Freixa Serra pla de doctorat EEE H1801 Universitat de Barcelona novembre de 2015 A la meva mare, per regalar-me la paraula Al meu pare, per oferir-me les oportunitats En memòria d’Ángel d’Ors i Jaume Vallcorba taula de continguts I. Dibuix, figura i màscara en l’obra d’Eugeni d’Ors Agraïments ...................................................................................................................................................................... 13 Resum ............................................................................................................................................................................. 15 Introducció. Eugeni d’Ors, l’home que juga ..................................................................................................................... -
La Abstracción En La Argentina: Siglos Xx Y Xxi
ISABEL PLANTE | CRISTINA ROSSI La abstracción en la Argentina: siglos xx y xxi La abstracción en la Argentina: siglos xx y xxi Consejo de Administración Presidente Presidente Mauro Herlitzka Eduardo Caride Vicepresidente 1ª Secretario General Teresa Aguirre Lanari de Bulgheroni José Luis Rodríguez Zarco Vicepresidente 2º Tesorero Luis Fernando Benedit Mario E. Vázquez Secretario Vocales Alejandro Gorodisch Manuel A. Álvarez Trongé Javier Nadal Ariño Prosecretario Carmen Grillo Adriana Rosenberg Federico Rava Francisco Serrano Martínez Tesorero Juan Waehner Gabriel Vázquez Directora Fundación Telefónica Vocales Carmen Grillo Claudia Caraballo de Quentin Salvador Carbó Gerentes Eduardo Grüneisen Alejandrina D’Elia Raúl Naón Bibiana Ottones Erika Roberts Gabriel Werthein Vocal emmeritus Marcelo E. Pacheco Gestión Institucional Coordinación general: Marina Baron Supervielle Comité organizador Asesora de proyectos especiales: Patricia Artundo Ethel R. de Martínez Sobrado Bibliotecólogas: Analía Trouve, Carolina Gruegui Guiomar de Urgell Amalia Sanjurjo de Vedoya Asistencia general: Adriana Donini Mauro Herlitzka Julio Suaya Laprida Informática: Sebastián Guarino José Antonio Urgell La abstracción en la Argentina: siglos xx y xxi Fondo para la Investigación del Arte Argentino Créditos editoriales Coordinación editorial Marina Baron Supervielle Traducción Marta Merajver Diseño gráfico Estudio Marius Riveiro Villar Preimpresión e impresión Ronor® Plante, Isabel La abstracción en la Argentina : siglos XX y XXI / Isabel Plante; María Cristina Rossi. - 1a ed . - Ciudad Autónoma de Buenos Aires: Fundación Espigas, 2020. Libro digital, PDF Archivo Digital: descarga y online Traducción de: Marta Merajver. ISBN 978-987-1398-43-0 1. Arte. I. Rossi, María Cristina. II. Merajver, Marta, trad. III. Título. CDD 709.82 © 2010, Fundación Espigas Impreso en la Argentina Av. -
Shapiro Auctions
Shapiro Auctions RUSSIAN ART AUCTION INCLUDING POSTERS & BOOKS Tuesday - June 15, 2010 RUSSIAN ART AUCTION INCLUDING POSTERS & BOOKS 1: GUBAREV ET AL USD 800 - 1,200 GUBAREV, Petr Kirillovich et al. A collection of 66 lithographs of Russian military insignia and arms, from various works, ca. 1840-1860. Of varying sizes, the majority measuring 432 x 317mm (17 x 12 1/2 in.) 2: GUBAREV ET AL USD 1,000 - 1,500 GUBAREV, Petr Kirillovich et al. A collection of 116 lithographs of Russian military standards, banners, and flags from the 18th to the mid-19th centuries, from various works, ca. 1830-1840. Of varying sizes, the majority measuring 434 x 318mm (17 1/8 x 12 1/2 in.) 3: RUSSIAN CHROMOLITHOGRAPHS, C1870 USD 1,500 - 2,000 A collection of 39 color chromolithographs of Russian military uniforms predominantly of Infantry Divisions and related Artillery Brigades, ca. 1870. Of various sizes, the majority measuring 360 x 550mm (14 1/4 x 21 5/8 in.) 4: PIRATSKII, KONSTANTIN USD 3,500 - 4,500 PIRATSKII, Konstantin. A collection of 64 color chromolithographs by Lemercier after Piratskii from Rossiskie Voiska [The Russian Armies], ca. 1870. Overall: 471 x 340mm (18 1/2 x 13 3/8 in.) 5: GUBAREV ET AL USD 1,200 - 1,500 A collection of 30 lithographs of Russian military uniforms [23 in color], including illustrations by Peter Kirillovich Gubarev et al, ca. 1840-1850. Of varying sizes, the majority measuring 400 x 285mm (15 3/4 x 11 1/4 in.), 6: DURAND, ANDRE USD 2,500 - 3,000 DURAND, André. -
Introduction and Will Be Subject to Additions and Corrections the Early History of El Museo Del Barrio Is Complex
This timeline and exhibition chronology is in process INTRODUCTION and will be subject to additions and corrections The early history of El Museo del Barrio is complex. as more information comes to light. All artists’ It is intertwined with popular struggles in New York names have been input directly from brochures, City over access to, and control of, educational and catalogues, or other existing archival documentation. cultural resources. Part and parcel of the national We apologize for any oversights, misspellings, or Civil Rights movement, public demonstrations, inconsistencies. A careful reader will note names strikes, boycotts, and sit-ins were held in New York that shift between the Spanish and the Anglicized City between 1966 and 1969. African American and versions. Names have been kept, for the most part, Puerto Rican parents, teachers and community as they are in the original documents. However, these activists in Central and East Harlem demanded variations, in themselves, reveal much about identity that their children— who, by 1967, composed the and cultural awareness during these decades. majority of the public school population—receive an education that acknowledged and addressed their We are grateful for any documentation that can diverse cultural heritages. In 1969, these community- be brought to our attention by the public at large. based groups attained their goal of decentralizing This timeline focuses on the defining institutional the Board of Education. They began to participate landmarks, as well as the major visual arts in structuring school curricula, and directed financial exhibitions. There are numerous events that still resources towards ethnic-specific didactic programs need to be documented and included, such as public that enriched their children’s education. -
Impressionist & Modern
Impressionist & Modern Art New York | November 17, 2020 Impressionist & Modern Art New York | Tuesday November 17, 2020 at 5pm EST BONHAMS INQUIRIES BIDS COVID-19 SAFETY STANDARDS 580 Madison Avenue New York Register to bid online by visiting Bonhams’ galleries are currently New York, New York 10022 Molly Ott Ambler www.bonhams.com/26154 subject to government restrictions bonhams.com +1 (917) 206 1636 and arrangements may be subject Bonded pursuant to California [email protected] Alternatively, contact our Client to change. Civil Code Sec. 1812.600; Services department at: Bond No. 57BSBGL0808 Preeya Franklin [email protected] Preview: Lots will be made +1 (917) 206 1617 +1 (212) 644 9001 available for in-person viewing by appointment only. Please [email protected] SALE NUMBER: contact the specialist department IMPORTANT NOTICES 26154 Emily Wilson on impressionist.us@bonhams. Please note that all customers, Lots 1 - 48 +1 (917) 683 9699 com +1 917-206-1696 to arrange irrespective of any previous activity an appointment before visiting [email protected] with Bonhams, are required to have AUCTIONEER our galleries. proof of identity when submitting Ralph Taylor - 2063659-DCA Olivia Grabowsky In accordance with Covid-19 bids. Failure to do this may result in +1 (917) 717 2752 guidelines, it is mandatory that Bonhams & Butterfields your bid not being processed. you wear a face mask and Auctioneers Corp. [email protected] For absentee and telephone bids observe social distancing at all 2077070-DCA times. Additional lot information Los Angeles we require a completed Bidder Registration Form in advance of the and photographs are available Kathy Wong CATALOG: $35 sale.