2013 VHSL Regionals Round #6
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Press Information
PRESS INFORMATION PICASSO IN ISTANBUL SAKIP SABANCI MUSEUM, ISTANBUL 24 November 2005 to 26 March 2006 Press enquiries: Erica Bolton and Jane Quinn 10 Pottery Lane London W11 4LZ Tel: 020 7221 5000 Fax: 020 7221 8100 [email protected] Contents Press Release Chronology Complete list of works Biographies 1 Press Release Issue: 22 November 2005 FIRST PICASSO EXHIBITION IN TURKEY IS SELECTED BY THE ARTIST’S GRANDSON Picasso in Istanbul, the first major exhibition of works by Pablo Picasso to be staged in Turkey, as well as the first Turkish show to be devoted to a single western artist, will go on show at the Sakip Sabanci Museum in Istanbul from 24 November 2005 to 26 March 2006. Picasso in Istanbul has been selected by the artist‟s grandson Bernard Ruiz-Picasso and Marta-Volga Guezala. Picasso expert Marilyn McCully and author Michael Raeburn are joint curators of the exhibition and the catalogue, working together with Nazan Olçer, Director of the Sakip Sabanci Museum, and Selmin Kangal, the museum‟s Exhibitions Manager. The exhibition will include 135 works spanning the whole of the artist‟s career, including paintings, sculptures, ceramics, textiles and photographs. The works have been loaned from private collections and major museums, including the Picasso museums in Barcelona and Paris. The exhibition also includes significant loans from the Fundaciñn Almine y Bernard Ruiz-Picasso para el Arte. A number of rarely seen works from private collections will be a special highlight of the exhibition, including tapestries of “Les Demoiselles d‟Avignon” and “Les femmes à leur toilette” and the unique bronze cast, “Head of a Warrior, 1933”. -
Pablo Picasso, Published by Christian Zervos, Which Places the Painter of the Demoiselles Davignon in the Context of His Own Work
PRESS KIT PICASSO 1932 Exhibition 10 October 2017 to 11 February 2018 ANNÉE ÉROTIQUE En partenariat avec Exposition réalisée grâce au soutien de 2 PICASSO 1932 ANNÉE ÉROTIQUE From 10 October to the 11 February 2018 at Musée national Picasso-Paris The first exhibition dedicated to the work of an artist from January 1 to December 31, the exhibition Picasso 1932 will present essential masterpieces in Picassos career as Le Rêve (oil on canvas, private collection) and numerous archival documents that place the creations of this year in their context. This event, organized in partnership with the Tate Modern in London, invites the visitor to follow the production of a particularly rich year in a rigorously chronological journey. It will question the famous formula of the artist, according to which the work that is done is a way of keeping his journal? which implies the idea of a coincidence between life and creation. Among the milestones of this exceptional year are the series of bathers and the colorful portraits and compositions around the figure of Marie-Thérèse Walter, posing the question of his works relationship to surrealism. In parallel with these sensual and erotic works, the artist returns to the theme of the Crucifixion while Brassaï realizes in December a photographic reportage in his workshop of Boisgeloup. 1932 also saw the museification of Picassos work through the organization of retrospectives at the Galerie Georges Petit in Paris and at the Kunsthaus in Zurich, which exhibited the Spanish painter to the public and critics for the first time since 1911. The year also marked the publication of the first volume of the Catalog raisonné of the work of Pablo Picasso, published by Christian Zervos, which places the painter of the Demoiselles dAvignon in the context of his own work. -
3"T *T CONVERSATIONS with the MASTER: PICASSO's DIALOGUES
3"t *t #8t CONVERSATIONS WITH THE MASTER: PICASSO'S DIALOGUES WITH VELAZQUEZ THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Joan C. McKinzey, B.F.A., M.F.A. Denton, Texas August 1997 N VM*B McKinzey, Joan C., Conversations with the master: Picasso's dialogues with Velazquez. Master of Arts (Art History), August 1997,177 pp., 112 illustrations, 63 titles. This thesis investigates the significance of Pablo Picasso's lifelong appropriation of formal elements from paintings by Diego Velazquez. Selected paintings and drawings by Picasso are examined and shown to refer to works by the seventeenth-century Spanish master. Throughout his career Picasso was influenced by Velazquez, as is demonstrated by analysis of works from the Blue and Rose periods, portraits of his children, wives and mistresses, and the musketeers of his last years. Picasso's masterwork of High Analytical Cubism, Man with a Pipe (Fort Worth, Texas, Kimbell Art Museum), is shown to contain references to Velazquez's masterpiece Las Meninas (Madrid, Prado). 3"t *t #8t CONVERSATIONS WITH THE MASTER: PICASSO'S DIALOGUES WITH VELAZQUEZ THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Joan C. McKinzey, B.F.A., M.F.A. Denton, Texas August 1997 ACKNOWLEDGMENTS The author would like to acknowledge Kurt Bakken for his artist's eye and for his kind permission to develop his original insight into a thesis. -
Pablo Picasso's Biography
PRESS KIT SUMMARY Introduction and practical information 3 One exhibition, two thematic collections 5 « Picasso Côte d’Azur » « Picasso in the Nahmad Collection » 7 The Nahmad Family, 50 years in the service of art 9 The curators 12 Design of the exhibition 13 Picasso’s biography and some reference dates 16 Visits to the Côte d’Azur: 1920-1939 21 Image sheet 27 The Grimaldi Forum 37 The Partners 39 2 INTRODUCTION This summer the Grimaldi Forum is featuring "Monaco celebrates Picasso", a major event marking the 40th anniversary of the death of this world renowned artist. With this exhibition, the Grimaldi Forum Monaco offers an original insight into Picasso’s artistic production, showing not only the close links he had with the Côte d’Azur, but also presenting an exceptional selection of major works from a remarkable private collection. The exhibition is divided into two thematic parts which include more than 150 works. “Picasso Côte d’Azur” transports the exhibition visitors to Antibes - Juan-les-Pins, Golfe Juan, Mougins and Cannes, places that appealed so much to Pablo Picasso, who spent many summers there between 1920 and 1946, where the Mediterranean light, the sea and the coast were direct sources of inspiration for him. “Picasso in the Nahmad collection” highlights masterpieces by the artist that form a major share of a private collection, unique in the world for its depth and quality, which has been assembled by Ezra and David Nahmad over the past half century. The exhibition curators are: Jean-Louis ANDRAL, Director of the Picasso Museum in Antibes, Marilyn McCULLY, recognized Picasso specialist and Michael RAEBURN, author and publisher of numerous studies dedicated to Picasso and other artists. -
Books at the Borders of Picasso's Les Demoiselles D'avignon
Books at the Borders of Picasso’s Les Demoiselles d’Avignon Karen L. Schiff Abstract This paper proposes that Picasso’s landmark 1907 painting, Les Demoiselles d’Avignon, is full of images of books and pages, especially at the borders of the canvas. The curving shapes which are traditionally seen as “curtains” can alternatively be interpreted as the white pages and brown paper wrappers of open books, rotated 90 degrees. This “visual marginalia” supports the interpretation of Picasso’s famous brothel scene as a semiotic construction, befitting the painting’s early title (devised by Picasso’s writer friends), “The Philosophical Brothel”. The painting also contains iconographic representations of textuality. A slightly open book can be perceived in the middle of the painting, and along the bottom border, an open envelope and writing paper can be seen laid atop the tipped-up table, under the fruit. I claim that Picasso’s images of texts derive from his acquaintance with the text-driven, monumental novel, Don Quixote. I give special attention to the narrative Author’s Preface to the Spanish literary classic, in which the author describes assembling quotations from diverse sources to compose the first and last pages of his book. Picasso visually represents this allusion by depicting pages at the left and right “ends” of his canvas. Other texts and images are considered as sources for the bibliographic imagery, which generally reframes this canvas as a fictive tissue of quotations, akin to the overabundance of texts that Don Quixote is reading in Cervantes’s novel. Picasso’s painted image of a blank leaf of writing paper and its envelope, finally, encourages viewers to see the painting as a letter of communication, for which we ourselves must provide the writing that would represent our interpretations. -
Portrait of Sylvette David 1954 by Pablo Picasso
Portrait of Sylvette David 1954 by Pablo Picasso THE ART INSTITUTE OF CHICAGO Department of Museum Education Division of Teacher Programs The Elizabeth Stone Robson Teacher Resource Center “Painting is stronger than I am; it makes me do what it wants.” Pablo Picasso — Pablo Picasso (Spanish, 1881–1973) While living in the small town of Villauris on the southern coast of France in the early part of 1954, Spanish artist Pablo Picasso encountered a young woman named Sylvette David, not yet twenty years old. Her stunning features fascinated Portrait of Sylvette David, Picasso so much that over the course of the next three months, he composed over forty paintings and drawings of her in a range of styles. In this particular image of David, her features 1954 are greatly distorted as Picasso examined her facial features Oil on canvas and characteristics as closely and specifically as possible. (51 7/16 x 38 1/16 in) 130.7 x 97.2 cm Even at an early age, Picasso demonstrated signs of great ar- tistic ability. His father, realizing his son’s immense talent, gave Gift of Mary and Leigh Block, 1955.821 him all of his own paints and brushes and supposedly never painted again. When Picasso was just sixteen, he entered and won an art contest for his painting Science and Charity (1897, Museo Picasso, Barcelona) while attending the School of Fine Arts in Barcelona. He then enrolled in the Royal Academy of San Fernando in Madrid but left after only a few months. He returned to Barcelona, where he met Carlos Casagemas, who would become his friend and roommate. -
PICASSO MUSEUM the Blend of Cultures and Civilisations BARCELONA in Mainland Spain Has Left a Cultural Her- Itage Which Is Both Vast and Valuable
ESSENTIAL MUSEUMS in Spain www.spain.info INTRODUCTION Spain is the perfect destination for enjoying art. There are over 1,500 museums and some of the most important collections in the world. PICASSO MUSEUM The blend of cultures and civilisations BARCELONA in mainland Spain has left a cultural her- itage which is both vast and valuable. Here you can visit the extraordinary Paseo del Arte or Art Walk in Madrid works by masters of great stature like with some of the best collections of Velázquez, Murillo, Zurbarán and Goya, paintings in the world. The Prado who symbolised the evolution of paint- Museum, the Thyssen-Bornemisza ing in the 17th, 18th and 19th centu- Museum and the Reina Sofía Museum ries. At the beginning of the 20th cen- alone would justify a visit to Spain's tury the modern art movement came CONTENTS capital. to the fore, with leading players like Picasso. Juan Gris and Joan Miró. They Ministry of Industry, Commerce and Tourism Introduction 3 Exhibited here, as well as in other fasci- Published by: © Turespaña were followed by the sculptural cub- nating places like the Picasso Museum Created by: Lionbridge 10 essential museums 4 ism of Julio González, the surrealism of NIPO: 086-18-006-3 in Barcelona, the Dalí Theatre-Museum Dalí and Maruja Mallo... and onto the National Museum of El Prado in Figueres and the Fine Arts Museum FREE COPY unique works of Eduardo Chillida and Reina Sofía National Art Centre Museum in Seville, you'll find some of the best The content of this leaflet has been created with Jorge Oteiza. -
LA CORUÑA, 1891-1895 Room 1 Pablo Ruiz Picasso's Early Years
Permanent collection virtual route (1/7) Museu Picasso de Barcelona www.museupicasso.bcn.cat MÁLAGA, 1890 - LA CORUÑA, 1891-1895 Room 1 Pablo Ruiz Picasso’s early years were spent in the artistic milieus of which his father, José Ruiz Blasco, was a member. He plied the trades of painter, teacher at the San Telmo School of Fine Arts and Trades and curator of the Malaga Municipal Museum all at the same time. The figure of his father was decisive in launching young Pablo’s artistic career; from early childhood he had shown a marked predilection for drawing. The Museum has conserved some of the few drawings that still exist from that first period. The line and composition are essentially childish, though in some of them we can glimpse some academic rules, no doubt the result of his attempts to emulate his father. Such is the case of the frequent descriptions of dovecotes, one of Don José’s favourite subjects. The Ruiz Picasso family’s move to La Coruña in September 1891 defined the young Picasso’s career more exactly. His first drawings in La Coruña are an extension of his experiments in Malaga, not only from the point of view of subject matter, but also in relation to the childish style they still conserve to a degree. From mid-1893, his maturity of line and gradual mastery of technical resources demonstrate the lessons he had learned at the School of Fine Arts. While he was doing those exercises, he also produced some freely inspired drawings and small oil wood panels, in which we can glimpse the young artist’s efforts to give free rein to his own creativity and to initiate himself in new techniques by apprehending his immediate surroundings. -
Download John Finlay, Picasso'sworld.Pdf
PICASSO’S W O R L D JOHN FINLAY GOODMAN Contents Introduction Introduction ............... 3 Previous Page Nude, Green Leaves, and Bust 1932 Section 1: 1881–1907 Oil on canvas, 164.4 x 132 cm (64.7 x 51.9 in). Private collection. Pigeons, Bullfights and Sacred Subjects: 1 Picasso’s Origins and Youth, 1881–98 ....... 4 This work is one of a series of paintings Modernisme at Els Quatre Gats Café and that Picasso executed in 1932, and where a plaster bust gazes upon the Picasso’s First Visit to Paris, 1899–1901 ..... 10 artist’s sleeping/dreaming lover – the “Les Blues de Barcelone”, 1902–03 ....... 18 blonde Marie-Thérèse Walter. The fruit Circus Figures and Harlequins, 1903–05 ..... 24 and the philodendron plant sprouting Tradition, Modernism and Regression: from her naked body not only suggest Les Demoiselles d’Avignon, 1906–07 ....... 30 fecundity and fertility – her body as a ripe vessel – but are also strongly reminiscent of the foliage and Gallery 1: Special documents, photographs and illustrations 37 iconography in Picasso’s famous sculpture Woman in a Garden of Section 2: 1908–1916 Pablo Picasso (1881–1973) remains one of the most important abstractions (but never entirely abstract), biographical and 1929–30 (see Chapter 16, p. 146). Picasso, Primitivism and Magic: artists of the twentieth-century. A brilliant draughtsman, esoteric in content and nature. His imagery was sometimes 2 The Beginnings of Cubism, 1907–08 ....... 61 painter, printer, sculptor and theatrical designer, he was the androgynous, phallic, surreal, cruel, violent, destructive and, “Cézanne’s Lesson”: Picasso, creator of Cubism – along with Georges Braque (1882– as we shall see, even sadistic. -
Quid Est Veritas?: Early Twentieth Century Styles
ART HISTORY Journey Through a Thousand Years “Quid Est Veritas?” Week Fourteen: Early Twentieth Century Styles Henry Ossawa Tanner, Angels Appearing before the Shepherds – Art Noveau - Expressionism, an Introduction - Giacomo Balla, Street Light” – Inventing Cubism – Picasso - Pablo Picasso, Portrait of Gertrude Stein – Representation and Abstraction: Looking at Millais and Newman - Who created the first abstract artwork? Todros Geller, Strange Worlds – Surrealism: An Introduction - Salvador Dalí, The Persistence of Memory The Dessert: Harmony in Red by Henri Matisse (also known as Red Room or Harmony in Red), 1908, Hermitage Museum Farisa Khalid: “Henry Ossawa Tanner, Angels Appearing before the Shepherds” smARThistory (2015) Henry Ossawa Tanner, Angels Appearing before the Shepherds, c. 1910, oil on canvas, 65.3 x 81.1 cm (Smithsonian American Art Museum, Washington D.C.) Henry Ossawa Tanner’s evocative Angels Appearing before the Shepherds compels us to ask larger questions: what is the purpose of art that depicts religious subjects? Can the visual arts dramatize the Biblical word in a way that text cannot? Tanner grappled with these questions in a painting depicting a scene from the New Testament when angels appeared before the shepherds in Bethlehem to announce the birth of Jesus. In doing so, he followed in the footsteps of many artists—like those that crafted the stained glass windows at Reims Cathedral depicting Christian angels and saints or the craftsman that sculpted bronze statues of Hindu gods in 11th century India—who used the power of visual representation for religious messages. Tanner, his formation and influences Henry Ossawa Tanner was the first African-American painter to gain critical recognition outside of the United States in the late nineteenth and early twentieth-century. -
Picasso and the Family 27-09-2019 > 06-01-2020
Picasso and the Family 27-09-2019 > 06-01-2020 1 This exhibition is organized by the Sursock Museum with the exceptional support of the Musée national Picasso-Paris in the framework of “Picasso-Méditerranée,” and with the collaboration of the Lebanese Ministry of Culture. With the generous contribution of Danièle Edgar de Picciotto and the support of Cyril Karaoglan. Curated by: Camille Frasca and Yasmine Chemali Exhibition design: Jacques Aboukhaled Exhibition graphics: Mind the gap Lighting: Joe Nacouzi Booklet design: Mind the gap Printing: Byblos Printing Translation into English: Sarah Morris With the contribution of: Tinol Picasso-Méditerranée, an initiative from Musée national Picasso-Paris “Picasso-Méditerranée” is an international cultural event which is held from Spring 2017 to Spring 2019. Over seventy cultural institutions have come together to conjure up a programme around the work “obstinément méditerranéenne” of Pablo Picasso. Initiated by the Musée national Picasso-Paris, this journey into the creation of the artist and across the places which inspired him, aims at strengthening ties between all the shores. Maternité [Motherhood], Mougins, 30 August 1971 Oil on canvas, 162 × 130 cm Musée national Picasso-Paris. Dation Pablo Picasso, 1979. MP226 © RMN-Grand Palais / Adrien Didierjean © Succession Picasso 2019 Picasso and the Family explores Pablo Picasso’s (1881-1973) relationship to the notion of the family nucleus, encompassing everything from motherhood to children’s games, from the representation of conceptual intimacy to the numerous experiences of a fatherhood spent under the spotlight. Bringing together drawings, etchings, paintings, and sculptures, the exhibition spans seventy-seven years of creation, from 1895 to 1972, through a selection of works marking notable moments in the artist’s long emotional and family life, whose variety of forms illustrates the constant reinvention of his artistic vocabulary. -
“High Modernism”: the Avant-Garde in the Early 20Th Century
Chapter 8: Early 20th Century Avant-Garde 1 “High Modernism”: The Avant-Garde in the Early 20th Century The cultural values initiated by the early modern artists of the nineteenth century were continued and expanded by the “High Modern” artists of the early twentieth century avant-garde. These values were embedded in their art practices and visible in their art forms. And these values were so firmly entrenched that, in spite of repeated challenges from within the avant-garde itself, they were not fully overturned until late in the century. Modernism placed European man at the center of culture. While images of the divine were the focus of art from Ancient Iraq through the time of the Renaissance, and absolutist monarchs like Louis XIV began to usurp the position of artistic dominance during the Baroque period, in modernity, the figure of man occupied the place of centrality. Modernism celebrated innovation and originality. Baudelaire had conceived of modernism as a radical break from the historic traditions that preceded it. He saw it as an era characterized by a quest for novelty; he emphasized the artist’s “burning desire to create a personal form of originality.”1 A hundred years after Baudelaire, American critic Harold Rosenberg was still espousing what he called “the tradition of the New.” Modernism privileged painting over other media. Like the patrons of the French Royal Academy of Fine Arts, Baudelaire and his nineteenth century avant-garde contemporaries considered oil painting the ideal form for modernist artistic discourse. Although Baudelaire favored realist imagery, as modernism progressed, painting became more reduced, more abstract, Chapter 8: Early 20th Century Avant-Garde 2 and more distant from lived experience.