Portrait of Henri Matisse
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Karl Wolf-Into the Woods-Fauvism Landscape Leaaon Plan
Legends Legacies & connectionsFROM THE PERMANENT COLLECTION KarlWolf Into The Woods: Fauvist Landscapes THE KELLY Kelly Fitzpatrick Memorial Gallery P. O. Box 641, Wetumpka, AL 36092 | 408 S. Main St., Wetumpka, AL 36092 | Web: thekelly.org | Email: [email protected] Karl Wolf, 1904-1984 The Dixie Art Colony, 1940, Watercolor on Paper, 20” x 14.” Gift of Elizabeth "Bebe" Wolfe, 2015 Acquisition Karl Wolfe was born in Brookhaven, Mississippi in the year 1904. He was the oldest son of Wiley Wilson Wolfe and Elizabeth Heuck. He was still a boy when his family moved to Columbia Mississippi. Karl graduated from the Columbia High School and went to Soule Business College in New Orleans where he studied bookkeeping. He later was accepted to the Chicago Art Institute, graduating in 1928. In his last year of study he won the William R French Traveling Scholarship, and spent the next year traveling and studying in Europe. Karl met his future wife, Mildred Nungester, at the Dixie Art Colony, near Montgomery, Alabama in the 1930’s. Karl and Mildred were friends and colleagues for many years before they married in 1944. In 1942 Karl was drafted into the Army Air Corps and spent the War years at Lowry Field in Colorado, assigned to work as a photographer. After the war Karl and Mildred returned to Jackson, Mississippi, where Karl had begun to establish a clientele before the war. They homesteaded on land Karl had bought before the war, built and shared a studio there and raised a family. Karl became an accomplished and widely respected portrait painter. -
Realism.VL.2.Pdf
Realism Realism 1861- 1914: An artistic movement begun in 19th century France. Artists and writers strove for detailed realistic and factual description. They tried to represent events and social conditions as they actually are, without idealization. This form of literature believes in fidelity to actuality in its representation. Realism is about recreating life in literature. Realism arose as an opposing idea to Idealism and Nominalism. Idealism is the approach to literature of writing about everything in its ideal from. Nominalism believes that ideas are only names and have no practical application. Realism focused on the truthful treatment of the common, average, everyday life. Realism focuses on the immediate, the here and now, the specific actions and their verifiable consequences. Realism seeks a one-to-one relationship between representation and the subject. This form is also known as mimesis. Realists are concerned with the effect of the work on their reader and the reader's life, a pragmatic view. Pragmatism requires the reading of a work to have some verifiable outcome for the reader that will lead to a better life for the reader. This lends an ethical tendency to Realism while focusing on common actions and minor catastrophes of middle class society. Realism aims to interpret the actualities of any aspect of life, free from subjective prejudice, idealism, or romantic color. It is in direct opposition to concerns of the unusual, the basis of Romanticism. Stresses the real over the fantastic. Seeks to treat the commonplace truthfully and used characters from everyday life. This emphasis was brought on by societal changes such as the aftermath of the Civil War in the United States and the emergence of Darwin's Theory of Evolution and its effect upon biblical interpretation. -
Matisse Dance with Joy Ebook
MATISSE DANCE WITH JOY PDF, EPUB, EBOOK Susan Goldman Rubin | 26 pages | 03 Jun 2008 | CHRONICLE BOOKS | 9780811862882 | English | San Francisco, United States Matisse Dance with Joy PDF Book Sell your art. Indeed, Matisse, with its use of strong colors and long, curved lines will initially influenced his acolytes Derain and Vlaminck, then expressionist and surrealist painters same. Jun 13, Mir rated it liked it Shelves: art. He starts using this practice since the title, 'Tonight at Noon' as it is impossible because noon can't ever be at night as it is during midday. Tags: h mastisse, matisse henri, matisse joy of life, matisse goldfish, matisse for kids, matisse drawing, drawings, artsy, matisse painting, henri matisse paintings, masterpiece, artist, abstract, matisse, famous, popular, vintage, expensive, henri matisse, womens, matisse artwork. Welcome back. Master's or higher degree. Matisse had a daughter with his model Caroline Joblau in and in he married Amelie Noelie Parayre with whom he raised Marguerite and their own two sons. Henri Matisse — La joie de vivre Essay. Tags: matisse, matisse henri, matisse art, matisse paintings, picasso, picasso matisse, matisse painting, henri matisse art, artist matisse, henri matisse, la danse, matisse blue, monet, mattise, matisse cut outs, matisse woman, van gogh, matisse moma, moma, henry matisse, matisse artwork, mattisse, henri matisse painting, matisse nude, matisse goldfish, dance, the dance, le bonheur de vivre, joy of life, the joy of life, matisse joy of life, bonheur de vivre, the joy of life matisse. When political protest is read as epidemic madness, religious ecstasy as nervous disease, and angular dance moves as dark and uncouth, the 'disorder' being described is choreomania. -
Eighteenth-Century English and French Landscape Painting
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2018 Common ground, diverging paths: eighteenth-century English and French landscape painting. Jessica Robins Schumacher University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Other History of Art, Architecture, and Archaeology Commons Recommended Citation Schumacher, Jessica Robins, "Common ground, diverging paths: eighteenth-century English and French landscape painting." (2018). Electronic Theses and Dissertations. Paper 3111. https://doi.org/10.18297/etd/3111 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. COMMON GROUND, DIVERGING PATHS: EIGHTEENTH-CENTURY ENGLISH AND FRENCH LANDSCAPE PAINTING By Jessica Robins Schumacher B.A. cum laude, Vanderbilt University, 1977 J.D magna cum laude, Brandeis School of Law, University of Louisville, 1986 A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Art (C) and Art History Hite Art Department University of Louisville Louisville, Kentucky December 2018 Copyright 2018 by Jessica Robins Schumacher All rights reserved COMMON GROUND, DIVERGENT PATHS: EIGHTEENTH-CENTURY ENGLISH AND FRENCH LANDSCAPE PAINTING By Jessica Robins Schumacher B.A. -
“Finding a Place for Beauty and Aesthetics in a Christian Worldview”
1 “Finding a place for beauty and aesthetics in a Christian worldview” Erik Schmidt Gonzaga University March 31, 2006 1. Introduction The past one hundred years have proven a hostile environment for questions of beauty and aesthetics. Philosophy has gone from a time when major figures in philosophy, including Hume, Kant, Hegel, Schopenhauer, and Nietzsche, devoted a considerable amount of attention to questions of aesthetics, to a discipline in which a few philosophers discuss a fragmented set of issues and questions grouped under the broad label of the philosophy of art. In the art-world, meanwhile we have moved from a time when artists attempted to embody balance, proportion and order to an era characterized by artists like Cy Twombly, whose work according one of his defenders manifests, “The implicit hand of a child in agony, a picture of manual impotence, of wanting to do well, but lacking the ability to do so.”[1] There is, of course, much to recommend about the current era in art and philosophy but my goal this afternoon is to take a closer look at the decline of discussions about aesthetics and beauty in philosophy and to defend the claim that questions about aesthetics and beauty should play a more important role in efforts file:///F|/Finding%20a%20place%20for%20art%20and%20beauty.htm (1 of 21) [4/13/2006 9:27:54 AM] 1 to articulate and defend a Christian worldview. Perhaps the best place to start is to say something about what I mean by aesthetics. To get a handle on the term we need to turn to David Hume. -
Albert Marquet and the Fauve Movement, 1898-1908
Digitized by the Internet Archive in 2010 with funding from Lyrasis IVIembers and Sloan Foundation http://www.archive.org/details/albertmarquetfauOOjudd ALBERT MARQUET AND THE FAirVE MOVEMENT 1898 -1908 by Norrls Judd A thesis submitted to the Faculty of the Department of Art History in partial fulfillment of the requirements for Senior Honors in Art History. ^5ay 1, 1976 /JP 1^1 Iff TABLE OF CONTENTS Page Introduction ...............< 1 I The Fauve Movement Definition of Fauvism, • 3 The Origins of the Fauve Movement 5 The Leaders of the Fauve Group 11 1905: The Crucial Year, Salon Exhibitions and Critical Reactions 26 Fauve Paintings of 1905 34 Critical Reaction to Fauvism.. 41 Denouement 45 II Albert Marquet Bordeaux: Origins 49 Paris: 1890 - 1898 50 Years of Activity with the Fauve Group: 1899-1908 Marquet and Matisse, 1898 - 1905 54 Marquet and Dufy, 1906. 78 Marquet, 1907-1908 83 Marquet: 1903-1910 87 III Summary 89 IV Footnotes 93 V Appendix Marquet Speaks on His Art 116 List of Reproductions 117 Photocopies of Selected Reproductions i 123 VI Bibl iography 142 Note: An asterisk will appear by a plate reference if the reproduction also appears in photocopy in the appendix. il ALBERT MARQUET AND THE FAUVE MOVEMENT 1898 - 1908 INTRODUCTION In 1905, when a group of violently coloured paintings was displayed at the Salon d'Automne, there were varying reactions from the critics. Some were outraged, others merely amused. At that time only a few of the critics were aware of the importance of the event. Even fewer critics realized that the special characteristics of these paintings would have a decisive influence on the future development of Gortain futur e twentieth century art. -
The Greatest Artists of the Twentieth Century
This PDF is a selection from a published volume from the National Bureau of Economic Research Volume Title: Conceptual Revolutions in Twentieth-Century Art Volume Author/Editor: David W. Galenson Volume Publisher: Cambridge University Press Volume ISBN: 978-0-521-11232-1 Volume URL: http://www.nber.org/books/gale08-1 Publication Date: October 2009 Title: The Greatest Artists of the Twentieth Century Author: David W. Galenson URL: http://www.nber.org/chapters/c5785 Chapter 2: The Greatest Artists of the Twentieth Century Introduction The masters, truth to tell, are judged as much by their influence as by their works. Emile Zola, 18841 Important artists are innovators: they are important because they change the way their successors work. The more widespread, and the more profound, the changes due to the work of any artist, the greater is the importance of that artist. Recognizing the source of artistic importance points to a method of measuring it. Surveys of art history are narratives of the contributions of individual artists. These narratives describe and explain the changes that have occurred over time in artists’ practices. It follows that the importance of an artist can be measured by the attention devoted to his work in these narratives. The most important artists, whose contributions fundamentally change the course of their discipline, cannot be omitted from any such narrative, and their innovations must be analyzed at length; less important artists can either be included or excluded, depending on the length of the specific narrative treatment and the tastes of the author, and if they are included their contributions can be treated more summarily. -
Impressionist & Modern
IMPRESSIONIST & MODERN ART Thursday 1 March 2018 IMPRESSIONIST & MODERN ART Thursday 1 March 2018 at 5pm New Bond Street, London VIEWING ENQUIRIES Brussels Rome Thursday 22 February, 9am to 5pm London Christine de Schaetzen Emma Dalla Libera Friday 23 February, 9am to 5pm India Phillips +32 2736 5076 +39 06 485 900 Saturday 24 February, 11am to 4pm Head of Department [email protected] [email protected] Sunday 25 February, 11am to 4pm +44 (0) 20 7468 8328 Monday 26 February, 9am to 5pm [email protected] Cologne Tokyo Tuesday 27 February, 9am to 3pm Katharina Schmid Ryo Wakabayashi Wednesday 28 February 9am to 5pm Hannah Foster +49 221 2779 9650 +81 3 5532 8636 Thursday 1 March, 9am to 2pm Department Director [email protected] [email protected] +44 (0) 20 7468 5814 SALE NUMBER [email protected] Geneva Zurich 24743 Victoria Rey-de-Rudder Andrea Bodmer Ruth Woodbridge +41 22 300 3160 +41 (0) 44 281 95 35 CATALOGUE Specialist [email protected] [email protected] £22.00 +44 (0) 20 7468 5816 [email protected] Livie Gallone Moeller PHYSICAL CONDITION OF LOTS ILLUSTRATIONS +41 22 300 3160 IN THIS AUCTION Front cover: Lot 16 Aimée Honig [email protected] Inside front covers: Lots 20, Junior Cataloguer PLEASE NOTE THAT THERE IS NO 21, 15, 70, 68, 9 +44 (0) 20 7468 8276 Hong Kong REFERENCE IN THIS CATALOGUE Back cover: Lot 33 [email protected] Dorothy Lin TO THE PHYSICAL CONDITION OF +1 323 436 5430 ANY LOT. -
CUBISM and ABSTRACTION Background
015_Cubism_Abstraction.doc READINGS: CUBISM AND ABSTRACTION Background: Apollinaire, On Painting Apollinaire, Various Poems Background: Magdalena Dabrowski, "Kandinsky: Compositions" Kandinsky, Concerning the Spiritual in Art Background: Serial Music Background: Eugen Weber, CUBISM, Movements, Currents, Trends, p. 254. As part of the great campaign to break through to reality and express essentials, Paul Cezanne had developed a technique of painting in almost geometrical terms and concluded that the painter "must see in nature the cylinder, the sphere, the cone:" At the same time, the influence of African sculpture on a group of young painters and poets living in Montmartre - Picasso, Braque, Max Jacob, Apollinaire, Derain, and Andre Salmon - suggested the possibilities of simplification or schematization as a means of pointing out essential features at the expense of insignificant ones. Both Cezanne and the Africans indicated the possibility of abstracting certain qualities of the subject, using lines and planes for the purpose of emphasis. But if a subject could be analyzed into a series of significant features, it became possible (and this was the great discovery of Cubist painters) to leave the laws of perspective behind and rearrange these features in order to gain a fuller, more thorough, view of the subject. The painter could view the subject from all sides and attempt to present its various aspects all at the same time, just as they existed-simultaneously. We have here an attempt to capture yet another aspect of reality by fusing time and space in their representation as they are fused in life, but since the medium is still flat the Cubists introduced what they called a new dimension-movement. -
Press Dossier
KEES VAN DONGEN From 11th June to 27th September 2009 PRESS CONFERENCE 11th June 2009, at 11.30 a.m. INAUGURATION 11th June 2009, at 19.30 p.m. Press contact: Phone: + 34 93 256 30 21 /26 Fax: + 34 93 315 01 02 [email protected] CONTENTS 1. PRESENTATION 2. EXHIBITION TOUR 3. EXHIBITION AREAS 4. EXTENDED LABELS ON WORKS 5. CHRONOLOGY 1. PRESENTATION This exhibition dedicated to Kees Van Dongen shows the artist‘s evolution from his student years to the peak of his career and evokes many of his aesthetic ties and exchanges with Picasso, with whom he temporarily shared the Bateau-Lavoir. Born in a suburb of Rotterdam, Van Dongen‘s career was spent mainly in Paris where he came to live in 1897. A hedonist and frequent traveller, he was a regular visitor to the seaside resorts of Deauville, Cannes and Monte Carlo, where he died in 1968. Van Dongen experienced poverty, during the years of revelry with Picasso, and then fame before finally falling out of fashion, a status he endured with a certain melancholy. The exhibition confirms Kees Van Dongen‘s decisive role in the great artistic upheavals of the early 20th century as a member of the Fauvist movement, in which he occupied the unique position of an often irreverent and acerbic portraitist. The virulence and extravagance of his canvases provoked immediate repercussions abroad, particularly within the Die Brücke German expressionist movement. Together with his orientalism, contemporary with that of Matisse, this places Van Dongen at the very forefront of the avant-garde. -
Rorty Nineteenth Century Idealism and Twentieth Century Textualism.Pdf
NINETEENTH-CENTURY IDEALISM AND TWENTIETH-CENTURY TEXTUALISM Author(s): Richard Rorty Source: The Monist , APRIL, 1981, Vol. 64, No. 2, Nineteenth-Century Thought Today (APRIL, 1981), pp. 155-174 Published by: Oxford University Press Stable URL: http://www.jstor.com/stable/27902689 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to The Monist This content downloaded from 132.174.255.116 on Sat, 27 Jun 2020 15:22:14 UTC All use subject to https://about.jstor.org/terms NINETEENTH-CENTURY IDEALISM AND TWENTIETH-CENTURY TEXTUALISM I In the last century there were philosophers who argued that nothing ex ists but ideas. In our century there are people who write as if there were nothing but texts. These people, whom I shall call "textualists," include for example, the so-called Yale school of literary criticism centering around Harold Bloom, Geoffrey Hartmann, and Paul De Man, "post-structuralist" French thinkers like Jacques Derrida and Michel Foucault, historians like Hayden White, and social scientists like Paul Rabinow. Some of these people take their point of departure from Heidegger, but usually the influence of philosophers is relatively remote. -
Henri Matisse French, 1869–1954
Matisse/Diebenkorn (Drawings Gallery, Large Extended label, 12 x 9 in) Henri Matisse French, 1869–1954 Sarah Stein 1916 Oil on canvas San Francisco Museum of Modern Art, Sarah and Michael Stein Memorial Collection, gift of Elise S. Haas Diebenkorn saw this portrait and many more paintings by Matisse at Sarah Stein’s Palo Alto home in 1943. Stein, a native San Franciscan, had moved to Paris with her husband, Michael, and their young son in 1904. They began to acquire Matisse’s work the following year and quickly became his most passionate early supporters, as well as close personal friends. When they returned from France to the Bay Area in 1935—the year this museum was founded—they brought their substantial collection of modern art with them. Extended Label @ 80% of VEL size 9 inches wide 150 words 21/26 pt SFMOMA Matisse/Diebenkorn (Drawings Gallery, Large Extended label, 12 x 9 in) Richard Diebenkorn American, 1922–1993 Urbana #4 1953 Oil on canvas Colorado Springs Fine Arts Center, gift of Julianne Kemper Gilliam After taking a teaching position at the University of Illinois at Urbana-Champaign, Diebenkorn began to use color more expressively than ever before. In part, the palettes he explored in works such as Urbana #4 may have been reactions against the gray light of his new home. But they were also clearly inspired by his growing experience of Matisse’s paintings and his developing sense of how to apply what he saw in them to his own canvases. Extended Label @ 80% of VEL size 9 inches wide 150 words 21/26 pt SFMOMA Matisse/Diebenkorn (Drawings Gallery, Large Extended label, 12 x 9 in) Henri Matisse French, 1869–1954 Studio, Quai Saint-Michel 1916 Oil on canvas The Phillips Collection, Washington, D.C.