Brassaï Committed the JOBS of the FUTURE
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Televisión Y Literatura En La España De La Transición (1973-1982)
Antonio Ansón, Juan Carlos Ara Torralba, José Luis Calvo Carilla, Luis Miguel Fernández, María Ángeles Naval López y Carmen Peña Ardid (Eds.) Televisión y Literatura en la España de la Transición (1973-1982) COLECCIÓN ACTAS f El presente libro recoge los trabajos del Seminario «Televisión y Literatura en la España de la Transición» que, bajo el generoso patrocinio de la Institución ACTAS «Fernando el Católico», tuvo lugar durante los días 13 a 16 de febrero de 2008. En él se incluyen, junto con las aportaciones del Grupo de Investigación sobre «La literatura en los medios de comunicación de masas durante COLECCIÓN la Transición, 1973-1982», formado por varios profesores de las Universidades de Zaragoza y Santiago de Compostela, las ponencias de destacados especialistas invitados a las sesiones, quienes han enriquecido el resultado final con la profundidad y amplitud de horizontes de sus intervenciones. El conjunto de todos estos trabajos representa un importante esfuerzo colectivo al servicio del mejor conocimiento de las relaciones entre el influyente medio televisivo (único en los años que aquí se estudian) y la literatura en sus diversas manifestaciones creativas, institucionales, críticas y didácticas. A ellos, como segunda parte del volumen, se añade una selección crítica de los principales programas de contenido literario emitidos por Televisión Española durante la Transición, con información pormenorizada sobre sus características, periodicidad, fecha de emisión, banda horaria y otros aspectos que ayudan a definir su significación estética y sociológica. Diseño de cubierta: A. Bretón. Motivo de cubierta: Josep Pla entrevistado en «A fondo» (enero de 1977). La versión original y completa de esta obra debe consultarse en: https://ifc.dpz.es/publicaciones/ebooks/id/2957 Esta obra está sujeta a la licencia CC BY-NC-ND 4.0 Internacional de Creative Commons que determina lo siguiente: • BY (Reconocimiento): Debe reconocer adecuadamente la autoría, proporcionar un enlace a la licencia e indicar si se han realizado cambios. -
"Beautiful All Year Round"
Translated articles · Eme n 2 · 2014 102 Martin Salisbury · pp. 100-103. ISSN 2253-6337 Raquel Pelta Resano · pp. 103-110. ISSN 2253-6337 103 Translated articles · Eme n 2 · 2014 as objects in mind, to that end we do everything tion exhibition in London, in 2003 she set up her Cambridge School of Art, I see an increasing number Gilmour, Pat: Artists at Curwen, London, Tate in our power to ensure that they look good, smell company ‘Donna Wilson’, creating designs for of Masters students applying their work to a range of Gallery, 1977. good and most of all tell great stories!” cushion covers, blankets, soft toys etc. In 2010 she design contexts beyond the book. I am showing a few Salisbury, Martin: Artists at the Fry, Cambridge, As well as independent publishers such as No- was named Designer of the Year by the magazine, examples here. In the early stages of this course, stu- Ruskin Press/Fry Art Gallery and Museum, 2003. brow, small ‘private press’ printer- publishers still Elle Decoration. The studio now employs a team dents devote their time to self-proposed thematic ob- Bacon, CAROLINE AND MCGregor, James: seem to be thriving. But one of the most noticeable of workers making enough of Donna’s designs to servational drawing projects. Even at this early stage Edward Bawden, Bedford, Cecil Higgins Art gal- examples of a return to aspects of the mid-Twen- meet the demand from major high street stores of making acquaintance with their individual meth- lery, 2008. tieth ethos is the branching out of illustrators into such as John Lewis. -
Art on the Page
Art on the page Toward a modern illustrated book When Parisian art dealer Ambroise Vollard issued his first publication, Parallèlement, in 1900, a collection of poems by Paul Verlaine illustrated with lithographs by Impressionist painter Pierre Bonnard, he ushered in a new form of illustrated book to mark the new century. In the following decades, he and other entrepreneurial art publishers such as Daniel-Henry Kahnweiler and Albert Skira would take advantage of a widening pool of book collectors interested in modern art by producing deluxe books that featured original prints by artists such as Pablo Picasso, Henri Matisse, Georges Rouault, André Derain and others. These books are generally referred to as livres des artistes and, unlike the fine press publications produced by the Kelmscott Press, the Doves Press or Ashendene Press, the earliest examples were distinguished by their modernity. Breon Mitchell, in his introduction to Beyond illustration, argues that the livre d’artiste can be differentiated from the traditional book in several respects: The illustrations are, in each case, original works of art (woodcuts, lithographs, etchings, engravings) executed by the artist himself and printed under his supervision. The book thus contains original graphics of the kind which find their place on museum walls … The livre d’artiste is also defined by the stature of the artist. Virtually every major painter and sculptor of the twentieth century—Picasso, Braque, Ernst, Matisse, Kokoschka, Barlach, Miró, to name a few—has collaborated in the creation of one or more such works. In many cases, book illustration has occupied such an important place in the total oeuvre of the artist that no student of art history can safely ignore it. -
Surrealist Masculinities
UC-Lyford.qxd 3/21/07 12:44 PM Page 15 CHAPTER ONE Anxiety and Perversion in Postwar Paris ans Bellmer’s photographs of distorted and deformed dolls from the early 1930s seem to be quintessential examples of surrealist misogyny (see Fig. 4). Their violently erotic Hreorganization of female body parts into awkward wholes typifies the way in which surrealist artists and writers manipulated and objectified femininity in their work. Bellmer’s manipulation and reconstruction of the female form also encourage comparison with the mutilation and reconstruction that prevailed across Europe during World War I. By viewing the dolls in this context, we might see their distorted forms as a displacement of male anxiety onto the bodies of women. Thus, Bellmer’s work—and the work of other male surrealists who de- picted fragmented female bodies—might reflect not only misogyny but also the disavowal of emasculation through symbolic transference. The fabrication of these dolls also expresses a link to consumer society. The dolls look as if they could be surrealist mannequins made by the prosthetic industry; their deformed yet interlocking parts reflect a chilling combination of mass-market eroticism and wartime bodily trauma. These connections between misogyny and emasculation anxiety, between eroticism and the horror of war trauma, and between consump- tion and desire are not specific to Bellmer’s idiosyncratic visual rhetoric, however. The practice of joining contradictory approaches and blurring boundaries between objects, identities, and media was more prevalent among the male surrealists than is usually acknowledged. If we open our eyes to consider these contrasts as part of a broader surrealist agenda, we can see how the surrealists aimed to destabilize their viewers’ assumptions about the boundaries 15 Copyrighted Material UC-Lyford.qxd 3/21/07 12:44 PM Page 16 FIGURE 4 Hans Bellmer, Poupée, 1935. -
Orientalisms the Construction of Imaginary of the Middle East and North Africa (1800-1956)
6 march 20 | 21 june 20 #IVAMOrientalismos #IVAMOrientalismes Orientalisms The construction of imaginary of the Middle East and North Africa (1800-1956) Francisco Iturrino González (Santander, 1864-Cagnes-sur-Mer, Francia, 1924) Odalisca, 1912. Óleo sobre lienzo, 91 x 139 cm Departament de Comunicació i Xarxes Socials [email protected] Departament de Comunicació i Xarxes Socials 2 [email protected] DOSSIER Curators: Rogelio López-Cuenca Sergio Rubira (IVAM Exhibitions and Collection Deputy Director) MªJesús Folch (assistant curator of the exhibition and curator of IVAM) THE EXHIBITION INCLUDES WORKS BY ARTISTS FROM MORE THAN 70 PUBLIC AND PRIVATE COLLECTIONS Francisco de Goya y Lucientes (National Calcography), Francisco Lamayer, César Álvarez Dumont, Antonio Muñoz Degrain (Prado Museum), José Benlliure (Benlliure House Museum), Joaquín Sorolla (Sorolla Museum of Madrid), Rafael Senet and Fernando Tirado (Museum of Fine Arts of Seville), Mariano Bertuchi and Eugenio Lucas Velázquez (National Museum of Romanticism), Marià Fortuny i Marsal (Reus Museum, Tarragona), Rafael de Penagos (Círculo de Bellas Artes de Madrid, Institut del Teatre de Barcelona, MAPFRE Collection), Leopoldo Sánchez (Museum of Arts and Customs of Seville), Ulpiano Checa (Ulpiano Checa Museum of Madrid), Antoni Fabrés (MNAC and Prado Museum), Emilio Sala y Francés and Joaquín Agrasot (Gravina Palace Fine Arts Museum, Alacant), Etienne Dinet and Azouaou Mammeri (Musée d’Orsay), José Ortiz Echagüe (Museum of the University of Navarra), José Cruz Herrera (Cruz Herrera -
Albert Skira Et Ses Livres D'art
Albert Skira et ses livres d’art (1948-1973) Corisande Evesque To cite this version: Corisande Evesque. Albert Skira et ses livres d’art (1948-1973). Histoire. 2015. dumas-01256888 HAL Id: dumas-01256888 https://dumas.ccsd.cnrs.fr/dumas-01256888 Submitted on 15 Jan 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. UNIVERSITÉ PARIS I – PANTHÉON SORBONNE UFR 09 - HISTOIRE DES SOCIÉTÉS OCCIDENTALES CONTEMPORAINES CENTRE D’HISTOIRE SOCIALE DU XXe SIECLE ALBERT SKIRA ET SES LIVRES D’ART (1948-1973) Corisande EVESQUE Mémoire de Master 2 recherche sous la direction de Mme Julie Verlaine 2015 Couverture : Albert Skira au milieu de ses reproductions, le 6 février 1954 BGE, Centre d’iconographie genevoise Fonds du photographe Paul Boissonnas !2 UNIVERSITÉ PARIS I – PANTHÉON SORBONNE UFR 09 - HISTOIRE DES SOCIÉTÉS OCCIDENTALES CONTEMPORAINES CENTRE D’HISTOIRE SOCIALE DU XXe SIECLE ALBERT SKIRA ET SES LIVRES D’ART (1948-1973) Corisande EVESQUE Mémoire de Master 2 recherche sous la direction de Mme Julie Verlaine 2015 !3 REMERCIEMENTS Tout d’abord, tous mes remerciements vont à Julie Verlaine qui m’a orientée et suivie tout au long de mes recherches, ainsi qu’à Pascal Ory et à Jean-Yves Mollier qui ont répondu à mes questionnements. -
Table of Contents
196 1.1 Man Ray, Surrealist Chessboard, 1934. Collage, gelatin silver print, 46 x 30.2 cm. The Israel Museum, Jerusalem, Israel. 1.2 Man Ray, Picasso, 1933. Gelatin silver print. 35.2 x 27.9 cm. The Metropolitan Museum of Art, New York. 197 1.3 Pablo Picasso, Portrait of Man Ray, 1934. India ink on paper, 34.5 x 24.8 cm. The Kantor Collection, Beverley Hills, California. 1.4 Man Ray, Hands painted by Picasso, ca. 1935. Gelatin silver print. 20 x 30.5 cm. Musée National d'Art Moderne, Centre Georges Pompidou, Paris, France. 198 1.5 Man Ray, Still life, 1933. Three-color carbon transfer print. 30.6 x 23 cm. The J. Paul Getty Museum, Los Angeles. 1.6 Brassaï, Picasso’s Palette, 1932–3. Minotaure, 1.1, (January 1933): 8. 199 1.7 Man Ray, Dust Breeding, ca. 1920. Gelatin Silver Print. 9.2 x 12 cm. Musée National d'Art Moderne, Centre Georges Pompidou, Paris. 1.8 Brassaï, Uncropped Print of Picasso’s Palette, 1932. Gelatin silver print. 23.5 x 18 cm. Picasso Archives, Musée Picasso, Paris. 200 1.9 Man Ray, Uncropped Print of Dust Breeding, 1920, printed later. Gelatin silver print, 30.4 x 40.3 cm. Private collection, courtesy Galerie 1900–2000, Paris. 1.10 Pablo Picasso, Bull’s Head, 1942. Bronze casting from bicycle saddle and handlebars. 42 x 41 x 15 cm. Musée Picasso, Paris. 201 1.11 Pablo Picasso, Painter and Model, 1928. Oil on canvas, 129.8 x 163. Museum of Modern Art, New York. -
Natee Utarit Demetrio Paparoni
Natee Utarit Demetrio Paparoni NATEE UTARIT Optimism is Ridiculous Contents Cover and Back Cover First published in Italy in 2017 by Photo Credits Special thanks for their support 6 The Perils of Optimism. Passage to the Song of Truth Skira editore S.p.A. © 2017. DeAgostini Picture Library/ and collaboration to and Absolute Equality, 2014 Palazzo Casati Stampa Scala, Firenze: pp. 14 (top), 76, 102 The Art of Natee Utarit (details) via Torino 61 © 2017. Digital image, The Museum Demetrio Paparoni 20123 Milano of Modern Art, New York/Scala, Art Director Italy Firenze: pp. 14 (bottom), 18, Makati Avenue corner Marcello Francone www.skira.net 124 (bottom) De La Rosa Street, Greenbelt Park, Makati City, 147 © 2017. Foto Austrian Archives/ 1224 Philippines Optimism is Ridiculous Design © All rights reserved by Richard Koh Scala, Firenze: p. 90 Luigi Fiore Fine Art, Singapore © 2017. Foto Joerg P. Anders. © 2017 Skira editore for this edition Editorial Coordination Foto Scala, Firenze/bpk, Bildagentur 241 Writings by the Artist © 2017 Demetrio Paparoni for his Vincenza Russo fuer Kunst, Kultur und Geschichte, text Berlin: p. 134 Editing © 2017 Natee Utarit for his works © 2017. Foto Klaus Goeken. 249 Appendix Valeria Perenze and texts Foto Scala, Firenze/bpk, Bildagentur © Joseph Beuys, Juan Muñoz, Layout fuer Kunst, Kultur und Geschichte, by SIAE 2017 Antonio Carminati Berlin: p. 82 Jl. Medan Merdeka Timur No. 14 © Man Ray Trust, by SIAE 2017 Jakarta Pusat 10110 - Indonesia © 2017. Foto Scala, Firenze: pp. 8, Translation © Succession Marcel Duchamp 29 (top left), 34, 48, 116 Natalia Iacobelli by SIAE 2016 © 2017. Foto Scala, Firenze/bpk, © Succession Picasso, by SIAE 2017 Iconographical Research Bildagentur fuer Kunst, Kultur © The Andy Warhol Foundation for Paola Lamanna und Geschichte, Berlin: pp. -
A Thesis Submitted to the College of the Arts of Kent State University in Partial Fulfillment of the Requirements for the Degree of Master of Arts
FROM ANCIENT GREECE TO SURREALISM: THE CHANGING FACES OF THE MINOTAUR A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Brenton Pahl December, 2017 Thesis written by Brenton Pahl B.A., Cleveland State University, 2009 M.A., Kent State University, 2017 Approved by —————————————————— Marie Gasper-Hulvat, Ph.D., Advisor —————————————————— Marie Bukowski, M.F.A., Director, School of Art —————————————————— John Crawford-Spinelli, Ed.D., Dean, College of the Arts TABLE OF CONTENTS PAGE LIST OF FIGURES ………………………………………………………………………………….……iv ACKNOWLEDGMENTS ………………………………………………………………………………..vii I. INTRODUCTION Mythology in Surrealism ………………………………………………………………………….1 The Minotaur Myth ………………………………………………………………………………..4 The Minotaur in Art History …………………………………………………..…………………..6 II. CHAPTER 1 Masson’s Entry into Surrealism ……………………..…………………………………..…….…10 The Splintering of Surrealism …………..…………………….…………………………….……13 La Corrida …………………………………………………………………………………….….15 III. CHAPTER 2 The Beginnings of Minotaure ……………………………………………………………………19 The Remaining Editions of Minotaure …………………………………………………………..23 IV. CHAPTER 3 Picasso’s Minotaur ……………………………………………………………..………….……..33 Minotauromachy …………………………………………………………………………………39 V. CHAPTER 4 Masson and the Minotaur …………………..…………………………………………………….42 Acephalé ………………………………………………………………………………………….43 The Return to the Minotaur ………………………………………………………………………46 Masson’s Second Surrealist Period …………………..………………………………………….48 VI. CONCLUSION -
The International Surrealist Exhibition 1936 by David Stent in Late 2016
© David Stent, 2018 Dalí / Duchamp in light of Edward James – The International Surrealist Exhibition 1936 By David Stent In late 2016, the discovery of a few sheets of paper in the Edward James Archive at West Dean College suggested a rare and important find. The previously uncatalogued pages combined sections of neatly transcribed text consistent, it would later transpire, with having been taken by dictation, with urgent brightly-coloured pencil scribbles in another hand. It soon became clear that the two texts constituted an English translation of the lecture given by Salvador Dalí at the International Surrealist Exhibition in London in July 1936, together with notes for his introduction to the audience by his friend and patron Edward James. Even incomplete, the importance of the document reflects the fact that few details of Dalí’s lecture have been known since the event, with inconsistent press reports giving only partial clues as to what its subject, ‘Authentic Paranoiac Phantoms’, might have involved. It also showed the degree to which James was involved in Dalí’s introduction to the public at the first major exhibition of Surrealism in Britain. Of course, James’ association with Dalí is well known, yet it was clear that the details and significance of his role at the International Surrealist Exhibition were still coming to light. James not only introduced Dalí but translated his infamous ‘diving suit’ lecture (indicative of his close relationship with the artist at the time) – the newly-discovered transcript allowing us to hear the artist’s words, albeit at one remove. It is likely that James purchased many of the works on display at the Burlington Galleries, helping to establish what would become one of the most significant collections of Surrealist art in the world. -
An Historical List of Some Prominent Books and Artist's Books
An Historical List of Some Prominent Books and Artist’s Books 1896 The Works of Geoffrey Chaucer, Now Newly Imprinted. Text by Chaucer, designed by William Morris with images by Edward Bourne-Jones, Kelmscott Press, Hammersmith, England. Letterpress and wood engravings; 567 pp. 1887 Un coup de dés jamais n'abolira le hasard. Poem by Stéphane Mallarmé, published in Paris. 1900 Parallèlement. Text by Paul Verlaine, images by Pierre Bonnard, published in Paris by Ambroise Vollard. Letterpress with 110 lithographs, 8 woodcuts; 152 pp. 1913 La Prose du Transsibérien et de la petite Jehanne de France. Text by Blaise Cendrars, images by Sonia Delaunay, published in Paris by Editions des Hommes Nouveaux [Blaise Cendrars]. Letterpress with pochoir imagery. 4 joined sheets folded once vertically and 21 times horizontally to fit wrapper. 1915 Rarefazioni e Parole in Liberta. Text by Corrado Govoni, published in Milan by Ediziono Futuriste di Poesia. Letterpress and relief engravings; 58 pp. 1919 La Fin du Monde. Text by Plaise Cendrars, design by Fernand Léger, published in Paris by Editions de la Sirene. Letterpress with line engravings and pochoir color. 30 pp. 1920 Die Kathedrale. Text and images by Kurt Schwitters, published in Hannover by Paul Steegemann. Transfer lithographs; 8 folios. 1930 Calligrammes. Text by Guillaume Apollinaire, images by Giorgio de Chirico, published in Paris by Librairie Gallimard. Letterpress and lithographs; 276 pp. 1931 Les Métamorphoses. Text by Ovid, images by Pablo Picasso, published in Lausanne by Albert Skira. Letterpress and etchings; 412 pp. 1932 Poésies. Text by Stéphane Mallarmé, images by Henri Matisse, published in Lausanne by Albert Skira & Co. -
Citation for Published Version Prado-Fonts, C. (2018
Citation for published version Prado-Fonts, C. (2018). Writing China from the rest of the west: travels and transculturation in 1920s Spain. Journal of Spanish Cultural Studies, 19(2), 175-189. DOI https://doi.org/10.1080/14636204.2018.1453110 Document Version This is the Accepted Manuscript version. The version in the Universitat Oberta de Catalunya institutional repository, O2 may differ from the final published version. Copyright and Reuse This manuscript version is made available under the terms of the Creative Commons Attribution Non Commercial No Derivatives licence (CC-BY-NC-ND) http://creativecommons.org/licenses/by-nc-nd/3.0/es/, which permits others to download it and share it with others as long as they credit you, but they can’t change it in any way or use them commercially. Enquiries If you believe this document infringes copyright, please contact the Research Team at: [email protected] Universitat Oberta de Catalunya Research archive Writing China from the Rest of the West: Travels and transculturation in 1920s Spain Carles Prado-Fonts Universitat Oberta de Catalunya Post-print version Journal of Spanish Cultural Studies Volume 19, 2018 - Issue 2 Pages 175-189 Published online: 02 Apr 2018 https://doi.org/10.1080/14636204.2018.1453110 ABSTRACT Scholarship on the representation of China in the West generally assumes a direct interaction characterized by colonial dynamics. This article shows what happens when a third agent – non-colonizer and non-colonized – enters the picture and looks at two responses from Spanish texts written during the 1920s: whereas Vicente Blasco Ibáñez’s China chapters in his well-known La vuelta al mundo de un novelista (1924) dissolve the Spanish position into the voice of the colonizer, Federico García Sanchiz’s La ciudad milagrosa (1926) uses an external perspective to articulate a more critical view of the Western presence in Shanghai that is nevertheless subjected to a formal style that homogenizes the narrative.