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Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) Serial images: The Modern Art of Iteration Dyer, J.H. Publication date 2003 Link to publication Citation for published version (APA): Dyer, J. H. (2003). Serial images: The Modern Art of Iteration. in eigen beheer. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:04 Oct 2021 Chapter Two Edgar Degas' Female Nude and the Nature of Activity Interpreting Degas' Series of Female Nudes In 1996, Richard Kendall curated the exhibition "Degas: Beyond Impressionism" at the National Gallery in London. To my knowledge this was the first contemporary exhibition of the artist's work to present his images in series. Kendall wrote a catalogue for it which provides one of the few analyses of Degas' use of serial iteration. -
Degas at the Opéra Mar 1–Oct 12, 2020
UPDATED: 3/2/2020 11:06:55 AM Exhibition Checklist: Degas at the Opéra Mar 1–Oct 12, 2020 The exhibition is curated by Degas expert Henri Loyrette with Kimberly A. Jones, curator of 19th-century French paintings, National Gallery of Art; Leïla Jarbouai, graphic arts curator, Musée d'Orsay; and Marine Kisiel, curator, Musée d'Orsay. The exhibition is organized by the National Gallery of Art, Washington, and the Musées d'Orsay et de l'Orangerie, Paris. BP America is proud to be a sponsor of this Washington, DC, exhibition as part of its support for the arts in the United States. Adrienne Arsht also kindly provided a leadership gift for this exhibition. Additional funding is provided by Jacqueline B. Mars and The Exhibition Circle of the National Gallery of Art. The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Press Release: https://www.nga.gov/press/exh/5133.html Order Press Images: https://www.nga.gov/press/exh/5133/images.html Press Contact: Laurie Tylec, (202) 842-6355 or [email protected] Object ID: 5133-076 Edgar Degas Before Curtain-Rise, c. 1892 pastel on paper overall: 50.8 x 34.3 cm (20 x 13 1/2 in.) Wadsworth Atheneum Museum of Art, Hartford (Conn.) the Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, 1956.477 Object ID: 5133-100 Edgar Degas Two Studies of a Ballet Dancer, c. 1870–1872 brush and brown ink, heightened with white, on pink paper (altered color); ruled line in black chalk at left partially erased by white chalk overall: 40.8 x 28.1 cm (16 1/16 x 11 1/16 in.) framed: 63.5 x 47.6 x 4.1 cm (25 x 18 3/4 x 1 5/8 in.) The Morgan Library & Museum, New York. -
Tatiana V. Portnova Impressionistic Search in Artistic Interpretation of Dance 181
179 Tatiana V. Portnova IMPRESSIONISTIC SEARCH IN ARTISTIC INTERPRETATION OF DANCE AT THE TURN OF THE 20TH CENTURY The study of Russian culture at the beginning of the 20th century is instructive in the search for and finding of new expressive means of the artistic language, a new imagery in various forms of art. One of the essential features of this historical and cultural process is that it is carried out in close interweaving of stylistic innovations. Impressionism attracts the attention of researchers in the motley picture of the development of artistic trends in the late 19th century and the first decades of the 20th century. Now it appears to us as a stylistic trend, with clearly expressed historical premises, an ideological and aesthetic programme.1 Impressionism avoids indirect ways of approaching reality, conventionality, stylization, and metaphoricity. An attempt of theoretical interpretation of the relationship between dance and fine art in the context of Impressionism undertaken in this paper is not accidental. The manifestation of not only certain DOI: https://doi.org/10.12697/BJAH.2020.19.07 Abbreviations: SCTM – A. A. Bakhrushin State Central Theatre Museum, Moscow; PSMFA – The Pushkin State Museum of Fine Arts, Moscow; SRM – The State Russian Museum, St. Petersburg; TG – Tretyakov Gallery, Moscow; DAM – Denver Art Museum; NSAM – Novosibirsk State Art Museum; RSAM – Ryazan State Art Museum. 1 Diane Kelder, The French Impressionists and Their Century (New York: Praeger, 1970); Charles-Guy Le Paul, Judy Le Paul, L’Impressionnisme dans l’Ecole de Pont Aven: Monet, Renoir, Gauguin et leurs disciples (Paris: La Bibliotheque des Arts, 1983). -
Degas: Painting from Memory and Imagination
Degas: Painting from Memory and Imagination `At the moment, it is fashionable to paint pictures where you can see what time it is, like on a sundial, I don't like that at all. A painting requires a little mystery, some vagueness, some fantasy. When you always make your meaning perfectly plain you end up boring people. Even working from life, you most compose. Some people think it is forbidden!' ` On this subject, Monet told me: When Jongkind needed a house or a tree, he would turn round and take them from behind him.' ( Memories of Degas, Georges Jeanniot) Unlike the most of his contemporaries, Degas was an Impressionist who did not derive pleasure from painting at plein air where the painter is exposed to natural light. Instead, he always preferred to work in his studio, mainly from memory, with his desirable artificial type of light which was an indispensable factor of almost all of his paintings, the brown sauce as he called it. The question is why he had chosen that unique captivating style of painting from memory and how his imagination helped him to push back the boundaries of suffering and find his way to absolute freedom in the way of illustration. Ingres's Influence Degas's artistic life can be divided in three different eras [7]. The apprentice years (1850-1870), the Impressionists era (1870-1885) and the late maturity (1886-1912). During the apprentice years, he was influenced by both contemporary and old masters. Ingres for example, the French Neo-Classicist painter, played an important role as a mentor in shaping Degas's artistic character. -
Leadingadiscussiononart-Secured.Pdf
Cana Academy® Guide LEADING A DISCUSSION ON A WORK OF ART Mary Frances Loughran PUBLISHED BY CANA ACADEMY® www.canaacademy.org © 2018 Cana Academy® All rights reserved. Unauthorized uses prohibited. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations or excerpts embodied in published materials permitted by copyright law: in that case, the source of the quotations or excerpts must be included in the published materials. For permission requests, contact the publisher via the Cana Academy website. Front cover image: The Art of Painting, Johannes Vermeer, 1665-1668 © 2018 Cana Academy® i INTRODUCTION We encourage the study of art because we believe that it expands our shared human experience in much the same way reading literature opens those same horizons. The art of looking improves our ability to see and perceive deeper realities in all of life. The study of art involves all the senses and calls forth a response to the content as the artist has envisioned it. Primarily, we use our sense of sight; but as our imagination is fed by masterpieces of expression, our ability to expand the experience to include the other senses contributes even more to our perception. We therefore encourage a simple, not scholarly, approach to viewing art. In this guide, we focus on the skills needed to view attentively and discuss intelligently a work of art. To that end, we have included the following: 1. -
Edgar Degas (1834 – 1917) 19Th – 20Th Century France
Impressionist/Realist Painter Edgar Degas (1834 – 1917) 19th – 20th century France Edgar Degas (Ed-gar De-GAH) French “Impressionist” [Realist] Painter Impressionist Period of Art B: 19 July, 1834, Paris France D: 27 September 1917, Paris France Named for both his grandfathers, Hilaire Germaine Edgar Degas was born in Paris in 1834. As the son of a French-Italian banker and an American mother from New Orleans, Degas had an unusual heritage for the time; his uncles included Giuseppe Morbilli, the Italian Duc di Saint Angelo, and Norbert Rillieux, the famous African-American Chemical Engineer. Growing up, Edgar’s banker father provided an excellent classical education for Edgar and his brothers and sisters. After graduation, Edgar began to study law, but soon abandoned it for painting. His father’s financial support allowed the adult Edgar the freedom to paint anything without having to worry about supporting himself through his art. He visited his Italian relatives and studied the Renaissance artists, went to art school in Paris and later, visited his American family in New Orleans, paintings portraits and scenes from their post-Civil War cotton export business. After returning to France in 1874, his father died and Degas and his French siblings discovered their youngest brother, Rene, who ran the export business in New Orleans, had run up enormous business loans against his father’s bank before running away. The bank collapsed. To preserve the family’s name and reputation, Edgar and his siblings sold much of their inherited properties and paintings, and for the first time, Edgar Degas had to live by his brush.