Seventh Grade the Sequence Presents a Unified Section on History and Geography
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The Museum of Modern Art, New York Exhibition Checklist Gauguin: Metamorphoses March 8-June 8, 2014
The Museum of Modern Art, New York Exhibition Checklist Gauguin: Metamorphoses March 8-June 8, 2014 Paul Gauguin, French, 1848–1903 Vase Decorated with Breton Scenes, 1886–1887 Glazed stoneware (thrown by Ernest Chaplet) with gold highlights 11 5/16 x 4 3/4" (28.8 x 12 cm) Royal Museums of Art and History, Brussels Paul Gauguin, French, 1848–1903 Cup Decorated with the Figure of a Bathing Girl, 1887–1888 Glazed stoneware 11 7/16 x 11 7/16" (29 x 29 cm) Dame Jillian Sackler Paul Gauguin, French, 1848–1903 Vase with the Figure of a Girl Bathing Under the Trees, c. 1887–1888 Glazed stoneware with gold highlights 7 1/2 x 5" (19.1 x 12.7 cm) The Kelton Foundation, Los Angeles Paul Gauguin, French, 1848–1903 Leda (Design for a China Plate). Cover illustration for the Volpini Suite, 1889 Zincograph with watercolor and gouache additions on yellow paper Composition: 8 1/16 x 8 1/16" (20.4 x 20.4 cm) Sheet: 11 15/16 x 10 1/4" (30.3 x 26 cm) The Metropolitan Museum of Art, New York. Rogers Fund 03/11/2014 11:44 AM Gauguin: Metamorphoses Page 1 of 43 Gauguin: Metamorphoses Paul Gauguin, French, 1848–1903 Bathers in Brittany from the Volpini Suite, 1889 Zincograph on yellow paper Composition: 9 11/16 x 7 7/8" (24.6 x 20 cm) Sheet: 18 7/8 x 13 3/8" (47.9 x 34 cm) The Metropolitan Museum of Art, New York. Rogers Fund Paul Gauguin, French, 1848–1903 Edward Ancourt, Paris Breton Women Beside a Fence from the Volpini Suite, 1889 Zincograph on yellow paper Composition: 6 9/16 x 8 7/16" (16.7 x 21.4 cm) Sheet: 18 13/16 x 13 3/8" (47.8 x 34 cm) The Metropolitan Museum of Art, New York. -
Paul Gauguin: Monotypes
Paul Gauguin: Monotypes Paul Gauguin: Monotypes BY RICHARD S. FIELD published on the occasion of the exhibition at the Philadelphia Museum of Art March 23 to May 13, 1973 PHILADELPHIA MUSEUM OF ART Cover: Two Marquesans, c. 1902, traced monotype (no. 87) Philadelphia Museum of Art Purchased, Alice Newton Osborn Fund Frontispiece: Parau no Varna, 1894, watercolor monotype (no. 9) Collection Mr. Harold Diamond, New York Copyright 1973 by the Philadelphia Museum of Art Library of Congress Catalog Card Number: 73-77306 Printed in the United States of America by Lebanon Valley Offset Company Designed by Joseph Bourke Del Valle Photographic Credits Roger Chuzeville, Paris, 85, 99, 104; Cliche des Musees Nationaux, Paris, 3, 20, 65-69, 81, 89, 95, 97, 100, 101, 105, 124-128; Druet, 132; Jean Dubout, 57-59; Joseph Klima, Jr., Detroit, 26; Courtesy M. Knoedler & Co., Inc., 18; Koch, Frankfurt-am-Main, 71, 96; Joseph Marchetti, North Hills, Pa., Plate 7; Sydney W. Newbery, London, 62; Routhier, Paris, 13; B. Saltel, Toulouse, 135; Charles Seely, Dedham, 16; Soichi Sunami, New York, 137; Ron Vickers Ltd., Toronto, 39; Courtesy Wildenstein & Co., Inc., 92; A. J. Wyatt, Staff Photographer, Philadelphia Museum of Art, Frontispiece, 9, 11, 60, 87, 106-123. Contents Lenders to the Exhibition 6 Preface 7 Acknowledgments 8 Chronology 10 Introduction 12 The Monotype 13 The Watercolor Transfer Monotypes of 1894 15 The Traced Monotypes of 1899-1903 19 DOCUMENTATION 19 TECHNIQUES 21 GROUPING THE TRACED MONOTYPES 22 A. "Documents Tahiti: 1891-1892-1893" and Other Small Monotypes 24 B. Caricatures 27 C. The Ten Major Monotypes Sent to Vollard 28 D. -
Tamara De Lempicka's Strategic Conservatism
TAMARA DE LEMPICKA’S STRATEGIC CONSERVATISM By Elizabeth Von Buhr Submitted to the Faculty of the College of Arts and Sciences of American University in Partial Fulfillment of the Requirements for the Degree of Master of Arts In Art History Chair: Juliet Bellow, Ph.D. Joanne Allen, Ph.D. Dean of the College of Arts and Sciences May 1, 2020 Date 2020 American University Washington, D.C. 20016 © COPYRIGHT by Elizabeth Von Buhr 2020 ALL RIGHTS RESERVED TAMARA DE LEMPICKA’S STRATEGIC CONSERVATISM BY Elizabeth Von Buhr ABSTRACT Tamara de Lempicka’s seemingly pious and traditionalist period of the late 1920s and 1930s, exemplified by paintings such as La Polonaise (1933) and The Communicant (1928), appears to be a sharp departure from the Polish émigré’s celebrated erotic nudes of the early 1920s. This thesis contextualizes this stylistic and thematic shift in de Lempicka’s oeuvre within the increasingly fraught, nationalistic, and politically conservative climate of interwar Paris. I argue that de Lempicka adapted her approach to painting to overcome the increased challenges this environment posed to foreign women artists. Her strategy, which relied upon visual ambiguity and a manipulation of conservative taste, secured her financial and professional artistic success. I situate de Lempicka’s transition to traditional subjects and a classical revivalist style as part of a larger cultural trend by discussing her work in relation to her artistic milieu and to the “return to order,” a widespread artistic catalyst of the period. By analyzing the similarities between de Lempicka’s works and those of her contemporaries, including her teacher Maurice Denis and an organization of women artists known as the FAM (Femmes Artistes Modernes), I consider the influences behind de Lempicka’s strategic conservatism. -
Gauguin, Gilgamesh, and the Modernist Aesthetic Allegory
© 2011 Jennifer Mary McBryan ALL RIGHTS RESERVED GAUGUIN, GILGAMESH, AND THE MODERNIST AESTHETIC ALLEGORY: THE ARCHAEOLOGY OF DESIRE IN NOA NOA by JENNIFER MARY McBRYAN A dissertation submitted to the Graduate School - New Brunswick Rutgers, the State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Comparative Literature Written under the direction of Ben. Sifuentes-Jáuregui and approved by _________________________________ _________________________________ _________________________________ _________________________________ New Brunswick, New Jersey MAY, 2011 ABSTRACT OF THE DISSERTATION Gauguin, Gilgamesh, and the Modernist Aesthetic Allegory: The Archaeology of Desire in Noa Noa By JENNIFER MARY McBRYAN Dissertation Director: Professor Ben. Sifuentes-Jáuregui This dissertation explores Paul Gauguin's Noa Noa (“fragrant” in Tahitian), a fictionalized “memoir” of his first journey to French Polynesia, which includes a transformative episode recounting a trip into the forest to collect wood for carving into sculptures. In Gauguin scholarship, this episode has provoked speculation because of the eroticized way in which the artist describes his relationship with his young Tahitian male guide on the expedition; several scholars have argued that this episode of Noa Noa is designed to trouble conventional bourgeois boundaries, while others have offered sharp postcolonial critiques. I offer a different reading of this episode, arguing that the forest journey in Noa Noa replays the journey to the cedar forest in the myth of Gilgamesh, and that the artist’s transplantation of this ancient Assyrian epic to a Polynesian setting adds a ii new layer to our understanding of the transnational and transhistorical nature of Gauguin's primitivism.