Textos Ya Traducidos Kirsten

Total Page:16

File Type:pdf, Size:1020Kb

Textos Ya Traducidos Kirsten VENTE MARS Jeudi 17 Mars 2016 19:00 Art des XIXème et XXème siècles Exposition: 5 – 17 février Horaire: Du lundi au vendredi: De 10 à 14 h. et de 16:30 à 20:00 h. Samedis: De 10 à 14 h. et de 17 à 20:00 h. Les frais acheteur sont du 24,20 % (TTC) sur le prix de marteau. Les enchères par téléphone et les ordres d’achat sont bien acceptées. Les clients intéressés à recevoir un condition report d’un lot, devront contacter avec la salle des ventes. Contact: La Suite Subastas Conde de Salvatierra, 8 08006 Barcelona España Tel. + 34 93 300 14 77 Fax. + 34 93 300 27 60 www.suitesubastas.com mail: [email protected] www.facebook.com/LaSuiteSubastas Twitter : @suitesubastas TEXTOS YA TRADUCIDOS KIRSTEN 1 Juan Gris (Madrid, 1897 - Boulogne -sur-Seine, 1927) "Soupière" One of eleven lithographs in colour on Velin Arches paper, which Juan Gris did for the book by Pierre Reverdy (1889-1960) "Au soleil du plafond, Paris, Tériade, 1955. Published nearly thirty years after the death of Juan Gris, the original project consisted of illustrating each of the twenty poems by Reverdy with a picture by Gris. The artist´s premature death meant that the work was left incomplete. Gris left eleven finished lithographs. Rauch 102; Tériade p. 106. In Reverdy´s own words: "un des seuls grands livres cubistes existants; il date de la plus belle époque de Juan Gris, celle où il avait atteint la plénitude de ses moyens" (the only great cubist book in existence, dating from Juan Gris´ best period, that in which he had already reached his prime). 42,5 x 32,5 cm. Estimate: 600 / 1.000 euros 2 Juan Gris (Madrid, 1897 - Boulogne -sur-Seine, 1927) "Moulin à café" One of eleven lithographs in colour on Velin Arches paper, which Juan Gris did for the book by Pierre Reverdy (1889-1960) "Au soleil du plafond, Paris, Tériade, 1955. Published nearly thirty years after the death of Juan Gris, the original project consisted of illustrating each of the twenty poems by Reverdy with a picture by Gris. The artist´s premature death meant that the work was left incomplete. Gris left eleven finished lithographs. Rauch 102; Tériade p. 106. In Reverdy´s own words: "un des seuls grands livres cubistes existants; il date de la plus belle époque de Juan Gris, celle où il avait atteint la plénitude de ses moyens" (the only great cubist book in existence, dating from Juan Gris´ best period, that in which he had already reached his prime). 42,5 x 32,5 cm. Estimate: 600 / 1.000 euros 3 Juan Gris (Madrid, 1897 - Boulogne -sur-Seine, 1927) "La lampe" One of eleven lithographs in colour on Velin Arches paper, which Juan Gris did for the book by Pierre Reverdy (1889-1960) "Au soleil du plafond, Paris, Tériade, 1955. Published nearly thirty years after the death of Juan Gris, the original project consisted of illustrating each of the twenty poems by Reverdy with a picture by Gris. The artist´s premature death meant that the work was left incomplete. Gris left eleven finished lithographs. Rauch 102; Tériade p. 106. In Reverdy´s own words: "un des seuls grands livres cubistes existants; il date de la plus belle époque de Juan Gris, celle où il avait atteint la plénitude de ses moyens" (the only great cubist book in existence, dating from Juan Gris´ best period, that in which he had already reached his prime). 42,5 x 32,5 cm. Estimate: 600 / 1.000 euros 4 Juan Gris (Madrid, 1897 - Boulogne -sur-Seine, 1927) "Violon" One of eleven lithographs in colour on Velin Arches paper, which Juan Gris did for the book by Pierre Reverdy (1889-1960) "Au soleil du plafond, Paris, Tériade, 1955. Published nearly thirty years after the death of Juan Gris, the original project consisted of illustrating each of the twenty poems by Reverdy with a picture by Gris. The artist´s premature death meant that the work was left incomplete. Gris left eleven finished lithographs. Rauch 102; Tériade p. 106. In Reverdy´s own words: "un des seuls grands livres cubistes existants; il date de la plus belle époque de Juan Gris, celle où il avait atteint la plénitude de ses moyens" (the only great cubist book in existence, dating from Juan Gris´ best period, that in which he had already reached his prime). 42,5 x 32,5 cm. Estimate: 600 / 1.000 euros 5 Juan Gris (Madrid, 1897 - Boulogne-sur-Seine, 1927) "Le livre" One of eleven lithographs in colour on Velin Arches paper, which Juan Gris did for the book by Pierre Reverdy (1889-1960) "Au soleil du plafond, Paris, Tériade, 1955. Published nearly thirty years after the death of Juan Gris, the original project consisted of illustrating each of the twenty poems by Reverdy with a picture by Gris. The artist´s premature death meant that the work was left incomplete. Gris left eleven finished lithographs. Rauch 102; Tériade p. 106. In Reverdy´s own words: "un des seuls grands livres cubistes existants; il date de la plus belle époque de Juan Gris, celle où il avait atteint la plénitude de ses moyens" (the only great cubist book in existence, dating from Juan Gris´ best period, that in which he had already reached his prime). 42,5 x 32,5 cm. Estimate: 600 / 1.000 euros 6 Collection of 19 editions of the magazine Dau al Set. Including, among others: Juan-Eduardo Cirlot, Modest Cuixart, Antoni Tàpies, Tharrats, etc. There is one dedicated to Cuixart by Juan-Eduardo Cirlot. Some are incomplete. Dates of the editions: October 1948, December 1948, June 1949, January-February 1950, May 1950, June 1950, July-August 1950, September 1950, October 1950 (2), November 1950, February 1951, April 1951, September 1951, December 1951 (2), June-July 1952, October-November 1952 and winter 1953. Dau al Set was a group of avant-garde Catalan artists who were connected to the magazine of the same name and who were disciples of Max Ernst, Paul Klee and Joan Miró. The founders were the poet Joan Brossa, who named the group and the magazine, the philosopher Arnau Puig, three painters: Joan Ponç, Antoni Tàpies and Modest Cuixart and finally Joan Josep Tharrats, responsible for editing and printing the magazine. Soon after the group was created Juan-Eduardo Cirlot joined. The artistic-literary magazine, which was of very high typographical quality and was founded in 1948, lasted until 1956. 56 editions were published and it was the most avant-garde periodical of the time. There is a good reason for its being catalogued at the MOMA in New York amongst the 20 avant-garde magazines published in the 20th century. They published original texts by Joan Brossa, Arnau Puig, Juan-Eduardo Cirlot, Alexandre Cirici i Pellicer, Jean Cocteau, Àngel Ferrant, Josep Vicenç Foix, Francis Picabia, Michel Tapié etc. 25 × 17,5 cm. Estimate: 500 / 1.500 € 7 "Lettres d'Espagne. 1830 - 1833". (Letters from Spain) Prosper Mérimée and Antoni Clavé. Book with 27 original colour lithographs by Antoni Clavé (Frontispiece, 7 without text, 14 in-text and 5 tailpieces) Edition numbered 270/275. Éditions Galatea. Paris, 1944. 34 x 25,8 cm. Estimate: 800 / 1.100 euros 8 "La Argentina vista por José Clará. El arte y la época de Antonia Mercé". (“Argentina as seen by José Clara. The art and epoch of Antonia Mercé”) Illustrations by Josep Clará (Olot, 1878 - Barcelona, 1958) and text by Néstor Luján and Xavier Montsalvatge. Book with 21 drawings and various notes by Josep Clará. Edition number 206/250. S.A. Horta I. E. Barcelona, 1958. Estimate: 150 / 200 euros 9 "Tres Joans. Homenatge a Joan Prats". (Three Joans, Homage to Joan Prats) Joan Miró (Barcelona 1989- Palma de Mallorca, 1993 ) and Joan Brossa (Barcelona 1919- 1998) Artist´s book. This edition is signed in pencil by both artists and numbered 132/500. Published by Editorial Polígrafa. Barcelona, 1978. In its original case. Bibliografy: P. Cramer, "Miró Litógrafo V. 1972-1975", Paris, Maeght, 1992, nº 1033- 1034, p.142 y 143. P. Cramer, "Miró livres illustrés". P. 244 50x36 cm the lithographs and 54 x 39 cm the case. Estimate: 1.500 / 2.500 euros 10 "Nocturn Matinal". Antoni Tàpies (Barcelona, 1923 - 2012) and Joan Brossa (Barcelona 1919- 1998) Artist´s book. Edition signed in pencil by both artists and numbered 305/1130. Publishd by Ediciones Polígrafa. Barcelona, 1970. Estimate: 700 / 900 euros 11 "U no es ningú". Antoni Tàpies (Barcelona, 1923 - 2012) and Joan Brossa (Barcelona 1919- 1998) Edition signed in pencil by both artists and numbered 440/1575. Published by Ediciones Polígrafa, Barcelona, 1979. Estimate: 150 / 200 euros 12 "Metamorfosis". Franz Kafka and Joan Ponç (Barcelona, 1927 - Saint Paul de Vence, 1984) Artist´s book. Text by José Corredor-Matheos. Ilustrated with 25 original etchings by Joan Ponç. Edition numbered H.C. 13/15. Signed in pencil. 44,5 x 22 cm. Ediciones Polígrafa. Barcelona, 1978. Estimate: 900 / 1.200 euros 13 "Novel.la". Antoni Tàpies (Barcelona, 1923 - 2012) and Joan Brossa (Barcelona 1919- 1998). Artist´s book. Text by Joan Brossa and 31 original lithographs by Antoni Tàpies. This edition is signed by both artists and numbered 73/140. Published by Sala Gaspar. Barcelona, 1965. 39 x 28,3 cm. Estimate: 1.300 / 1.500 euros 14 "Trobadors". Antoni Clavé (Barcelona, 1913 - Saint Tropez, 2005) This edition is signed in pencil by the artist and numbered 25/100. Ilustrated with 16 lithographs all signed in pencil and numbered 25/100. Estimate: 1.900 / 2.200 euros 15 "La Cabaleta".
Recommended publications
  • Max Ernst Was a German-Born Surrealist Who Helped Shape the Emergence of Abstract Expressionism in America Post-World War II
    QUICK VIEW: Synopsis Max Ernst was a German-born Surrealist who helped shape the emergence of Abstract Expressionism in America post-World War II. Armed with an academic understanding of Freud, Ernst often turned to his work-whether sculpture, painting, or collage-as a means of processing his experience in World War I and unpacking his feelings of dispossession in its wake. Key Ideas / Information • Ernst's work relied on spontaneity (juxtapositions of materials and imagery) and subjectivity (inspired by his personal experiences), two creative ideals that came to define Abstract Expressionism. • Although Ernst's works are predominantly figurative, his unique artistic techniques inject a measure of abstractness into the texture of his work. • The work of Max Ernst was very important in the nascent Abstract Expressionist movement in New York, particularly for Jackson Pollock. DETAILED VIEW: Childhood © The Art Story Foundation – All rights Reserved For more movements, artists and ideas on Modern Art visit www.TheArtStory.org Max Ernst was born into a middle-class family of nine children on April 2, 1891 in Brühl, Germany, near Cologne. Ernst first learned painting from his father, a teacher with an avid interest in academic painting. Other than this introduction to amateur painting at home, Ernst never received any formal training in the arts and forged his own artistic techniques in a self-taught manner instead. After completing his studies in philosophy and psychology at the University of Bonn in 1914, Ernst spent four years in the German army, serving on both the Western and Eastern fronts. Early Training The horrors of World War I had a profound and lasting impact on both the subject matter and visual texture of the burgeoning artist, who mined his personal experiences to depict absurd and apocalyptic scenes.
    [Show full text]
  • Drawing Surrealism Didactics 10.22.12.Pdf
    ^ Drawing Surrealism Didactics Drawing Surrealism is the first-ever large-scale exhibition to explore the significance of drawing and works on paper to surrealist innovation. Although launched initially as a literary movement with the publication of André Breton’s Manifesto of Surrealism in 1924, surrealism quickly became a cultural phenomenon in which the visual arts were central to envisioning the world of dreams and the unconscious. Automatic drawings, exquisite corpses, frottage, decalcomania, and collage are just a few of the drawing-based processes invented or reinvented by surrealists as means to tap into the subconscious realm. With surrealism, drawing, long recognized as the medium of exploration and innovation for its use in studies and preparatory sketches, was set free from its associations with other media (painting notably) and valued for its intrinsic qualities of immediacy and spontaneity. This exhibition reveals how drawing, often considered a minor medium, became a predominant mode of expression and innovation that has had long-standing repercussions in the history of art. The inclusion of drawing-based projects by contemporary artists Alexandra Grant, Mark Licari, and Stas Orlovski, conceived specifically for Drawing Surrealism , aspires to elucidate the diverse and enduring vestiges of surrealist drawing. Drawing Surrealism is also the first exhibition to examine the impact of surrealist drawing on a global scale . In addition to works from well-known surrealist artists based in France (André Masson, Max Ernst, Joan Miró, Salvador Dalí, among them), drawings by lesser-known artists from Western Europe, as well as from countries in Eastern Europe and the Americas, Great Britain, and Japan, are included.
    [Show full text]
  • Dossier De Prensa
    Dossier de prensa Artes en CAtAluñA Del segundo origen. Artes en Cataluña, 1950-1977 Del 2 de julio al 25 de octubre de 2015 Organiza y produce: Museu Nacional d’Art de Catalunya Este proyecto ha sido realizado con la colaboración especial del Museu d’Art Contemporani de Barcelona (MACBA) Comisarios: Pepe Serra, Juan José Lahuerta y Valentín Roma Sala de exposiciones temporales 1 Patrocinan Silvia Gubern. Sense títol 1965-1973. Museu d’Art Contemporani de Barcelona (MACBA) Del segundo origen plantea un acercamiento al desarrollo del arte en Catalunya desde 1950 hasta 1977, entre los diversos intentos de retomar la tradición van- guardista interrumpida por la Guerra Civil y la efervescencia de la cultura liberta- ria durante el proceso de restitución democrática. Esta muestra prefigura cómo el Museu Nacional podría desplegar el siglo xx en sus colecciones. 3 La exposición complementa y prolonga cronológicamente la nueva presentación de arte moderno de la colección del mu- seo, prefigurando una posible permanente que abarcaría hasta finales de la década de 1970, al mismo tiempo que señala, tam- bién, visiones monográficas futuras. Del segundo origen es un punto de parti- da, un paso adelante en la tarea de revisar y recuperar la extraordinariamente rica y compleja creación artística de la segunda mitad del siglo xx en nuestro país. El objetivo de esta primera exposición co- Josep Ponsatí. Barcelona, 1977. Museu d’Art Contemporani de lectiva es plantear un estado de la cuestión; Barcelona (MACBA) no pretende establecer una tesis, tan sólo señalar la necesidad de trabajar en profundidad un periodo, sus artistas y sus diversas co- rrientes.
    [Show full text]
  • Solstices Paris
    solstices solstices 16 rue Pestalozzi - 75005 Paris +33 (0)6 13 80 19 45 [email protected] www.librairie-solstices.com RCS LILLE 424 568 665 Membre du / Member of Syndicat de la Librairie Ancienne et Moderne (SLAM) & de la Ligue Internationale de la Librairie Ancienne / International League of Antiquarian Booksellers (LILA / ILAB) VENTE PAR CORRESPONDANCE OU SUR RENDEZ-VOUS Les ouvrages proposés sont garantis complets, en bon état général, sauf indication contraire. Conditions générales de vente : Conforme aux usages de la Librairie ancienne et moderne. Prix nets en euro, port en sus, à la charge du destinataire. Règlement par chèque en euro sur une banque française ou virement bancaire sur notre compte. Virement PayPal accepté. Conditions of sale : Net prices in euro, cost of shipment and insurance is additional. Payment to be made by chek drawn in euro on a French bank or transfered directly to our account. PayPal transfer accepted. Domiciliation bancaire : Crédit Mutuel Lille Liberté RIB : 15629 02715 00042555345 44 IBAN : FR 76 1562 9027 1500 0425 5534 544 BIC : CMCIFR2A Illustrations de couverture : n°36 - Speechless - with the dead solstices Salon du livre ancien et de l’objet d’art Paris, 11-14 avril 2019 38 propositions 1. Peter BEHRENS, Schriften, Initialen und Schmuck, 1902. 2. Frans MASEREEL, Debout les Morts. Résurrection infernale, 1917. 3. Ivan AKSIONOV, Alexandra EXTER, Picasso i akrestnosti,1917. 4. Hugo KOCH, Emil MAETZEL, Der gelben Posaune der Sieben, 1920. 5. Ze'ev RABAN, Levin KIPNISS, Alef-Bet, 1923. 6. Moïsei BRODSKY, Nikolaï PUNIN, Iskusstvo rabochikh, 1928. 7. Vladimir F. MIKHELS, Pervaia Vsesoiouznaia Spartakiada, 1928.
    [Show full text]
  • "De Miró À Dau Al Set" L'art Catatan Eles Araiées 40 Dans L'ancienne Collection SALVADOR RIERA
    Joan Ponç. Crucifixion. Peinture à l'huile sur toile. 1947. 64 x 90 cm "De Miró à Dau al Set" L'art catatan eles araiées 40 dans l'ancienne collection SALVADOR RIERA CENTRE D'ETUDES CATALANES. PARIS 9 rue Sainte Croix de La Bretonnerie octobre-novembre 1995 D O oS CD to t: CO r- Generalitat de Catalunya Departament de Cultura Generalitat de Catalunya AB Departament de Cultura Biblioteca central Le tlécès brusque —car inopiné— de Salvador Riera appréciait le plus... Joan Ponç, Modest Cuixart, Anto- le 10 mai 1994 ne permit pas de réaliser. parmi tant ni Tàpies, Josep M. de Sucre, August Puig ou Pere d'autres, le projet de voir 1'inauguration de cette Tort, parmi tous ceux que recueille ce projet extrait exposition qui a été présentée au Centre d'Art Santa de 1'ensemble de la collection qui. maintenant, dans Mònica, la premiere que nous avions projetée ensem- l'absence, évoque la distinction qui, sous l'empreinte ble dans le bul d'offrir une dimension publique de sa du terme "Dau al Set" [Le Dé sur le Sept], a modelé collection, à travers une sèrie de montres pouvant son profil d'homme et de galeriste. 11 n'aurait pas illustrer la diversité de son fonds artistique, désor- désiré un bonheur plus immédiat que celui de voir mais incorporé à celui de la Generalitat de Catalu- ces oeuvres —aujourd'hui patrimoine public, avant nya. C'est ainsi quelle s'est transformée en une expo- couvrant les murs de son domicile— fraternisant de sition postliume qui, au-delà des ceuvres et des chro- la sorte.
    [Show full text]
  • In BLACK CLOCK, Alaska Quarterly Review, the Rattling Wall and Trop, and She Is Co-Organizer of the Griffith Park Storytelling Series
    BLACK CLOCK no. 20 SPRING/SUMMER 2015 2 EDITOR Steve Erickson SENIOR EDITOR Bruce Bauman MANAGING EDITOR Orli Low ASSISTANT MANAGING EDITOR Joe Milazzo PRODUCTION EDITOR Anne-Marie Kinney POETRY EDITOR Arielle Greenberg SENIOR ASSOCIATE EDITOR Emma Kemp ASSOCIATE EDITORS Lauren Artiles • Anna Cruze • Regine Darius • Mychal Schillaci • T.M. Semrad EDITORIAL ASSISTANTS Quinn Gancedo • Jonathan Goodnick • Lauren Schmidt Jasmine Stein • Daniel Warren • Jacqueline Young COMMUNICATIONS EDITOR Chrysanthe Tan SUBMISSIONS COORDINATOR Adriana Widdoes ROVING GENIUSES AND EDITORS-AT-LARGE Anthony Miller • Dwayne Moser • David L. Ulin ART DIRECTOR Ophelia Chong COVER PHOTO Tom Martinelli AD DIRECTOR Patrick Benjamin GUIDING LIGHT AND VISIONARY Gail Swanlund FOUNDING FATHER Jon Wagner Black Clock © 2015 California Institute of the Arts Black Clock: ISBN: 978-0-9836625-8-7 Black Clock is published semi-annually under cover of night by the MFA Creative Writing Program at the California Institute of the Arts, 24700 McBean Parkway, Valencia CA 91355 THANK YOU TO THE ROSENTHAL FAMILY FOUNDATION FOR ITS GENEROUS SUPPORT Issues can be purchased at blackclock.org Editorial email: [email protected] Distributed through Ingram, Ingram International, Bertrams, Gardners and Trust Media. Printed by Lightning Source 3 Norman Dubie The Doorbell as Fiction Howard Hampton Field Trips to Mars (Psychedelic Flashbacks, With Scones and Jam) Jon Savage The Third Eye Jerry Burgan with Alan Rifkin Wounds to Bind Kyra Simone Photo Album Ann Powers The Sound of Free Love Claire
    [Show full text]
  • Modigliani-Cat-Prague.Pdf
    Carlo Cambi Editore Editorial Project Carlo Cambi Editore Editorial Department Valentina Sardelli Art Director Laura De Biasio Graphic layout and printing Tap Grafi che - Poggibonsi (SI) Translation StudioLingue2000 - Molfett a (Italy) Robin Cassling - Prague (Czech Republic) Cover Amedeo Modigliani, Carnet Armenien with preliminary sketches “promemoria” for oil painting, depicting a man, woman, Symbol of Cabala, Paris Reproduction and diff usion of this book or any part of it by electronic storage, hardcopies, or any other means, are not al- lowed unless a writt en consent is obtained from publisher and copyright holders. © Giacomo Balla by SIAE 2011 © Max Jacob by SIAE 2011 © František Kupka by SIAE 2011 © Marevna by SIAE 2011 © Chana Orloff by SIAE 2011 © Succession Picasso by SIAE 2011 © Carlo Cambi Editore 2011 www.carlocambieditore.it ISBN: 978-88-6403-084-5 Carlo Cambi Editore Ondřej Pecha Bývalý radní pro kulturu hlavního města Prahy a současný předseda Výboru pro kulturu ZHMP Former Culture Councillor of the City of Prague and currently Chair of the Committee for Culture of Prague City Council Mgr. Tomáš Vacek Generální ředitel akciové společnosti Obecní dům General Director of the Municipal House a.s. Fabio Pigliapoco Jeho Excelence italský velvyslanec v České Republice H. E. Italian Ambassador to the Czech Republic Jaakov Levy Jeho Excelence Izraelský ambasador H. E. Israeli Ambassador to the Czech Republic Ondřej Pecha Magistrát hlavního města Prahy se dlouhodobě snaží o vytvoření vysokého Mgr. Tomáš Vacek Národní kulturní památka Obecní dům patří k nejvýznamnějším secesním stavbám bývalý radní pro kulturu hlavního standardu kulturní nabídky v našem hlavním městě, a proto podporuje generální ředitel akciové společnosti v Praze.
    [Show full text]
  • Cat151 Working.Qxd
    Catalogue 151 election from Ars Libri’s stock of rare books 2 L’ÂGE DU CINÉMA. Directeur: Adonis Kyrou. Rédacteur en chef: Robert Benayoun. No. 4-5, août-novembre 1951. Numéro spé cial [Cinéma surréaliste]. 63, (1)pp. Prof. illus. Oblong sm. 4to. Dec. wraps. Acetate cover. One of 50 hors commerce copies, desig nated in pen with roman numerals, from the édition de luxe of 150 in all, containing, loosely inserted, an original lithograph by Wifredo Lam, signed in pen in the margin, and 5 original strips of film (“filmomanies symptomatiques”); the issue is signed in colored inks by all 17 contributors—including Toyen, Heisler, Man Ray, Péret, Breton, and others—on the first blank leaf. Opening with a classic Surrealist list of films to be seen and films to be shunned (“Voyez,” “Voyez pas”), the issue includes articles by Adonis Kyrou (on “L’âge d’or”), J.-B. Brunius, Toyen (“Confluence”), Péret (“L’escalier aux cent marches”; “La semaine dernière,” présenté par Jindrich Heisler), Gérard Legrand, Georges Goldfayn, Man Ray (“Cinémage”), André Breton (“Comme dans un bois”), “le Groupe Surréaliste Roumain,” Nora Mitrani, Jean Schuster, Jean Ferry, and others. Apart from cinema stills, the illustrations includes work by Adrien Dax, Heisler, Man Ray, Toyen, and Clovis Trouille. The cover of the issue, printed on silver foil stock, is an arresting image from Heisler’s recent film, based on Jarry, “Le surmâle.” Covers a little rubbed. Paris, 1951. 3 (ARP) Hugnet, Georges. La sphère de sable. Illustrations de Jean Arp. (Collection “Pour Mes Amis.” II.) 23, (5)pp. 35 illustrations and ornaments by Arp (2 full-page), integrated with the text.
    [Show full text]
  • Joan Brotat Y Los Avatares De La Figuración Primitivista En La Segunda Vanguardia En Cataluña
    Joan Brotat y los avatares de la figuración primitivista en la segunda vanguardia en Cataluña Alex Mitrani Martínez de Marigorta ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tdx.cat) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX. No s’autoritza la presentació del seu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tdx.cat) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR. No se autoriza la presentación de su contenido en una ventana o marco ajeno a TDR (framing). Esta reserva de derechos afecta tanto al resumen de presentación de la tesis como a sus contenidos.
    [Show full text]
  • Presentación De Powerpoint
    Sitges Tourism Press Kit 2021 ENGLISH Pressbook 2 Table of contents • Sitges 3 • Sitges Seaside Town 67 • Location and transport 4 • Sitges Convention Bureau 71 • Tourist profile 6 • Sitges LGTBIQ 74 • Sitges online 8 • Sitges Weddings 78 • Annual Events Calendar 9 • Sitges Cultura 80 • Top 10 things to do in Sitges 11 • Sitges by Night 85 Beaches and marinas • Sitges Family 88 Garraf Park • Sitges Coastline 91 Museums and Palau de Maricel Sitges Malvasia Interpretation Center • Accommodations in Sitges 92 Casa Bacardí • Sitges in numbers 98 Gastronomy Festivals and traditions • Sitges’ History 99 Shopping • Useful Addresses 102 Terramar Golf Course • Press contacts+ newsletter 103 Terramar Gardens • Latest news and trends 60 • Audiovisual material and studies 104 • Sustainable Tourism 61 Pressbook 3 Sitges Cosmopolitan, creative, diverse, respectful and devoted Welcome to the sea. Sitges is all that, the place that inspired to Sitges Catalan Modernisme and that continues to inspire millions of tourists and visitors from all over the world year after year. For many, its secret lies in its 26 fine sandy beaches. For others, its 300-plus days of sunshine a year. But in Sitges, we go way beyond all that. We are local cuisine, culture, festivals, traditions, shopping and sports. We are an accessible and top-quality destination. Sitges agrees with you, and our locals' friendly character wins over hearts and minds. Because if you visit Sitges, you're from Sitges. Don't just let them tell you about it. Pressbook 4 Location and transport Location and transport Whether you are travelling by land, sea or air, wherever you are coming from, we are so close to you.
    [Show full text]
  • “DAU AL SET” Història De L'art Del Segle XX Arnau Gifreu Castells 3R
    “DAU AL SET” Història de l’art del segle XX Arnau Gifreu Castells 3r Com. Aud. INDEX 1. Introducció 2. Contextualització històrica 2.1 - Contextualització artística a nivell mundial 3. Components del grup artístic 4. Etapes de Dau al set 5. Antecedents i influències del grup 6. Els primers números de Dau al Set 7. Evolució de la revista 8. Objecte d’estudi: 8.1 - Assaig d’Arnau Puig 8.2 - La pintura d’Antoni Tàpies 8.3 - Joan Brossa: geni i figura 9. Conclusions 10. Bibliografia INTRODUCCIÓ - L’objectiu bàsic que m’ha portat a elaborar aquest treball ha estat la infinitat d’enigmes que sempre m’he plantejat arrel d’aquesta associació artística i si fa no fa política anomenada Dau al Set. M’ha interessat sumament estudiar aquest tipus de moviment en primer terme perquè es va dur a terme a Catalunya i la majoria dels sus components eren catalans i es varen plantejar un tipus d’art basat en la normativa catalana, és a dir, el seu mitjà i/o vehicle d’expressió sempre fou el català bàsicament. La majoria de moviments de tota la història de l’art es donen en un context europeu o mundial, i ademés ja formen part d’un objecte d’estudi detallat tant a les diverses assignatures de batxillerat com universitàries. Però els petits grups artístics que, com a fenòmen, es consoliden a Espanya a mitjan de segle XIX, sembla que tinguin un tractament més superficial, com otorgant-lis menys importancia. El treball mostra una divisió per parts, la qual pretén ser una espècie de “contiunnum” per arribar a conclusions lòquiques que no s’hagin dut a terme anteriorment.
    [Show full text]
  • GA Bécquer En JE Cirlot
    La escritura como espectro (G. A. Bécquer en J. E. Cirlot) Virginia Trueba Mira Universitat de Barcelona Han brotado las negras de la nada… OLVIDO GARCÍA VALDÉS Mi intención en este trabajo es apuntar una posible perspectiva desde la cual leer la versión de la popular rima de las golondrinas que Juan Eduardo Cirlot publica en 1971 con el título Homenaje a Bécquer,1 teniendo en cuenta el desafío herme- néutico que plantea en conjunto la obra cirlotiana. Existe una edición anterior y más reducida del Homenaje, aparecida en 1968, y una primera versión de 1954 que no llegó nunca a ver la luz.2 Como puede observarse, la diferencia de tiempo entre las versiones es importante. Habría que recordar que desde 1954 a mitad de los años sesenta Cirlot apenas escribe poesía, aunque sí mucha crítica de arte y su importante Diccionario de símbolos (con una primera edición en 1958). Ahora bien, lo destacable es que al regresar a la escritura poética tiempo después lo hace desplegando ya lo que, fruto de una crisis, como él mismo reconocerá, y de manera espontánea, ha descubierto pero olvidado en la década anterior, pre- cisamente en el Homenaje a Bécquer, y que para Cirlot constituye, así lo sosten- drá en diversos sitios, su principal hallazgo poético: la técnica de la combinación y, algo más estricta, la de la permutación (Cirlot, 2001: 429). Producto de la ela- boración madura de estas técnicas serán en los años sesenta los dos Homenajes a Bécquer (1968 y 1971) y, sobre todo, el importante ciclo Bronwyn desarrollado de 1967 a 1972.
    [Show full text]