Art Value Report Leonora Carrington
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The Art Collection of Peter Watson (1908–1956)
099-105dnh 10 Clark Watson collection_baj gs 28/09/2015 15:10 Page 101 The BRITISH ART Journal Volume XVI, No. 2 The art collection of Peter Watson (1908–1956) Adrian Clark 9 The co-author of a ously been assembled. Generally speaking, he only collected new the work of non-British artists until the War, when circum- biography of Peter stances forced him to live in London for a prolonged period and Watson identifies the he became familiar with the contemporary British art world. works of art in his collection: Adrian The Russian émigré artist Pavel Tchelitchev was one of the Clark and Jeremy first artists whose works Watson began to collect, buying a Dronfield, Peter picture by him at an exhibition in London as early as July Watson, Queer Saint. 193210 (when Watson was twenty-three).11 Then in February The cultured life of and March 1933 Watson bought pictures by him from Tooth’s Peter Watson who 12 shook 20th-century in London. Having lived in Paris for considerable periods in art and shocked high the second half of the 1930s and got to know the contempo- society, John Blake rary French art scene, Watson left Paris for London at the start Publishing Ltd, of the War and subsequently dispatched to America for safe- pp415, £25 13 ISBN 978-1784186005 keeping Picasso’s La Femme Lisant of 1934. The picture came under the control of his boyfriend Denham Fouts.14 eter Watson According to Isherwood’s thinly veiled fictional account,15 (1908–1956) Fouts sold the picture to someone he met at a party for was of consid- P $9,500.16 Watson took with him few, if any, pictures from Paris erable cultural to London and he left a Romanian friend, Sherban Sidery, to significance in the look after his empty flat at 44 rue du Bac in the VIIe mid-20th-century art arrondissement. -
Gordon Onslow Ford Voyager and Visionary
Gordon Onslow Ford Voyager and Visionary 11 February – 13 May 2012 The Mint Museum 1 COVER Gordon Onslow Ford, Le Vallee, Switzerland, circa 1938 Photograph by Elisabeth Onslow Ford, courtesy of Lucid Art Foundation FIGURE 1 Sketch for Escape, October 1939 gouache on paper Photograph courtesy of Lucid Art Foundation Gordon Onslow Ford: Voyager and Visionary As a young midshipman in the British Royal Navy, Gordon Onslow Ford (1912-2003) welcomed standing the night watch on deck, where he was charged with determining the ship’s location by using a sextant to take readings from the stars. Although he left the navy, the experience of those nights at sea may well have been the starting point for the voyages he was to make in his painting over a lifetime, at first into a fabricated symbolic realm, and even- tually into the expanding spaces he created on his canvases. The trajectory of Gordon Onslow Ford’s voyages began at his birth- place in Wendover, England and led to the Royal Naval College at Dartmouth and to three years at sea as a junior officer in the Mediterranean and Atlantic fleets of the British Navy. He resigned from the navy in order to study art in Paris, where he became the youngest member of the pre-war Surrealist group. At the start of World War II, he returned to England for active duty. While in London awaiting a naval assignment, he organized a Surrealist exhibition and oversaw the publication of Surrealist poetry and artworks that had been produced the previous summer in France (fig. -
Surrealism by Michael G
Surrealism by Michael G. Cornelius Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Like some other leaders Reprinted from http://www.glbtq.com of the surrealist movement, Salvador Dalí (above) was Surrealism is an artistic movement that grew out of Dadaism and flourished in Europe uncomfortably anti- shortly after the end of World War I. Influenced by the psychological writings of homosexual. Sigmund Freud (1856-1939) and Carl Jung (1875-1961), and their belief that the Photograph by Carl van workings of the mind can be discerned through the interpretation of dreams, Vechten, November 29, 1939. surrealists believed in freeing themselves of any conscious control that might impede Library of Congress their artistic expression. For them, art was an expression of the subconscious. Prints and Photographs Division. Surrealism quickly attained an avant garde status. Although enormously popular in Europe, surrealism, in an attempt to distance itself from normative expression, nonetheless allied itself with outsiders. As a result, homosexual communities and artists quickly accepted the new form of expression. The period after World War I in Europe was marked by great disruption and upheaval. The old political order had been shattered, and a tinge of hopefulness pervaded the continental artistic community. Dadaism, the forerunner to surrealism in which artistic works deliberately defied convention or comprehension, was heavily influenced by the ongoing war and was, consequently, a dark and negative type of expression. Surrealism grew out of Dadaism but also essentially grew away from it. Far from being negative, surrealism focused on positive expression. This combination of the realities of the aftermath of World War I and the dreamy hopefulness of the continent between the world wars helps account for the seemingly contradictory elements of surrealism as it attempted to reconnect seemingly disjointed ideals: light and dark, the conscious and the unconscious, hope and despair, rationalism and irrationalism, dream and fantasy. -
Libro Completo
DESDE ESPAÑA Y SERBIA HACIA IBEROAMÉRICA EL AUGE DE LA LITERATURA, LA FILOLOGÍA Y LA HISTORIA MATTEO RE, BOJANA KOVAČEVIĆ PETROVIĆ, JOSÉ MANUEL AZCONA [EDS.] Desde España y Serbia hacia Iberoamérica © Matteo Re, Bojana Kovačević Petrović, José Manuel Azcona [Eds.], Madrid, 2020. ISBN: 978-84-09-21626-0 Ninguna página de este libro puede ser fotocopiada y reproducida sin autorización de los editores. Este libro es el resultado del proyecto de investigación amparado en el Artículo 83, de la LOU (Ley Orgánica de Universidades 6/2001 de 21 de diciembre) de la Cátedra de Excelencia URJC Santander Presdeia con la referencia siguiente : F47-HC/Cat-Ib-2019-2020: Desde España y Serbia hacia Iberoamérica. El auge de la literatura, la filología y la historia (Vicerrectorado de Innovación y Transferencia). 2 Desde España y Serbia hacia Iberoamérica ÍNDICE PRÓLOGO ........................................................................................................................................ 5 LA FRONTERA METAFÍSICA EN EL CONO SUR AMERICANO (1810-1880) ....................... 11 José Manuel Azcona y Majlinda Abdiu HISTORIA Y HERENCIA CULTURAL DE ALGUNOS PUEBLOS EUROPEOS EN ARGENTINA .................................................................................................................................. 40 Anja Mitić SERBIA, ESPAÑA E IBEROAMÉRICA: ENTRECRUZAMIENTOS HISTÓRICOS Y CULTURALES ................................................................................................................................ 62 Bojana Kovačević -
Fotografías De Ruth Lechuga
¿QUÉ HACER EN OTROS MUSEOS? El Museo del Palacio de Bellas Artes será el anfitrión de la exposición Olga Costa. OLGA COSTA. APUNTES DE Apuntes de la Naturaleza 1913-2013 hasta el 27 de octubre de este año. Olga Kostakowsky Fabricant, mejor conocida como Olga Costa, nacida en Leipzing, Alemania en 1913, llegó a México y se estableció en la Ciudad de México a los 12 LA NATURALEZA 1913-2013 años. Aquí conoció a Diego Rivera, Rufino Tamayo y Frida Kahlo. Inspirada por los grandes maestros, estudió en la Escuela Nacional de Artes Plásticas. En 1935, fecha de su matrimonio con José Chávez Morado, se mudó al estado de Guanajuato, donde regresó al mundo de la pintura para presentar su primera exposición en 1944 en la Galería de Arte Mexicano. Durante su vida artística formó • parte de la galería Espiral y recibió el Premio Nacional de Ciencias y Artes en 1990. » SUSANA RIVAS El Museo del Palacio de Bellas Artes reúne 75 piezas de la artista con motivo del centenario de su nacimiento, bajo la curaduría de Juan Rafael Coronel. Durante el recorrido en salas, se pueden apreciar los temas recurrentes en las pinturas de Olga Costa, como retratos, autorretratos, paisajes, además la influencia que tuvieron sobre sus obras corrientes como la escuela al aire libre, el cubismo y el fauvismo, entre otras. Museo del Palacio de Bellas Artes Av. Juárez y Eje Central s/n, Centro Histórico Martes a domingo, 10 a 17:30 h. 43 pesos Olga Costa, Hombre desnudo, Domingo entrada libre 1937, Colección particular 5512-2593 REMEDIOS VARO. -
Copyright Statement
COPYRIGHT STATEMENT This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and no quotation from the thesis and no information derived from it may be published without the author’s prior consent. i ii REX WHISTLER (1905 – 1944): PATRONAGE AND ARTISTIC IDENTITY by NIKKI FRATER A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY School of Humanities & Performing Arts Faculty of Arts and Humanities September 2014 iii Nikki Frater REX WHISTLER (1905-1944): PATRONAGE AND ARTISTIC IDENTITY Abstract This thesis explores the life and work of Rex Whistler, from his first commissions whilst at the Slade up until the time he enlisted for active service in World War Two. His death in that conflict meant that this was a career that lasted barely twenty years; however it comprised a large range of creative endeavours. Although all these facets of Whistler’s career are touched upon, the main focus is on his work in murals and the fields of advertising and commercial design. The thesis goes beyond the remit of a purely biographical stance and places Whistler’s career in context by looking at the contemporary art world in which he worked, and the private, commercial and public commissions he secured. In doing so, it aims to provide a more comprehensive account of Whistler’s achievement than has been afforded in any of the existing literature or biographies. This deeper examination of the artist’s practice has been made possible by considerable amounts of new factual information derived from the Whistler Archive and other archival sources. -
Telescope and Microscope
Telescope and Microscope Alberto Blanco* Private collection. © Estate of Leonora Carrington The Birdmen of Burnley, 45 x 65 cm (oil on canvas). midst the horror of World War II, in the entry dated Tuesday, August 24, 1943, of her extraordinary autobiographical tale, Down Below, Leonora Carrington made this surpris Aing statement: This last sentence, rightfully quoted often, speaks to us of an artist, a human being who did not settle for seeing only part of reality. To the contrary, Leonora Carrington, interested in the Big and the Small —that which in traditional symbolism is known as the Great Mysteries and the Small * Poet, translator, essayist, and visual artist; member of the National Sys tem of Creators of Art (SNCA), [email protected]. 50 Mysteries— never wanted to ignore the great scientific or philosophical themes. Throughout her long, intense life, she was just as interested in astronomy as in astrology, in quantum physics as in the mysteries of the psyche; and at the same time, she never turned her back on what could be considered the minutiae and the details of daily life: her family, her home, her beloved objects, her friends, her pets, her plants. © Estate of Leonora Carrington Private collection. In Leonora Carrington, a profoundly romantic artist —and here, I mean the great English romanticism, that of William Blake, for example— and an eminently practical person co existed without any contradiction. Also found together were a profound sense of humor —also very English, consisting frequently of talking very seriously about the most absurd topics— and the most serious determination to do work that never admitted of the slightest vacillation and suffered no foolishness at all. -
Comparative Literature, Spring 2008 Colt 480 Dada Surrealism T
1 COMPARATIVE LITERATURE, SPRING 2008 COLT 480 DADA SURREALISM T. AND THURS. 12:30—1:50 T.H.H 121 PROF. GLORA ORENSTEIN OFFICE: T.H.H 174 VOICE MAIL: 740—0100 E-MAIL: [email protected] In this course we will explore the Dada and Surrealist Movements in the arts. We will focus on each movement’s aesthetic philosophy and stylistic and conceptual innovations as they manifested in a variety of artistic media: poetry, film, fiction, theatre, painting, manifestos, happenings, and contemporary Neo-Dada and Neo surrealist literary and visual creations. Concepts and forms such as The Marvelous, Automatic Writing, Objective Chance (synchronicity), Black Humor, the Found Object, The Dream Object, The Exquisite Corpse, The Surrealist Object, The Surrealist Image, The Surrealist Game, The Happpening, The Dream Narrative, Communicating Vessels, Paranoic Critical Creations, Frottage, Surrealist Collage, The One in The Other, Panic Theatre/Ephemeras, and many other artistic techniques will be elucidated as they articulate the “convulsive beauty” of Dada and Surrealist art and writing internationally. The women of Surrealism, their work in art and literature, will be a major focus of the course. There is one important aspect of the course that I would like to stress. Throughout the semester I would like you to search the web and establish an extensive file on either Dadists or Surrealists in a country of your choice. Print out a collection of information on contemporary dada or surrealist artists in your selected country or region, and be prepared to hand in this collection on the last day of class. It will take the form of a Class Presentation and it may be the Field Work component of your final research paper/project. -
Es Probable, De Hecho, Que La Invencible Tristeza En La Que Se
Surrealismo y saberes mágicos en la obra de Remedios Varo María José González Madrid Aquesta tesi doctoral està subjecta a la llicència Reconeixement- NoComercial – CompartirIgual 3.0. Espanya de Creative Commons. Esta tesis doctoral está sujeta a la licencia Reconocimiento - NoComercial – CompartirIgual 3.0. España de Creative Commons. This doctoral thesis is licensed under the Creative Commons Attribution-NonCommercial- ShareAlike 3.0. Spain License. 2 María José González Madrid SURREALISMO Y SABERES MÁGICOS EN LA OBRA DE REMEDIOS VARO Tesis doctoral Universitat de Barcelona Departament d’Història de l’Art Programa de doctorado Història de l’Art (Història i Teoria de les Arts) Septiembre 2013 Codirección: Dr. Martí Peran Rafart y Dra. Rosa Rius Gatell Tutoría: Dr. José Enrique Monterde Lozoya 3 4 A María, mi madre A Teodoro, mi padre 5 6 Solo se goza consciente y puramente de aquello que se ha obtenido por los caminos transversales de la magia. Giorgio Agamben, «Magia y felicidad» Solo la contemplación, mirar una imagen y participar de su hechizo, de lo revelado por su magia invisible, me ha sido suficiente. María Zambrano, Algunos lugares de la pintura 7 8 ÍNDICE INTRODUCCIÓN 13 A. LUGARES DEL SURREALISMO Y «LO MÁGICO» 27 PRELUDIO. Arte moderno, ocultismo, espiritismo 27 I. PARÍS. La «ocultación del surrealismo»: surrealismo, magia 37 y ocultismo El surrealismo y la fascinación por lo oculto: una relación polémica 37 Remedios Varo entre los surrealistas 50 «El giro ocultista sobre todo»: Prácticas surrealistas, magia, 59 videncia y ocultismo 1. «El mundo del sueño y el mundo real no hacen más que 60 uno» 2. -
A Promenade Trough the Visual Arts in Carlos Monsivais Collection
A Promenade Trough the Visual Arts in Carlos Monsivais Collection So many books have been written, all over the world and throughout all ages about collecting, and every time one has access to a collection, all the alarms go off and emotions rise up, a new and different emotion this time. And if one is granted access to it, the pleasure has no comparison: with every work one starts to understand the collector’s interests, their train of thought, their affections and their tastes. When that collector is Carlos Monsiváis, who collected a little bit of everything (that is not right, actually it was a lot of everything), and thanks to work done over the years by the Museo del Estanquillo, we are now very aware of what he was interested in terms of visual art in the 20th Century (specially in painting, illustration, engraving, photography). It is only natural that some of the pieces here —not many— have been seen elsewhere, in other exhibitions, when they were part of the main theme; this time, however, it is a different setting: we are just taking a stroll… cruising around to appreciate their artistic qualities, with no specific theme. This days it is unusual, given that we are so used to looking for an overarching “theme” in every exhibition. It is not the case here. Here we are invited to partake, along with Carlos, in the pleasures of color, texture, styles and artistic schools. We’ll find landscapes, portraits, dance scenes, streetscapes, playful scenes. All executed in the most diverse techniques and styles by the foremost mexican artist of the 20th Century, and some of the 21st as well. -
Angelina Beloff Como Misionera Cultural: Una Revalorización De Su Arte»
GUERRERO OLAVARRIETA, Ana Paula (2017). «Angelina Beloff como misionera cultural: una revalorización de su arte». Monograma. Revista Iberoamericana de Cultura y Pensamiento, n. 1, pp. 177-193. URL: http://revistamonograma.com/index.php/mngrm/article/view/12 FECHA DE RECEPCIÓN: 17/10/2017 · FECHA DE ACEPTACIÓN: 7/11/2017 ISSN: 2603-5839 Angelina Beloff como misionera cultural: una revalorización de su arte Ana Paula GUERRERO OLAVARRIETA Universidad Iberoamericana, Ciudad de México [email protected] Resumen: ¿Por qué estudiar a Angelina Beloff? ¿Qué relación tiene con el contexto mexicano? Los estudios que hay acerca de Angelina Beloff se han centrado bajo la sombra de Diego Rivera, con quien tuvo una relación de diez años. Por consiguiente, la investigación está encaminada a tener un acercamiento más crítico a su obra y a su desempeño laboral en Europa y en México del siglo XX. La presente investigación busca rescatar a Beloff dentro del contexto de los artistas mexicanos de la época. Sin hacer un recuento biográfico, toma como referencia diversos textos que la mencionan, para sustentar y debatir junto con los que han excluido la figura de Beloff dentro de la historiografía mexicana. Asimismo explica por qué es relevante estudiar a esta artista extranjera que decidió vivir en nuestro país junto con otras figuras del medio artístico contemporáneo. Palabras clave: Angelina Beloff, extranjera, arte mexicano, exclusión, historiografía. Abstract: Why study Angelina Beloff? What relationship does she has with the Mexican context? Studies about Angelina Beloff have been centered under Diego Rivera's shadow, with whom she had a relationship for ten years. Therefore, the investigation is driven to have a more critical close up to her art work and her job performance in Europe and Mexico during the Twentieth Century. -
Guest Biographies Booklet
CREDITS Game Design by Mary Flanagan & Max Seidman • Illustration by Virginia Mori • Graphic Design by Spring Yu • Writing and Logistics by Danielle Taylor • Production & Web by Sukdith Punjasthitkul • Community Management by Rachel Billings • Additional Game Design by Emma Hobday • Playtesting by Momoka Schmidt & Joshua Po Special thanks to: Andrea Fisher and the Artists Rights Society The surrealists’ families and estates Hewson Chen Our Kickstarter backers Lola Álvarez Bravo LOW-la AL-vah-rez BRAH-vo An early innovator in photography in Mexico, Lola Álvarez Bravo began her career as a teacher. She learned photography as an assistant and had her first solo exhibition in 1944 at Mexico City’s Palace of Fine Arts. She described the camera as a way to show “the life I found before me.” Álvarez Bravo was engaged in the Mexican surrealist movement, documenting the lives of many fellow artists in her work. Jean Arp JON ARP (J as in mirage) Jean Arp (also known as Hans Arp), was a German-French sculp- tor, painter, and writer best known for his paper cut-outs and his abstract sculptures. Arp also created many collages. He worked, like other surrealists, with chance and intuition to create art instead of using reason and logic, later becoming a member of the “Abstraction-Création” art movement. 3 André Breton ahn-DRAY bruh-TAWN A founder of surrealism, avant-garde writer and artist André Breton originally trained to be a doctor, serving in the French army’s neuropsychiatric center during World War I. He used his interests in medicine and psychology to innovate in art and literature, with a particular interest in mental illness and the unconscious.