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In Turn-Of-The-Century Paris, an Explosion of Brash New Art
1 In Turn-of-the-Century Paris, An Explosion of Brash New Art Dubbed 'les Fauves' (the wild beasts) for their uninhibited use of color, these artists boldly rearranged the imagery of nature By Helen Dudar, Smithsonian, October, 1990 The scandal of the Parisian art world in 1905 was Room VII of the third annual Salon d'Automne in the Grand Palais, its walls throbbing with raw color. Color squeezed straight out of tubes; color assaulting the eye and senses; color that sometimes seemed to have been flung upon the canvas; color that dared to tint human flesh pea green and tree trunks a violent Andre Derain, The Turning Road, L’Estaque, 1906 red; color that not only refused to imitate nature but actually had been used to suggest form and depth. The signatures on the paintings bore the names of men some of whom, surviving notoriety, would soon be more or less famous. Henri Matisse, the oldest of them and the unlikely center of this radical new style, would flourish into his 85th year as one of the masters of our century. Andre Derain would, for a time, produce works of breathtaking originality and virtuosity. Albert Marquet and Henri Manguin, less than household names in our day, would be the best-sellers of the group because they turned out tamer work that was gentler to the untutored eye. Maurice de Vlaminck, a larger-than-life figure and a devout fabulist, would claim with some exaggeration that he was really the first to engage with the new style, and then, the first to abandon it. -
Preserving the Mountain
Article: Preserving the mountain Author(s): Gerri Ann Strickler Source: Objects Specialty Group Postprints, Volume Thirteen, 2006 Pages: 85-99 Compilers: Virginia Greene, Patricia Griffin, and Christine Del Re th © 2006 by The American Institute for Conservation of Historic & Artistic Works, 1156 15 Street NW, Suite 320, Washington, DC 20005. (202) 452-9545 www.conservation-us.org Under a licensing agreement, individual authors retain copyright to their work and extend publications rights to the American Institute for Conservation. Objects Specialty Group Postprints is published annually by the Objects Specialty Group (OSG) of the American Institute for Conservation of Historic & Artistic Works (AIC). A membership benefit of the Objects Specialty Group, Objects Specialty Group Postprints is mainly comprised of papers presented at OSG sessions at AIC Annual Meetings and is intended to inform and educate conservation-related disciplines. Papers presented in Objects Specialty Group Postprints, Volume Thirteen, 2006 have been edited for clarity and content but have not undergone a formal process of peer review. This publication is primarily intended for the members of the Objects Specialty Group of the American Institute for Conservation of Historic & Artistic Works. Responsibility for the methods and materials described herein rests solely with the authors, whose articles should not be considered official statements of the OSG or the AIC. The OSG is an approved division of the AIC but does not necessarily represent the AIC policy or opinions. Strickler AIC Objects Specialty Group Postprints, Volume 13, 2006 PRESERVING THE MOUNTAIN Gerri Ann Strickler Abstract Outdoor sculpture in New England requires a financial commitment of annual maintenance that is difficult for some owners to bear. -
The Whitney to Present American Legends: from Calder to O’Keeffe
THE WHITNEY TO PRESENT AMERICAN LEGENDS: FROM CALDER TO O’KEEFFE Charles Demuth, My Egypt, 1927. Oil on fiberboard, 35 3/4 × 30 in. (90.8 × 76.2 cm). Whitney Museum of American Art, New York; purchase with funds from Gertrude Vanderbilt Whitney 31.172 NEW YORK, December 3, 2012—Eighteen early to mid-century American artists who forged distinctly modern styles are the subjects of American Legends: From Calder to O’Keeffe, opening December 22 at the Whitney Museum of American Art. Drawing from the Whitney’s permanent collection, the year-long show features iconic as well as lesser known works by Oscar Bluemner, Charles Burchfield, Paul Cadmus, Alexander Calder, Joseph Cornell, Ralston Crawford, Stuart Davis, Charles Demuth, Arthur Dove, Marsden Hartley, Edward Hopper, Gaston Lachaise, Jacob Lawrence, John Marin, Reginald Marsh, Elie Nadelman, Georgia O’Keeffe, and Joseph Stella. Curator Barbara Haskell has organized the museum’s holdings of each of these artists’ work into small-scale retrospectives. Many of the works included will be on view for the first time in years; others, such as Hopper’s A Woman in the Sun, Calder’s Circus, Jacob Lawrence’s War Series, and Georgia O’Keeffe’s Summer Days, are cornerstones of the Whitney’s collection. The show will run for a year in the museum’s fifth-floor Leonard & Evelyn Lauder Galleries and both the Sondra Gilman Gallery and Howard & Jean Lipman Gallery on the fifth-floor mezzanine. To showcase the breadth and depth of the Museum’s impressive modern art collection, a rotation will occur in May 2013 in order that other artists and works can be installed. -
Twentieth Century Masters
TWENTIETH CENTURY MASTERS FINDLAY GALLERIES Gallery Collection on View Balthus (1908 - 2001) Braque (1882 - 1963) Camoin (1879 - 1965) Chagall (1887 - 1985) D'Espagnat (1870 - 1950) Degas (1834 - 1917) Friesz (1879 - 1949) Glackens (1870 - 1938) TWENTIETH Hassam (1859 - 1935) CENTURY Homer (1836 - 1910) Lachaise (1882 - 1935) Laurencin (1883 - 1956) Le Sidaner (1862 - 1939) Lebasque (1865 - 1937) Lebourg (1849 - 1928) Luce (1858 - 1941) Martin- Ferrieres (1893 - 1972) Matisse (1869 - 1954) Metzinger (1883 - 1956) Pissarro- (1830 - 1903) Prendergast (1858 - 1924) Renoir (1841 - 1919) Valtat (1869 - 1952) Van Dongen (1877 - 1968) Vlaminck (1876 - 1958) Vuillard (1868 - 1940) KEES VAN DONGEN (1877 - 1968) Portrait de jeune femme au petit chien, c. 1920 oil on canvas 59 x 59 inches Signed 'van Dongen' (middle right) 137616 3 // FINDLAY TWENTIETH CENTURY MASTERS Findlay Galleries continues its long tradition of presenting highly important paintings to fine art collectors throughout the world. The Masters' Collection offers a cross-section of highlights from our collection including recent acquisitions of Impressionist and Modern Masters. The Galleries' global position in the art market for nearly 148 years has distinguished it as a leader in providing unique opportunities for collectors. Many of the paintings in this exhibition have appeared in museums around the globe and in distinguished collectors' homes. Several of these works have been privately collected and quietly passed down from generation through generation. As always, our art consultants offer unparalleled excellence in assisting our clients as they enhance or begin their collections. As a dealer to individuals, institutions and corporate collectors alike, Findlay Galleries continues to celebrate its traditions of presenting exhibitions featuring collections of diverse, original, and outstanding works. -
The Lachaise Foundation
THE LACHAISE FOUNDATION Marie P. Charles, Director Frederick D. Ballou, Trustee Paula R. Hornbostel, Curator & Trustee Ronald D. Spencer, Trustee REMINDER February 21, 2012 www.frelinghuysen.org www.lachaisefoundation.org www.nyc.gov/parks GASTON LACHAISE’S LA MONTAGNE (THE MOUNTAIN) IN TRAMWAY PLAZA New York City’s Department of Parks & Recreation, The Lachaise Foundation and the Frelinghuysen-Morris Foundation are pleased to remind the public of the loan of La Montagne (The Mountain) modeled in 1934 by American Modernist sculptor Gaston Lachaise (1882-1935). The monumental bronze earth goddess lies at Tramway Plaza, located on Second Avenue between 59th and 60th Streets, where it is on loan to the New York City Parks Department from September 23rd until June 4th, 2012. Born in Paris in 1882, Gaston Lachaise studied sculpture at the Ecole des Beaux-Arts, coming to the United States in 1906. He arrived in New York in 1912, and gained work with Paul Manship. He is known for his striking, voluptuous sculptures of women, they having been inspired by one woman, his muse model and wife Isabel. In 1935 the Museum of Modern Art gave Lachaise a retrospective exhibition of his work. He died later that year at the height of his career. The work of Lachaise’s work can be seen at Rockefeller Center on the 6th avenue facade of the GE building; in the sculpture garden at Moma (Floating Figure 1927) at the Metropolitan Museum of Art and at the Whitney Museum. This bronze cast, the second in an edition of five, was made in 2002 by the Modern Art Foundry. -
REFASHIONING the FIGURE the Sketchbooks of Archipenko C.1920
41 REFASHIONING THE FIGURE The Sketchbooks of Archipenko c.1920 Henry Moore Institute Essays on Sculpture MAREK BARTELIK 2 3 REFASHIONING THE FIGURE The Sketchbooks of Archipenko c.19201 MAREK BARTELIK Anyone who cannot come to terms with his life while he is alive needs one hand to ward off a little his despair over his fate…but with his other hand he can note down what he sees among the ruins, for he sees different (and more) things than the others: after all, he is dead in his own lifetime, he is the real survivor.2 Franz Kafka, Diaries, entry on 19 October 1921 The quest for paradigms in modern art has taken many diverse paths, although historians have underplayed this variety in their search for continuity of experience. Since artists in their studios produce paradigms which are then superseded, the non-linear and heterogeneous development of their work comes to define both the timeless and the changing aspects of their art. At the same time, artists’ experience outside of their workplace significantly affects the way art is made and disseminated. The fate of artworks is bound to the condition of displacement, or, sometimes misplacement, as artists move from place to place, pledging allegiance to the old tradition of the wandering artist. What happened to the drawings and watercolours from the three sketchbooks by the Ukrainian-born artist Alexander Archipenko presented by the Henry Moore Institute in Leeds is a poignant example of such a fate. Executed and presented in several exhibitions before the artist moved from Germany to the United States in the early 1920s, then purchased by a private collector in 1925, these works are now being shown to the public for the first time in this particular grouping. -
September 17, 2020 Contact: Paula Hornbostel | Director, Lachaise Foundation [email protected] | (212) 605-0380
PRESS RELEASE. For Immediate Release: September 17, 2020 Contact: Paula Hornbostel | Director, Lachaise Foundation [email protected] | (212) 605-0380 Gaston Lachaise Sculpture, Floating Woman, 1927, to be Installed in Hunter’s Point South Park On Thursday, September 24 at 3pm The Lachaise Foundation and the Hunters Point Parks Conservancy will be hosting a brief, socially distant unveiling ceremony, with short dance performance by local dance company Karesia Batan | The Physical Plant to celebrate the addition of Floating Woman in Hunter’s Point South Park. Members of the press are invited to attend. Event will occur by the sculpture, near the intersection of 51st Ave. and Center Blvd. Follow by Live- stream: @Paula_Hornbostel_LachaiseFoundation Long Island City, NY – Hunters Point Parks Conservancy and the Lachaise Foundation are thrilled to announce the temporary installation of Gaston Lachaise’s Floating Woman (Floating Figure) in Hunter’s Point South Park. The work is one of Lachaise’s best-known, monumental works dating from the late twenties. The buoyant, expansive figure represents a timeless earth goddess, one Lachaise knew and sought to capture throughout his career. This vision was inspired by his wife, who was his muse and model, Isabel, that “majestic woman” who walked by him once by the Bank of the Seine. This work is a tribute to the power of all women, to ‘Woman,’ as the artist referred to his wife, with a capital W. Gaston Lachaise devoted himself to the human form, producing a succession of powerfully conceived nude figures in stone and bronze that reinvigorated the sculptural traditions of Auguste Rodin and Aristide Maillol. -
Press Release
Press Release FOR IMMEDIATE RELEASE Media Contact Troy Ellen Dixon Director, Marketing & Communications 203 413-6735 | [email protected] Face & Figure: The Sculpture of Gaston Lachaise Opens at the Bruce Museum on Saturday, September 22, 2012 Gaston Lachaise was more than a gifted sculptor of the human body. He was one of the finest portraitists of his age. Greenwich CT, September 13, 2012 – Face & Figure: The Sculpture of Gaston Lachaise features key examples of the artist’s work – many on loan from leading museums, private collections and the Lachaise Foundation – that reveal the full range of his vision, with special Press Release attention to the fascinating interchange between figural work and portraiture. Executive Director Peter Sutton notes that the sculpture of Gaston Lachaise is among the most powerful, recognizable and enduring of the early twentieth century. “The inspired sensuality of his buoyant nudes uplifts us all and the individuality of his portraits achieves an incisive statement of character scarcely rivaled in three dimensions. Face & Figure addresses these two aspects of the sculptor’s work and explores the intersection of their aims.” Running throughout this contemplative exhibition is the overriding narrative of the obsession Lachaise had with his muse, model and wife, Isabel Dutaud Nagle, who – sirenlike – inspired him to become that rare exception among artists of the 1920s and ’30s, an expatriate Frenchman in New York. Lachaise’s oeuvre is a sustained elaboration of his intense feeling for Nagle’s beauty. The series of great nudes that secured his Head of a Woman (Egyptian Head), 1922 Bronze,13 x 8 x 8 ¼ in. -
Biography, Thomas Lamont: the Ambassador from Wall Street
eA Library The Boston Letter from eAthenteum No. 105 JUNE 1994 Work Proceeds on 14 Beacon Street Wing OR those readers who missed the announcement in the Annual Report for 1993, it bears repeating that the Athenreum recently signed papers purchasing parts of the basement and sub-basement of the Congregational Building at no. 14 Beacon Street, which abuts the Athenreum's current residence at no. 10'h. It will come as no surprise to those of you who have over the years put up with wails and moans in these pages about dwindling space at lOlh that this announcement was greeted with a collective sigh of relief from the hearts and souls of both the staff and the Trustees. For now (or at least in an imaginable future) most, if not all, of our vol umes stored off -site in places such as Allston and Lawrence will be reunited with the rest of the collection, and many members of the staff who have worked for years in offices the size of closets will be able to spread out and breathe. And the Conservation Department will expand into new and enlarged space, enabling its staff to increase in number and more efficiently service some of our ailing books that have long been pa tiently waiting for treatment. The move is a milestone, representing the first real estate the A thenreum has pur chased in nearly 100 years. And, although much noise, dust, and some inconvenience will lie ahead, the initial phase of renovation is already complete, in the form of a "demising wall" which was installed in the 14 Beacon Street building to isolate the Athenreum's space from the upper floors of that building. -
Art Movements Referenced : Artists from France: Paintings and Prints from the Art Museum Collection
UNIVERSITY OF WYOMING ART MUSEUM 2009 Art Movements Referenced : Artists from France: Paintings and Prints from the Art Museum Collection OVERVIEW Sarah Bernhardt. It was an overnight sensation, and Source: www.wikipedia.org/ announced the new artistic style and its creator to The following movements are referenced: the citizens of Paris. Initially called the Style Mucha, (Mucha Style), this soon became known as Art Art Nouveau Les Nabis Nouveau. The Barbizon School Modernism Art Nouveau’s fifteen-year peak was most strongly Cubism Modern Art felt throughout Europe—from Glasgow to Moscow Dadaism Pointillism to Madrid — but its influence was global. Hence, it Les Fauves Surrealism is known in various guises with frequent localized Impressionism Symbolism tendencies. In France, Hector Guimard’s metro ART NOUVEau entrances shaped the landscape of Paris and Emile Gallé was at the center of the school of thought Art Nouveau is an international movement and in Nancy. Victor Horta had a decisive impact on style of art, architecture and applied art—especially architecture in Belgium. Magazines like Jugend helped the decorative arts—that peaked in popularity at the spread the style in Germany, especially as a graphic turn of the 20th century (1890–1905). The name ‘Art artform, while the Vienna Secessionists influenced art nouveau’ is French for ‘new art’. It is also known as and architecture throughout Austria-Hungary. Art Jugendstil, German for ‘youth style’, named after the Nouveau was also a movement of distinct individuals magazine Jugend, which promoted it, and in Italy, such as Gustav Klimt, Charles Rennie Mackintosh, Stile Liberty from the department store in London, Alphonse Mucha, René Lalique, Antoni Gaudí and Liberty & Co., which popularized the style. -
Lincoln Kirstein and American Art Indicates Work Cited in a Figure of Influence
Library Guide A Figure of Influence: Lincoln Kirstein and American Art Indicates work cited in A Figure of Influence Lincoln Kirstein (1907–1996) was an art insider with the imposing personality and ambitious projects to match his sizable six-foot, three-inch frame. Kirstein was involved in the early history of the Museum of Modern Art in New York and co-founded the New York City Ballet. Though he abandoned his own painting career, Kirstein directed considerable energy toward shaping the lives of artists and the art world. He organized exhibitions, wrote about art, and connected artists with collectors, museums, and private galleries. An avid collector himself, he eventually donated work by the artists he championed to several institutions, including The Nelson-Atkins Museum of Art. If you have questions, please contact the reference staff at the Spencer Art Reference Library (telephone: 816.751.1216). Library hours and services are listed on the Museum’s website at www.nelson-atkins.org On Kirstein By Kirstein By other authors Kirstein, Lincoln. Quarry: A Collection In Lieu of Duberman, Martin. The Worlds of Lincoln Kirstein. Memoirs. Pasadena, CA: Twelvetrees Press, 1986. New York: Alfred A. Knopf, 2007. Call No: N5220 K57 1986. Call No: PS3521 .I74 Z65 2007 Inscribed: “For Larry [Lawrence Sickman] with love from Lincoln: February 1987” Eakins Press Foundation & Ballet Society, Inc. “Lincoln Kirstein: The Published Writings.” Kirstein, Lincoln. Mosaic: Memoirs. Accessed February 2018. New York: Farrar, Straus and Giroux, 1994. http://www.lincolnkirstein.org/ Call No: PS 3521 .I74 Z47 1994 Library Resource List 2018 | Lincoln Kirstein | 1 Kayafas, Peter, ed. -
French Sculpture Census / Répertoire De Sculpture Française
FRENCH SCULPTURE CENSUS / RÉPERTOIRE DE SCULPTURE FRANÇAISE LACHAISE, Gaston Paris 1882 - New York City, New York, United States 1935 Nu debout Standing Nude ca. 1915-17, cast ca. 1925-27 nickel-plated bronze statuette 1 1 1 12 ?8 x 5 ?4 x 3 ?2; weight: 6 lb signed (back): © / G. LACHAISE Acc. No.: 49.70.223 Credit Line: Alfred Stieglitz Collection, 1949 Photo credit: www.metmuseum.org © Artist : New York, New York, The Metropolitan Museum of Art www.metmuseum.org Provenance 1949, Alfred Stieglitz (1864-1946) Collection Bibliography Museum's website, 17 april 2012 1965 Gardner Albert Gardner, American Sculpture: A Catalogue of the Collection of the Metropolitan Museum of Art, New York, Metropolitan Museum of Art, distributed by New York Graphic Society, 1965, p. 143-144, repr. 1974 Nordland Gerald Nordland, Gaston Lachaise: The Man and His Work, New York, Braziller, 1974, p. 82, repr. 2001 Marter Joan M. Marter, "A Catalogue of Works by Artists Born between 1865 and 1885", American Sculpture in The Metropolitan Museum of Art, vol. 2, New York and New Haven, Ed. Thayer Tolles, 2001, p. 684–85, cat. 321, repr. Exhibitions 1927 New York Gaston Lachaise Sculptures, New York, Intimate Gallery, March 7–April 3, 1927, no. 19 1944 Philadelphia History of an American. Alfred Stieglitz: "291" and After, Philadelphia Museum of Art, July 1–November 1, 1944, no. 195 1947 New York Alfred Stieglitz Exhibition: His Collection, New York, Museum of Modern Art, June 10–August 31, 1947, no. 3 1963-1964 Los Angeles/New York Gaston Lachaise (1882–1935): Sculpture and Drawings, Los Angeles County Museum of Art, December 3, 1963–January 19, 1964; New York, Whitney Museum of Art, February 18–April 5, 1964, no.