The National Gallery Immunity from Seizure
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1 Sylvie Crussard Oral History
Sylvie Crussard Oral History [01:09:49] ELIZABETH GORAYEB: I’m Elizabeth Gorayeb, and I’m here today with Sylvie Crussard. It is September 16th, 2020, and we’re recording an oral history for the Wildenstein Plattner Institute’s Paul Gauguin oral history series. Sylvie Crussard, do I have your permission to record this interview? SYLVIE CRUSSARD: Yes, of course. EG: Wonderful. Great, thank you so much for being with us, Sylvie. So as we discussed, I’d love to have a little personal introduction from you, and mainly, Sylvie, how did you get into the field of art historical research? So you can go back as far as your early days working for the Wildenstein Institute, when you started working for the Wildenstein Institute, or even before then. So, I’ll leave it to you to fill in that first blank. SC: Well, Liz, I must say, working for the Wildenstein Institute was my very first job, because I’d just finished my studies. Which by mistake, were not history of art, except for a little bit of formation. But my main thing was political science. EG: Oh, interesting. And where was that, Sylvie? SC: This was a total mistake. I should never have studied political science, but finally, I still did, so I finished it. And during the last year, I passed three certificates of history of art, because this was a -- very relaxing, to me, you know, compared to political science. Which I didn’t dislike, but 1 (pauses) it wasn’t my vocation at all. So, I was relaxing, reading history of art books, and I passed -- you needed four certificat to get a licence, which means -- which is the first degree. -
TEL AVIV PANTONE 425U Gris PANTONE 653C Bleu Bleu PANTONE 653 C
ART MODERNE ET CONTEMPORAIN TRIPLEX PARIS - NEW YORK TEL AVIV Bleu PANTONE 653 C Gris PANTONE 425 U Bleu PANTONE 653 C Gris PANTONE 425 U ART MODERNE et CONTEMPORAIN Ecole de Paris Tableaux, dessins et sculptures Le Mardi 19 Juin 2012 à 19h. 5, Avenue d’Eylau 75116 Paris Expositions privées: Lundi 18 juin de 10 h. à 18h. Mardi 19 juin de 10h. à 15h. 5, Avenue d’ Eylau 75116 Paris Expert pour les tableaux: Cécile RITZENTHALER Tel: +33 (0) 6 85 07 00 36 [email protected] Assistée d’Alix PIGNON-HERIARD Tel: +33 (0) 1 47 27 76 72 Fax: 33 (0) 1 47 27 70 89 [email protected] EXPERTISES SUR RDV ESTIMATIONS CONDITIONS REPORTS ORDRES D’ACHAt RESERVATION DE PLACES Catalogue en ligne sur notre site www.millon-associes.com בס’’ד MODERN AND CONTEMPORARY FINE ART NEW YORK : Tuesday, June 19, 2012 1 pm TEL AV IV : Tuesday, 19 June 2012 20:00 PARIS : Mardi, 19 Juin 2012 19h AUCTION MATSART USA 444 W. 55th St. New York, NY 10019 PREVIEW IN NEW YORK 444 W. 55th St. New York, NY. 10019 tel. +1-347-705-9820 Thursday June 14 6-8 pm opening reception Friday June 15 11 am – 5 pm Saturday June 16 closed Sunday June 17 11 am – 5 pm Monday June 18 11 am – 5 pm Other times by appointment: 1 347 705 9820 PREVIEW AND SALES ROOM IN TEL AVIV 15 Frishman St., Tel Aviv +972-2-6251049 Thursday June 14 6-10 pm opening reception Friday June 15 11 am – 3 pm Saturday June 16 closed Sunday June 17 11 am – 6 pm Monday June 18 11 am – 6 pm tuesday June 19 (auction day) 11 am – 2 pm Bleu PREVIEW ANDPANTONE 653 C SALES ROOM IN PARIS Gris 5, avenuePANTONE d’Eylau, 425 U 75016 Paris Monday 18 June 10 am – 6 pm tuesday 19 June 10 am – 3 pm live Auction 123 will be held simultaneously bid worldwide and selected items will be exhibited www.artonline.com at each of three locations as noted in the catalog. -
2020) Gauguin and Van Gogh Meet the Ninth Art. Euro- Pean Comic Art, 13 (1
Screech, Matthew (2020) Gauguin and Van Gogh Meet the Ninth Art. Euro- pean Comic Art, 13 (1). pp. 21-44. ISSN 1754-3797 Downloaded from: https://e-space.mmu.ac.uk/625715/ Version: Accepted Version Publisher: Berghahn Books DOI: https://doi.org/10.3167/eca.2020.130103 Please cite the published version https://e-space.mmu.ac.uk Gauguin and Van Gogh Meet the Ninth Art Postmodernism and Myths about Great Artists Matthew Screech Abstract This article analyses how a late twentieth-century/early twenty-first- century development in bandes dessinées, which combines historical novels with bi- ographies, expresses paradoxical attitudes towards mythologies surround- ing Paul Gauguin and Vincent Van Gogh. Firstly, I demonstrate that the paradox stems from a simultaneous desire for and suspicion of master narratives, identified as intrinsic to postmodernism by Linda Hutcheon. Then I establish how eight graphic novels perpetuate pre-existing mytho- logical master narratives about Gauguin and Van Gogh. Nevertheless, those mythologies simultaneously arouse scepticism: myths do not express ex- emplary uni versal truths; myths are artificial and fictionalised constructs whose status in reality is dubious. The albums convey tension between desire and suspicion regarding myths by a variety of devices. These include sequenced panels, circular plots, unreliable witnesses, fictional insertions, parodies and mock realism. Keywords: Gauguin, graphic novels, great artists, Linda Hutcheon, mythology, postmodernism, Van Gogh Over the period spanning 1990 to 2016 -
Paul Gauguin 8 February to 28 June 2015
Media Release Paul Gauguin 8 February to 28 June 2015 With Paul Gauguin (1848-1903), the Fondation Beyeler presents one of the most important and fascinating artists in history. As one of the great European cultural highlights in the year 2015, the exhibition at the Fondation Beyeler brings together over fifty masterpieces by Gauguin from leading international museums and private collections. This is the most dazzling exhibition of masterpieces by this exceptional, groundbreaking French artist that has been held in Switzerland for sixty years; the last major retrospective in neighbouring countries dates back around ten years. Over six years in the making, the show is the most elaborate exhibition project in the Fondation Beyeler’s history. The museum is consequently expecting a record number of visitors. The exhibition features Gauguin’s multifaceted self-portraits as well as the visionary, spiritual paintings from his time in Brittany, but it mainly focuses on the world-famous paintings he created in Tahiti. In them, the artist celebrates his ideal of an unspoilt exotic world, harmoniously combining nature and culture, mysticism and eroticism, dream and reality. In addition to paintings, the exhibition includes a selection of Gauguin’s enigmatic sculptures that evoke the art of the South Seas that had by then already largely vanished. There is no art museum in the world exclusively devoted to Gauguin’s work, so the precious loans come from 13 countries: Switzerland, Germany, France, Spain, Belgium, Great Britain (England and Scotland), -
The Reves Collection
The Reves Collection Camille Pissarro, Self-Portrait, 1897-1898; Oil on canvas; 20 7/8 x 12 in. (53 x 31 cm); Dallas Museum of Art, The Wendy and Emery Reves Collection, 1985.R.44 AT THE DALLAS MUSEUM OF ART Teaching Materials prepared by Ken Kelsey, Gail Davitt, Carolyn Johnson, Cecilia Leach, Diane McClure, and Catherine Proctor Major underwriting of the exhibition is provided by Merrill Lynch and The Dallas Morning News. American Airlines is the official carrier for the exhibition. © 1995 Dallas Museum of Art. All rights reserved. Use with permission. Page 1 of 36 DEAR TEACHER: The Reves Collection is a resource guide for viewing art at the elementary and secondary student level. The materials are written in the form of dialogues, and are planned to aid both teacher and student as they explore individual objects and build a more personal connection to the decorative and fine artworks in the Reves Collection at the Dallas Museum of Art. This packet includes: 1. 13 ARTWORKS 2. A BIOGRAPHY of the Collectors, Wendy and Emery Reves 3. An INTRODUCTION 4. 13 OBJECT SHEETS (1 for each ARTWORK) 5. ACTIVITIES for Art, Language Arts, Social Studies, & Math/Science 6. A GLOSSARY 7. A BIBLIOGRAPHY 8. List of TEKS Addressed in these Teaching Materials 9. Two EVALUATION SHEETS (1 for this Teaching Packet & 1 for the Tour). _________________________________________________________ The printing in these materials has been manipulated in several ways. • The titles of individual artworks are italicized and bolded. For example, the title of the first artwork/object sheet is set of casters. -
André Derain Stoppenbach & Delestre
ANDR É DERAIN ANDRÉ DERAIN STOPPENBACH & DELESTRE 17 Ryder Street St James’s London SW1Y 6PY www.artfrancais.com t. 020 7930 9304 email. [email protected] ANDRÉ DERAIN 1880 – 1954 FROM FAUVISM TO CLASSICISM January 24 – February 21, 2020 WHEN THE FAUVES... SOME MEMORIES BY ANDRÉ DERAIN At the end of July 1895, carrying a drawing prize and the first prize for natural science, I left Chaptal College with no regrets, leaving behind the reputation of a bad student, lazy and disorderly. Having been a brilliant pupil of the Fathers of the Holy Cross, I had never got used to lay education. The teachers, the caretakers, the students all left me with memories which remained more bitter than the worst moments of my military service. The son of Villiers de l’Isle-Adam was in my class. His mother, a very modest and retiring lady in black, waited for him at the end of the day. I had another friend in that sinister place, Linaret. We were the favourites of M. Milhaud, the drawing master, who considered each of us as good as the other. We used to mark our classmates’s drawings and stayed behind a few minutes in the drawing class to put away the casts and the easels. This brought us together in a stronger friendship than students normally enjoy at that sort of school. I left Chaptal and went into an establishment which, by hasty and rarely effective methods, prepared students for the great technical colleges. It was an odd class there, a lot of colonials and architects. -
Nazi-Confiscated Art Issues
Nazi-Confiscated Art Issues Dr. Jonathan Petropoulos PROFESSOR, DEPARTMENT OF HISTORY, LOYOLA COLLEGE, MD UNITED STATES Art Looting during the Third Reich: An Overview with Recommendations for Further Research Plenary Session on Nazi-Confiscated Art Issues It is an honor to be here to speak to you today. In many respects it is the highpoint of the over fifteen years I have spent working on this issue of artworks looted by the Nazis. This is a vast topic, too much for any one book, or even any one person to cover. Put simply, the Nazis plundered so many objects over such a large geographical area that it requires a collaborative effort to reconstruct this history. The project of determining what was plundered and what subsequently happened to these objects must be a team effort. And in fact, this is the way the work has proceeded. Many scholars have added pieces to the puzzle, and we are just now starting to assemble a complete picture. In my work I have focused on the Nazi plundering agencies1; Lynn Nicholas and Michael Kurtz have worked on the restitution process2; Hector Feliciano concentrated on specific collections in Western Europe which were 1 Jonathan Petropoulos, Art as Politics in the Third Reich (Chapel Hill: The University of North Carolina Press). Also, The Faustian Bargain: The Art World in Nazi Germany (New York/Oxford: Oxford University Press, forthcoming, 1999). 2 Lynn Nicholas, The Rape of Europa: The Fate of Europe's Treasures in the Third Reich and the Second World War (New York: Alfred Knopf, 1994); and Michael Kurtz, Nazi Contraband: American Policy on the Return of European Cultural Treasures (New York: Garland, 1985). -
Paula Soriano Solana Grau En Disseny Curs: 2019/2020 Tutora: Mireia Feliu Fabra
ZEITGEIST Paula Soriano Solana Grau en Disseny Curs: 2019/2020 Tutora: Mireia Feliu Fabra 1 Als meus pares, per l’amor, confiança, esforç i dedicació; al Rubén per ser el meu company; a la tata, per estar sempre; i a l’Oriol, per la constància i talent. 2 3 Paula Soriano Solana Zeitgeist ABSTRACT 00 6 INTRODUCCIÓ 01 8 MOTIVACIÓ 01.1 9 59 OBJECTIUS 01.2 10 CONCLUSIONS 03 METODOLOGIA 01.3 11 FORMALITZACIÓ 04 61 RECERCA CONCEPTUAL 02 14 EL MITE D’EKHÓ 04.1 62 INTRODUCCIÓ AL POST IMPRESSIONISME 02.1 15 ESCENOGRAFIA I ATREZZO 04.2 63 AUTORS POST IMPRESSIONISTES 02.2 16 MAKING OF 04.3 64 Paul Gauguin 02.2.1 17 66 Paul Cézzane 02.2.2 BIBLIOGRAFIA 05 25 Vincent Van Gogh 02.2.3 28 Conclusions 02.2.4 DIRECCIÓ D’ART 02.3 34 ANÀLISI DE REFERENTS 02.4 48 4 5 Grau en Disseny 2019-2020 Paula Soriano Solana Zeitgeist Paula Soriano Solana Zeitgeist 00.1 Abstract (es) Con la intención de intención de investigar qué función tiene la dirección de arte en el cine y qué posibilidades tiene, se ha 00 Abstract creado el proyecto Zeitgeist, una obra autobiográfica que explica la situación de una persona con inquietudes creativas que se tiene que adaptar a una situación totalmente nueva para él; un confinamiento en casa. Zeitgeist extrae el proceso creativo propio de los artistas que se los engloba dentro del postimpresionismo, el cual se tra- Amb la intenció d’investigar quina funció té la direcció d’art en el cinema i quines possibilitats engloba, s’ha creat el projecte duce finalmente en un cortometraje con gran interés simbólico y estético. -
November-December Events & Classes at Cantigny Park
October 3, 2019 Media Contact: Jeff Reiter Cantigny Park 630.260.8218 [email protected] NOVEMBER-DECEMBER EVENTS & CLASSES AT CANTIGNY PARK The following activities will take place at Cantigny Park, 1s151 Winfield Road in Wheaton (or at Cantigny Golf as indicated). Additional details are online at Cantigny.org or 630.668.5161. NOVEMBER Saturday, November 2 American Legion Pancake Breakfast Le Jardin at Cantigny Park, 7 am to 1 pm Cantigny Post 556 of the American Legion hosts this annual fundraiser in conjunction with the Cantigny 5K Run/Walk. Feast on pancakes, sausage, eggs, biscuits and gravy. Cost: $10; $5 ages 5-12; ages 4 and under free. Parking free. FEATURED EVENT Saturday, November 2 Cantigny 5K Run/Walk Parade Field, 9 am A great race in beautiful autumn surroundings! Event is chip-timed and limited to 1,000 runners. Net proceeds benefit the Midwest Shelter for Homeless Veterans in Wheaton. Adult, Youth and Tot categories. Cost: $20/$8/$5; parking free. Optional race shirts are $10/$12. Register at signmeup.com/130199. Sunday, November 3 Workshop: Forcing Flower Bulbs for Indoor Blooms Cantigny Greenhouse, 9 am Bring your garden indoors over winter by learning to force potted flower bulbs such as daffodils, tulips and hyacinths. Cantigny Grower Julie Miller will instruct. Participants receive a pot, soil and bulbs to make a mixed container that will bloom by March 2020. Enter Cantigny at Shaffner Road for convenient access to greenhouse parking lot. $50 fee includes parking. Register in advance at 630.260.8162 or cantigny.org. Monday, November 4 Doodlebugs Art Class Visitors Center, 1 to 2 pm (first of 3 sessions) Drop off your child (ages 4-6) for an hour of creative exploration! Theme: “Creative Collage.” Class meets three consecutive Mondays: November 4, 11 and 18. -
The Making of the Meyerson Photography by Danny Tu Rner
THE MAKING OF THE MEYERSON PHOTOGRAPHY BY DANNY TU RNER Dallas is the city where, not so many years ago, the symphony went broke. Now, Dallas is home to one of the great concert halls of the world and to a symphony that shows eve,y sign of belonging there. The unlike ly story of how Dallas transformed itselffrom a musical backwater to a cultural star is chronicled in The Meyerson Symphony Center: Building a Dream, a new book by Laurie Shulman due out this month from University of North Texas Press. These excerpts from Shulman's book reveal the inside story of the critical moments when the hall's future, not to mention its very exis tence, hung in the balance. Thirty years ago, the reputation of the Dallas Symphony Orchestra was well established: It was financiallyinept, chaotically managed, and musically undistinguished. After a series of disasters in the 1973 sea son, including a musicians' strike, the board declared bankruptcy-----a rst in the history of any American symphony orchestra. The emergency-----and the embarrassing headlines-awakened the Dallas civic leadership. Longtime cultural stalwart Henry S. Miller, Jr. suddenly found himself and the symphony besieged with offersto help. With a renewed commitment from the business community, the sym phony was reorganized, refi.nanced, and rejuvenated. An exciting young director, Eduardo Mata, was hired and ticket sales began to percolate. Inevitably the question arose: How can we conceive of building a great symphony with.our first constructing a hall to house it? The answer to this question fell in 1979 to young Robert Decherd, scion ofthe Dealey family (now chairman of Belo Corp., publisher of the Morning News) who had been handed the symphony's reins. -
CABANEL ALEXANDRE (Francia) Nato Montpellier, 28 Settembre 1823
CABANEL ALEXANDRE (Francia) Nato Montpellier, 28 settembre 1823. Morto a Parigi, 23 gennaio 1889. Allievo di François-Édouard Picot all'École des Beaux-Arts, ottenne il secondo Prix de Rome nel 1845, passando così cinque anni a Villa Medici a Roma. Ottenne grande fama con la Nascita di Venere, acquistata da Napoleone III nel 1863. Lo stesso anno fu nominato professore all'École des Beaux-Arts e membro dell'Académie des Beaux-Arts. Membro di giuria per 17 volte dal 1868 al 1888 del Salon, ne ricevette la medaglia d'onore nel 1865, 1867 e 1878. Fu pittore di storia, di genere e ritrattista: conteso dai collezionisti d'Europa e d'America, richiesto come ritrattista, fu nemico del Naturalismo e dell'Impressionismo, e fu attaccato da Émile Zola e da tutti coloro che difendevano la necessità di un'arte meno soave e più realista. Il collega Edouard Manet lo disprezzava. La tela Nascita di Venere gli valse grande notorietà e numerose committenze. Durante l’Ottocento al tema del nudo sdraiato si dedicarono pittori affermati come Renoir e Courbet, Ingres e Gauguin e Van Gogh. Molto ricercato come ritrattista, ebbe moltissimi allievi, fra cui alcuni raggiunsero la notorietà. FILATELIA BENIN Anno 2003, CENTRO AFRICANA REP. Anno 2014 (BF 752), GUINEA BISSAU Anno 2013 (5216), MALI Anno 2011, SPAGNA Anno 2013 Busta Postale. SAO TOME’ 2000 SPAGNA BUSTE POSTALI CABOT FRANCISCO SANS (Spagna) Nato il 9 aprile 1828 a Girona. Morto il 5 Maggio 1881 a Madrid.- Pittore catalano diresse il Museo del Prado dal 1873 al 1881 Figlio di un navigatore della Royal Navy spagnola, frequentò la Escola de la Llotja (1850-1855), dove, all’inizio, seguì corsi di oreficeria (per volon- tà della sua famiglia), ma li interruppe per dedicarsi alla pittura. -
L-G-0000349753-0002315416.Pdf
Gauguin Page 4: Self-Portrait with a Palette, c.1894 oil on canvas, 92 x 73 cm Private Collection Designed by: Baseline Co. Ltd, 61A-63A Vo Van Tan Street 4th Floor District 3, Ho Chi Minh City Vietnam ISBN 978-1-78042-211-4 © Parkstone International © Confidential Concepts, worldwide, New York, USA All rights reserved No part of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyrights on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case we would appreciate notification 2 “In art, one idea is as good as another. If one takes the idea of trembling, for instance, all of a sudden most art starts to tremble. Michelangelo starts to tremble. El Greco starts to tremble. All the Impressionists start to tremble.” – Paul Gauguin 3 Biography 1848 Paul Gauguin born in Paris, on June 7. 1849 The family left France for Peru; his father died at sea. 1855–1861 Returned to France after a five-year stay in Lima. Lived in Orleans, his father’s native town. Studied at the Petit Seminaire. 1861(?)–1865 Moved with his mother to Paris. Attended high school. 1865 Entered the merchant marine as a cabin-boy. 1868–1871 Served in the navy after the disbandment of the French army and navy settled in Paris. 1871–1873 Worked as a stockbrocker in the banking office of Bertin. In the house of his sister’s guardian, Gustave Arosa, began to take interest in art.