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A Guide for Educators and Students TABLE of CONTENTS
The Munich Secession and America A Guide for Educators and Students TABLE OF CONTENTS FOR EDUCATORS GETTING STARTED 3 ABOUT THE FRYE 3 THE MUNICH SECESSION AND AMERICA 4 FOR STUDENTS WELCOME! 5 EXPERIENCING ART AT THE FRYE 5 A LITTLE CONTEXT 6 MAJOR THEMES 8 SELECTED WORKS AND IN-GALLERY DISCUSSION QUESTIONS The Prisoner 9 Picture Book 1 10 Dutch Courtyard 11 Calm before the Storm 12 The Dancer (Tänzerin) Baladine Klossowska 13 The Botanists 14 The Munich Secession and America January 24–April 12, 2009 SKETCH IT! 15 A Guide for Educators and Students BACK AT SCHOOL 15 The Munich Secession and America is organized by the Frye in GLOSSARY 16 collaboration with the Museum Villa Stuck, Munich, and is curated by Frye Foundation Scholar and Director Emerita of the Museum Villa Stuck, Jo-Anne Birnie Danzker. This self-guide was created by Deborah Sepulvida, the Frye’s manager of student and teacher programs, and teaching artist Chelsea Green. FOR EDUCATORS GETTING STARTED This guide includes a variety of materials designed to help educators and students prepare for their visit to the exhibition The Munich Secession and America, which is on view at the Frye Art Museum, January 24–April 12, 2009. Materials include resources and activities for use before, during, and after visits. The goal of this guide is to challenge students to think critically about what they see and to engage in the process of experiencing and discussing art. It is intended to facilitate students’ personal discoveries about art and is aimed at strengthening the skills that allow students to view art independently. -
Full Press Release
Press Contacts Patrick Milliman 212.590.0310, [email protected] Alanna Schindewolf 212.590.0311, [email protected] THE MORGAN HOSTS MAJOR EXHIBITION OF MASTER DRAWINGS FROM MUNICH’S FAMED STAATLICHE GRAPHISCHE SAMMLUNG SHOW INCLUDES WORKS FROM THE RENAISSANCE TO THE MODERN PERIOD AND MARKS THE FIRST TIME THE GRAPHISCHE SAMMLUNG HAS LENT SUCH AN IMPORTANT GROUP OF DRAWINGS TO AN AMERICAN MUSEUM Dürer to de Kooning: 100 Master Drawings from Munich October 12, 2012–January 6, 2013 **Press Preview: Thursday, October 11, 10 a.m. until 11:30 a.m.** RSVP: (212) 590-0393, [email protected] New York, NY, August 25, 2012—This fall, The Morgan Library & Museum will host an extraordinary exhibition of rarely- seen master drawings from the Staatliche Graphische Sammlung, Munich, one of Europe’s most distinguished drawings collections. On view October 12, 2012– January 6, 2013, Dürer to de Kooning: 100 Master Drawings from Munich marks the first time such a comprehensive and prestigious selection of works has been lent to a single exhibition. Johann Friedrich Overbeck (1789–1869) Italia and Germania, 1815–28 Dürer to de Kooning was conceived in Inv. 2001:12 Z © Staatliche Graphische Sammlung München exchange for a show of one hundred drawings that the Morgan sent to Munich in celebration of the Staatliche Graphische Sammlung’s 250th anniversary in 2008. The Morgan’s organizing curators were granted unprecedented access to the Graphische Sammlung’s vast holdings, ultimately choosing one hundred masterworks that represent the breadth, depth, and vitality of the collection. The exhibition includes drawings by Italian, German, French, Dutch, and Flemish artists of the Renaissance and baroque periods; German draftsmen of the nineteenth century; and an international contingent of modern and contemporary draftsmen. -
Oil Sketches and Paintings 1660 - 1930 Recent Acquisitions
Oil Sketches and Paintings 1660 - 1930 Recent Acquisitions 2013 Kunsthandel Barer Strasse 44 - D-80799 Munich - Germany Tel. +49 89 28 06 40 - Fax +49 89 28 17 57 - Mobile +49 172 890 86 40 [email protected] - www.daxermarschall.com My special thanks go to Sabine Ratzenberger, Simone Brenner and Diek Groenewald, for their research and their work on the text. I am also grateful to them for so expertly supervising the production of the catalogue. We are much indebted to all those whose scholarship and expertise have helped in the preparation of this catalogue. In particular, our thanks go to: Sandrine Balan, Alexandra Bouillot-Chartier, Corinne Chorier, Sue Cubitt, Roland Dorn, Jürgen Ecker, Jean-Jacques Fernier, Matthias Fischer, Silke Francksen-Mansfeld, Claus Grimm, Jean- François Heim, Sigmar Holsten, Saskia Hüneke, Mathias Ary Jan, Gerhard Kehlenbeck, Michael Koch, Wolfgang Krug, Marit Lange, Thomas le Claire, Angelika and Bruce Livie, Mechthild Lucke, Verena Marschall, Wolfram Morath-Vogel, Claudia Nordhoff, Elisabeth Nüdling, Johan Olssen, Max Pinnau, Herbert Rott, John Schlichte Bergen, Eva Schmidbauer, Gerd Spitzer, Andreas Stolzenburg, Jesper Svenningsen, Rudolf Theilmann, Wolf Zech. his catalogue, Oil Sketches and Paintings nser diesjähriger Katalog 'Oil Sketches and Paintings 2013' erreicht T2013, will be with you in time for TEFAF, USie pünktlich zur TEFAF, the European Fine Art Fair in Maastricht, the European Fine Art Fair in Maastricht. 14. - 24. März 2013. TEFAF runs from 14-24 March 2013. Die in dem Katalog veröffentlichten Gemälde geben Ihnen einen The selection of paintings in this catalogue is Einblick in das aktuelle Angebot der Galerie. Ohne ein reiches Netzwerk an designed to provide insights into the current Beziehungen zu Sammlern, Wissenschaftlern, Museen, Kollegen, Käufern und focus of the gallery’s activities. -
Page, Canvas, Wall: Visualising the History Of
Title Page, Canvas, Wall: Visualising the History of Art Type Article URL https://ualresearchonline.arts.ac.uk/id/eprint/15882/ Dat e 2 0 2 0 Citation Giebelhausen, Michaela (2020) Page, Canvas, Wall: Visualising the History of Art. FNG Research (4/2020). pp. 1-14. ISSN 2343-0850 Cr e a to rs Giebelhausen, Michaela Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Issue No. 4/2020 Page, Canvas, Wall: Visualising the History of Art Michaela Giebelhausen, PhD, Course Leader, BA Culture, Criticism and Curation, Central St Martins, University of the Arts, London Also published in Susanna Pettersson (ed.), Inspiration – Iconic Works. Ateneum Publications Vol. 132. Helsinki: Finnish National Gallery / Ateneum Art Museum, 2020, 31–45 In 1909, the Italian poet and founder of the Futurist movement, Filippo Tommaso Marinetti famously declared, ‘[w]e will destroy the museums, libraries, academies of every kind’.1 He compared museums to cemeteries, ‘[i]dentical, surely, in the sinister promiscuity of so many bodies unknown to one another… where one lies forever beside hated or unknown beings’. This comparison of the museum with the cemetery has often been cited as an indication of the Futurists’ radical rejection of traditional institutions. It certainly made these institutions look dead. With habitual hyperbole Marinetti claimed: ‘We stand on the last promontory of the centuries!… Why should we look back […]? Time and Space died yesterday.’ The brutal breathlessness of Futurist thinking rejected all notions of a history of art. -
Hidden Lives: Asceticism and Interiority in the Late Reformation, 1650-1745
Hidden Lives: Asceticism and Interiority in the Late Reformation, 1650-1745 By Timothy Cotton Wright A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Jonathan Sheehan, chair Professor Ethan Shagan Professor Niklaus Largier Summer 2018 Abstract Hidden Lives: Asceticism and Interiority in the Late Reformation, 1650-1745 By Timothy Cotton Wright Doctor of Philosophy in History University of California, Berkeley Professor Jonathan Sheehan, Chair This dissertation explores a unique religious awakening among early modern Protestants whose primary feature was a revival of ascetic, monastic practices a century after the early Reformers condemned such practices. By the early seventeenth-century, a widespread dissatisfaction can be discerned among many awakened Protestants at the suppression of the monastic life and a new interest in reintroducing ascetic practices like celibacy, poverty, and solitary withdrawal to Protestant devotion. The introduction and chapter one explain how the absence of monasticism as an institutionally sanctioned means to express intensified holiness posed a problem to many Protestants. Large numbers of dissenters fled the mainstream Protestant religions—along with what they viewed as an increasingly materialistic, urbanized world—to seek new ways to experience God through lives of seclusion and ascetic self-deprival. In the following chapters, I show how this ascetic impulse drove the formation of new religious communities, transatlantic migration, and gave birth to new attitudes and practices toward sexuality and gender among Protestants. The study consists of four case studies, each examining a different non-conformist community that experimented with ascetic ritual and monasticism. -
Orientation English
thE PiNAKOTHEk MUSEUMS iN THE kUNSTAREaL MÜNChEN oRiENtatioN Schelling- straße Bus 154 Bus 154 U H H Universität Arcisstraße H 7/28 2 ENGLiSh 6 m U a / 3 NEUE Tr Heßstraße PINAKOTHEK U e ß e MUSEUM REICH a U2 ß r a t e DER KRISTALLE Bus 100 r s t ß n s a e Theresienstraße g i U H H H i l w a sstr i Pinakotheken MUSEUM d m c u A BRANDHORST L Ar TÜRKENTOR e ALTE ß ra PINAKOTHEK PINAKOTHEK t DER MODERNE Gabelsbergerstraße r S re H a e B Bus 100 ß a 0 10 r ÄGYPTISCHES s LENBACH- st MUSEUM Karolinen- Bu en HAUS platz k H r ü GLYPTOTHEK T NS-DOKU- U U Königsplatz ZENTRUM Brienner Straße H KUNSTBAU STAATL. GRAPH. Odeonsplatz SAMMLUNG STAATLICHE ANTIKEN- SAMMLUNGEN 5 aLtE PiNakothEk Daily except MON 10am–6pm | TUE 10am–8pm www.pinakothek.de/en/alte-pinakothek NEUE PiNakothEk Daily except TUE 10am–6pm | WED 10am–8pm www.pinakothek.de/en/neue-pinakothek PiNakothEk DER MoDERNE Daily except MON 10am–6pm | THURS 10am–8pm www.pinakothek.de/en/pinakothek-der-moderne MUSEUM BRaNDhoRSt Daily except MON 10am–6pm | THURS 10am–8pm www.museum-brandhorst.de/en Sammlung SChaCk WED–SUN 10am–6pm | Every 1st and 3rd WED in the month 10am–8pm www.pinakothek.de/en/sammlung-schack DEaR viSitoRS, NEUE PiNakothEk We hope you have an exciting visit and request that you please do not Barer Straße 29 touch the artworks. Please put umbrellas, large bags (bigger than A4) D 80799 Munich and backpacks in the lockers or check them into the cloakroom located T +49.(0)89.2 38 05-195 in the basement. -
Jahresbericht 2019 Jahresbericht 2019 Staatliche Kunstsammlungen Dresden Staatliche Kunstsammlungen
www.skd.museum Jahresbericht Jahresbericht 2019 Jahresbericht 2019 Staatliche Kunstsammlungen Dresden Staatliche Kunstsammlungen Jahresbericht 2019 Inhalt Vorwort »library of exile«: Edmund de Waal im Gespräch 4 Prof. Dr. Marion Ackermann 36 über seine Beziehung zu Dresden Perspektivwechsel: Ausstellungen im Leipziger 38 GRASSI hinterfragten Blicke auf die Anderen Im Fokus Rembrandts Strich: Zum 350. Todestag präsentierte das Kupferstich-Kabinett Residenzschloss: 40 Grafiken des Meisters 8 Wiedereröffnung Paraderäume Alle saßen ihm Modell: Residenzschloss: Die Gemäldegalerie Alte Meister würdigt 12 Wiedereröffnung Kleiner Ballsaal 42 Anton Graff als Porträtisten seiner Zeit Outreach: Surrealistische Wunderkammer: 13 Engagement im Freistaat Sachen 44 Der Lipsiusbau präsentierte das Künstlerpaar Gemäldgegalerie Alte Meister: Jan und Eva Švankmajer 16 Restaurierung von Vermeers »Briefleserin« Internationale Präsenz der Kunstsammlungen in Historisches Grünes Gewölbe: 46 New York, Los Angeles, Coventry und Amsterdam 18 Einbruch und Diebstahl Sonderausstellungen Münzkabinett: Jubiläumsausstellung 48 20 zum 500. Geburtstag Institution im Wandel Ausstellungen Gemäldegalerie Alte Meister: 56 Auf dem Weg zum Bauhaus: Das Kupferstich- Auf dem Weg zur Wiedereröffnung Kabinett und das Albertinum verdeutlichten Vom 3-D-Modell zum Tablet: 24 Dresdens Rolle zu Beginn des 20. Jahrhunderts 58 Digitalisierung im Museumsalltag Zäsur 1989: Das Albertinum erinnerte an die Arbeiten mit der Schatztruhe: 27 Maueröffnung und die Folgen 60 Léontine Meijer-van Mensch -
Carl Spitzweg and the Biedermeier
UNIVERSITY OF PUGET SOUND “A CHRONIC TUBERCULOSIS:” CARL SPITZWEG AND THE BIEDERMEIER BENJAMIN BLOCK ART494 PROF. LINDA WILLIAMS March 13, 2014 1 Image List Fig. 1: Carl Spitzweg, English Tourists in Campagna (English Tourists Looking at Ruins). Oil on paper. 19.7 x 15.7 inches, c. 1845. Nationalgalerie, Staatliche Museen Preussicher Kulturbesitz, Berlin. 2 The Biedermeier period, which is formally framed between 1815 and 1848,1 remains one of the murkiest and least studied periods of European art. Nowhere is this more evident than in the volumes that comprise the contemporary English-language scholarship on the period. Georg Himmelheber, in the exhibition catalogue for Kunst des Biedermeier, his 1987 exhibition at the Münchner Stadtmuseum, states that the Biedermeier style was “a new variety of neo- classicism.”2 William Vaughan, on the other hand, in his work German Romantic Painting, inconsistently places Biedermeier painters in a “fluctuating space” between Romanticism and Biedermeier that occasionally includes elements of Realism as well.3 It is unusual to find such large discrepancies on such a fundamental point for any period in modern art historical scholarship, and the wide range of conclusions that have been drawn about the period and the art produced within indicate a widespread misunderstanding of Biedermeier art by scholars. While there have been recent works that point to a fuller understanding of the Biedermeier period, namely the exhibition catalogue for the 2001 exhibit Biedermeier: Art and Culture in Central Europe, 1815-1848 and Albert Boime’s Art in the Age of Civil Struggle, most broadly aimed survey texts still perpetuate an inaccurate view of the period, and some omit it altogether. -
Methods for Modernism: American Art, 1876-1925
METHODS FOR MODERNISM American Art, 1876-1925 METHODS FOR MODERNISM American Art, 1876-1925 Diana K. Tuite Linda J. Docherty Bowdoin College Museum of Art Brunswick, Maine This catalogue accompanies two exhibitions, Methods for Modernism: Form and Color in American Art, 1900-192$ (April 8 - July 11, 2010) and Learning to Paint: American Artists and European Art, 1876-189} (January 26 - July 11, 20io) at the Bowdoin College Museum of Art, Brunswick, Maine. This project is generously supported by the Yale University Art Gallery Collection- Sharing Initiative, funded by the Andrew W. Mellon Foundation; a grant from the American Art Program of the Henry Luce Foundation; an endowed fund given by the Andrew W. Mellon Foundation; and Bowdoin College. Design: Katie Lee, New York, New York Printer: Penmor Lithographers, Lewiston, Maine ISBN: 978-0-916606-41-1 Cover Detail: Patrick Henry Bruce, American, 1881-1936, Composition 11, ca. 1916. Gift of Collection Societe Anonyme, Yale University Art Gallery, New Haven, Connecticut. Illustrated on page 53. Pages 8-9 Detail: John Singer Sargent, American, 1856-1925, Portrait of Elizabeth Nelson Fairchild, 1887. Museum Purchase, George Otis Hamlin Fund and Friends of the College Fund, Bowdoin College Museum of Art. Illustrated on page 18. Pages 30-31 Detail: Manierre Dawson, American, 1887-1969, Untitled, 1913. Gift of Dr. Lewis Obi, Mr. Lefferts Mabie, and Mr. Frank J. McKeown, Jr., Yale University Art Gallery, New Haven, Connecticut. Illustrated on page 32. Copyright © 2010 Bowdoin College Table of Contents FOREWORD AND ACKNOWLEDGMENTS Kevin Salatino LEARNING TO PAINT: 10 AMERICAN ARTISTS AND EUROPEAN ART 1876-1893 Linda J. -
Modern Marionettes: the Triadic Ballet and Utopian Androgyny
Modern Marionettes: The Triadic Ballet and Utopian Androgyny by Laura Arike ©2020 Laura Arike A thesis submitted in partial fulfillment of the requirements for the degree of Bachelor of Arts (History of Art and Design) School of Liberal Arts and Sciences Pratt Institute May 2020 Table of Contents List of Illustrations………………………………………….……………………...……………..ii Introduction……………………………………………..………………………………………....1 Chapter 1 History of the Androgyne in Germany…………………………................................................………..……...……………......3 Chapter 2 ‘New Woman’ and ‘New Man’ in Weimar Germany…………………………..……...………….………..……...…………..………..……....9 Chapter 3 Metaphysical Theatre: Oskar Schlemmer’s Utopian Typology…………………………..……...………….………..……...…………..………..…….15 Conclusion………………………………………………………………...………..………...… 22 Illustrations…………………...………………………………………...…………..………...….24 Bibliography………………………………………………………………………….……...…..33 i List of Illustrations Figure 1. Oskar Schlemmer, Composition on Pink Ground (2nd Version), 1930, 51 1/8x38 in., University of California, San Diego. Figure 2. Oskar Schlemmer, Figural Plan K 1 (Figurenplan K 1) , 1921, 16 3/8 x 8 1/4 in., Dallas Museum of Art. Figure 3. Oskar Schlemmer, Triadic Ballet/Set Design , 1922, University of California, San Diego. Figure 4. Otto Dix, Portrait of the Journalist Sylvia von Harden , 1926, oil on wood, 4′0″ x 2′ 11″, Musée National d'Art Moderne, Centre Georges Pompidou, Paris. Figure 5. Anton Raderscjeidt, Young Man with Yellow Gloves , 1921, oil on wood, 10.6 x 7.3 in., private collection. Figure 6. Oskar Schlemmer, drawing from “Man and Art Figure,” 1921, The Theatre of the Bauhaus . Figure 7. Oskar Schlemmer, drawing from “Man and Art Figure,” 1921, The Theatre of the Bauhaus . Figure 8. Oskar Schlemmer, drawing from “Man and Art Figure,” 1921, The Theatre of the Bauhaus . Figure 9. Oskar Schlemmer, drawing from “Man and Art Figure,” 1921, The Theatre of the Bauhaus . -
The Blue Rider
THE BLUE RIDER 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 1 222.04.132.04.13 111:091:09 2 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 2 222.04.132.04.13 111:091:09 HELMUT FRIEDEL ANNEGRET HOBERG THE BLUE RIDER IN THE LENBACHHAUS, MUNICH PRESTEL Munich London New York 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 3 222.04.132.04.13 111:091:09 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 4 222.04.132.04.13 111:091:09 CONTENTS Preface 7 Helmut Friedel 10 How the Blue Rider Came to the Lenbachhaus Annegret Hoberg 21 The Blue Rider – History and Ideas Plates 75 with commentaries by Annegret Hoberg WASSILY KANDINSKY (1–39) 76 FRANZ MARC (40 – 58) 156 GABRIELE MÜNTER (59–74) 196 AUGUST MACKE (75 – 88) 230 ROBERT DELAUNAY (89 – 90) 260 HEINRICH CAMPENDONK (91–92) 266 ALEXEI JAWLENSKY (93 –106) 272 MARIANNE VON WEREFKIN (107–109) 302 ALBERT BLOCH (110) 310 VLADIMIR BURLIUK (111) 314 ADRIAAN KORTEWEG (112 –113) 318 ALFRED KUBIN (114 –118) 324 PAUL KLEE (119 –132) 336 Bibliography 368 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 5 222.04.132.04.13 111:091:09 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 6 222.04.132.04.13 111:091:09 PREFACE 7 The Blue Rider (Der Blaue Reiter), the artists’ group formed by such important fi gures as Wassily Kandinsky, Franz Marc, Gabriele Münter, August Macke, Alexei Jawlensky, and Paul Klee, had a momentous and far-reaching impact on the art of the twentieth century not only in the art city Munich, but internationally as well. Their very particular kind of intensely colorful, expressive paint- ing, using a dense formal idiom that was moving toward abstraction, was based on a unique spiritual approach that opened up completely new possibilities for expression, ranging in style from a height- ened realism to abstraction. -
13771873 Lprob.Pdf
4527_BlauerReiter_180211_ENG_rl.indd I 06.07.11 09:16 INVITATION It is often difÞ cult for art-lovers seeking an introduction to a subject to Þ nd the right approach amid the bewildering array of literature available. Read on; you’ll not be bored! The aim of this book is to provide an entertaining but well-found- ed introduction to the world of the artists’ group the Blue Rider, which ß ourished in German in the early years of the twentieth century. The Þ rst seven chapters lead readers through the exciting period from 1908 until the First World War and let them witness the birth of the group. The views of the artists are described as well as their often complicated personal relationships with each other. The most important works are introduced and their signiÞ cance examined. In the last chapter there is, literally, much to discover, including the places in Bavaria where the members of the Blue Rider left their traces. The museums where you can admire the works of Kandinsky & Co. will be described, as will, as far as is possible today, the locations where it all happened. Where did the artists live; where were their studios; and where was the famous salon of Marianne von Werefkin, in which the artists drank, smoked and spent long nights in animated discussion? My sincere thanks go to the great authority on the Blue Rider, Dr. Annegret Hoberg of the Lenbachhaus in Munich, who encour- aged me to embark on this project and to whom I am grateful for important advice.