DOCSLIB.ORG

Helena Rubinstein's Beauty Salons, Fashion, and Modernist Display Author(S): Marie J

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Helena Rubinstein's Beauty Salons, Fashion, and Modernist Display Author(S): Marie J Henry Francis du Pont Winterthur Museum, Inc. Helena Rubinstein's Beauty Salons, Fashion, and Modernist Display Author(s): Marie J. Clifford Source: Winterthur Portfolio, Vol. 38, No. 2/3 (Summer - Autumn, 2003), pp. 83-108 Published by: The University of Chicago Press on behalf of the Henry Francis du Pont Winterthur Museum, Inc. Stable URL: http://www.jstor.org/stable/3655133 Accessed: 27/03/2010 18:31 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=ucpress. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press and Henry Francis du Pont Winterthur Museum, Inc. are collaborating with JSTOR to digitize, preserve and extend access to Winterthur Portfolio. http://www.jstor.org Helena Rubinstein's Beauty Salons, Fashion, and Modernist Display MarieJ. Clifford Helena Rubinstein's exclusive beauty salons blurred the conceptual boundaries among fashion, art galleries, and the domestic interior. This study examines the decor and art displays in Rubinstein's American salons from -915 to I937, with a particular focus on her New York establishment. Rather than dismiss these sites as superficial venues devoted to 'narcissistic "female adornment, this study argues that precisely because the salons catered to women, they lend insight into varying notions about modern \feminine" space and its audiences. Rubinstein's businesses deliberately strove to redefine standards of taste and fashionable femininity by using selected examples of modernism, in terms of interior decoration and art. The salons endorsed versions of modernism associated with the realm offashion, and they actively helped cultivate a female public for certain types of new styles. A T FIRST GLANCE, there is nothing chairs painted in the same shades. Another especially unusual about two fashion model is situated in a space given over to tufted photographs published in the October pink and blue satin (fig. 2). A robin's-egg-blue 1941 issue of Vogue. The images feature models chandelier hangs from the ceiling, matching posed for the camera in sumptuous evening exactly the color of the vitrines displayed before gowns, complete with requisite satin gloves, a central mirror. The wall resembles a display elegant jewels, and affected expressions of ennui. case and includes an ornate decorative relief of But the setting for this fashion shoot is peculiar. stylized floral patterns, bows, and ribbons. The An exaggerated, almost hyperbolic, emphasis on presence of fashion models in the photographs decorative vocabularies coded as "feminine" enlists us to read these pastel environments as creates a scene that hovers between lush fairyland not only modish backdrops but also complemen- and TechnicolorT movie set. One model occu- tary accoutrements to the models' attire and pies a room awash in shades of mauve and yellow, accessories. In other words, the space actively a pattern that extends to the walls, carpet, and participates in the construction of fashionable sculpted cherub (fig. i). Bright pink curtains are femininity. reflected in strategically placed mirrors, and rows The setting for the fashion spread was of yellow and white opaline glass complement the Gourielli's, an apothecary salon newly opened Helena Rubinstein. The elaborate Herb Room Marie Clifford is assistant in the of by J. professor Department and Gift Room were two Art History at Whitman College. only eye-popping Initial research for this article was supported by an ACLS/ features of what Vogue deemed a "fabulous new Luce Dissertation in American Art. The author Henry Fellowship shop."' Other themed rooms included paintings is grateful to Diane Moss, who granted access to the archives at the Helena Rubinstein Foundation, and to Elizabeth Waterman from Rubinstein's personal collection as well as for her generous and thoughtful assistance during visits to examples of colonial American glass and furni- the foundation. Roz Hammers and Wherland Ruty provided ture. Inviting Vogue into the premises was clearly invaluable help in myriad ways. For their excellent insights and comments on earlier versions of this article, the author thanks a shrewd publicity stunt, allowing for an adver- Albert Boime, Joan Clifford, Dennis Crockett, Melissa Dabakis, Meredith Goldsmith, Eric Segal, and especially Cecile Whiting. 1 c 2003 by The Henry Francis du Pont Winterthur Museum, "Scene at Gourielli's" and "Gourielli's New Shop," Vogue98 Inc. All rights reserved. 0084-0416/03/3823-0001 $3.00 (October i, 1941): 64-65, 118-19. 84 WinterthurPortfolio 38:2/3 Fig. 1. Herb Room in Gourielli's Apothecary Shop. Fig. 2. Gift Room in Gourielli's Apothecary Shop. From From "Scene at Gourielli's," Vogue 98 (October i, "Scene at Gourielli's," Vogue98 (October 1, 1941): 64. 1941): 64. (Photo ? Cond6 Nast Archive/CORBIS.) (Photo ? Cond6 Nast Archive/CORBIS.) tisement of the space in the guise of a fashion introduced a line of "cubist" lipstick.2) Although shoot. Yet the lavish setting, the unusual color she owned an eclectic range of paintings, sculp- schemes, and the show of Rubinstein's own ture, and furnishings, it was her modern art that artwork also serve to package this shop, or salon, she reserved for exclusive display in her commer- as a kind of art display, with the art acquisitions cial venues. symbolizing Rubinstein's entrepreneurial success Born Chaja Rubinstein in 1871, the future and the beauty services and goods for sale being cosmetics tycoon spent the first part of her life endowed with the status of art. Gourielli's was among Krakow's Jewish bourgeoisie. In 1894 she only the most recent of Rubinstein outlets to emigrated to Australia to live with relatives. The "sell" spectacular displays alongside beauty reason for such a drastic change remains obscure, products and services. From 1915, when she first although it is possible the move was an attempt to set up shop in New York on East Forty-ninth Street, to 1937, when she premiered a palatial 2 information is drawn from Helena Fifth Avenue salon chock full of artwork, Biographical Rubinstein, My Lifefor Beauty (New York: Simon and Schuster, 1965); Patrick Rubinstein's exclusive salons blurred the con- O'Higgins, Madame: An Intimate Biography of Helena Rubinstein ceptual boundaries among fashion, art galleries, (New York: Viking, 1971); Maxine Fabe, Beauty Millionaire: The and the domestic interior. Life of Helena Rubinstein(New York: Crowell, 1972); Elaine Brown Keifer, "Madame Rubinstein: The Little Lady from Kracow Has Throughout her sixty-year reign as "Madame," Made a Fabulous Success of Selling Beauty," Life 11, no. 3 (July the "Queen of Beauty," Rubinstein's fame as the 21, 1941): 45; T. F. James, "Princess of the Beauty Business," world's most successful businesswoman Cosmopolitan146 (June 1959): 38;Jo Swerling, "BeautyinJars and only Vials," New Yorker24,no. 22 (June 30, 1928): 20-23; Kathy Peiss, slightly surpassed her reputation as a voracious Hope in a Jar: The Making of America'sBeauty Culture (New York: collector. Her identity as an entrepreneur was Henry Holt, 1998); Lindy Woodhead, WarPaint: Helena Rubinstein intertwined with her investments in and ElizabethArden: Their Lives, TheirTimes, TheirRivalry (London: intricately Virago, 2003). The lipstick was advertised in Vanity Fair 31 artwork, especially modern art. (In 1929 she even (February 1929): 8. Rubinstein's Salons 85 increase her marriage prospects. After working a culture' to a remarkable extent.... Handicapped series of odd jobs, Rubinstein tried her hand at in pursuing standard business practices, they selling cosmetics. She invented a cr6me called resourcefully founded salons, beauty schools, Valaze that was so successful Rubinstein became correspondence courses, and mail-order compa- one of the continent's most famous business- nies; they pioneered the development of modern women by 1905. With the fortune and reputation franchising and direct-sales marketing strategies." she acquired in Melbourne, Rubinstein opened Similarly, in the 191os, women such as Elsie de establishments in Paris and London. While living Wolfe and Ruby Ross Wood parlayed women's in London in 1908, she married an American, amateur decorating work into a profession, Edward Titus, who in the 1920S would publish designing interiors but also marketing their This Quarter,a small literary magazine with ties to services as consultants with specialized skills.4 I the expatriate Americans and other artists who approach Rubinstein's enterprise in this vein. inhabited the Left Bank in Paris. As Rubinstein Rubinstein's salons constituted sites that symboli- acquired fame and success in the pre-World War I cally allowed her to articulate her business savvy in era, she began to collect art and to make the gendered ways, departing from reigning mascu- acquaintance of a number of artists. In 1908 she line models of executive authority. established her first Paris shop, inhabited Misia In this article, I examine the decor and art Sert's renowned artistic salon, and increasingly displays in Rubinstein's American beauty salons. centered her collecting activities on modern art.
Load more

Recommended publications
  • Beauty As a Transcendental in the Thought of Joseph Ratzinger
    The University of Notre Dame Australia ResearchOnline@ND Theses 2015 Beauty as a transcendental in the thought of Joseph Ratzinger John Jang University of Notre Dame Australia Follow this and additional works at: https://researchonline.nd.edu.au/theses Part of the Philosophy Commons COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 WARNING The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice. Publication Details Jang, J. (2015). Beauty as a transcendental in the thought of Joseph Ratzinger (Master of Philosophy (School of Philosophy and Theology)). University of Notre Dame Australia. https://researchonline.nd.edu.au/theses/112 This dissertation/thesis is brought to you by ResearchOnline@ND. It has been accepted for inclusion in Theses by an authorized administrator of ResearchOnline@ND. For more information, please contact [email protected]. School of Philosophy and Theology Sydney Beauty as a Transcendental in the Thought of Joseph Ratzinger Submitted by John Jang A thesis in partial fulfilment of the requirements of the degree of Master of Philosophy Supervised by Dr. Renée Köhler-Ryan July 2015 © John Jang 2015 Table of Contents Abstract v Declaration of Authorship vi Acknowledgements vii Introduction 1 Structure 3 Method 5 PART I - Metaphysical Beauty 7 1.1.1 The Integration of Philosophy and Theology 8 1.1.2 Ratzinger’s Response 11 1.2.1 Transcendental Participation 14 1.2.2 Transcendental Convertibility 18 1.2.3 Analogy of Being 25 PART II - Reason and Experience 28 2.
    [Show full text]
  • Opening a Salon Checklist
    OPENING FROM A SALON CHECKLIST STEP 1: PLAN & ESTABLISH BUSINESS Select a name & business legal structure Develop your business plan, financial projections & budget Develop business branding, logo & identity Obtain your cosmetology license (if applicable) Obtain a federal employer ID number Obtain a state tax ID Open a company bank account Choose a website domain name & register it Research local zoning to locate areas with proper zoning for salons Choose a location for your salon & sign a lease/purchase space STEP 2a: OPERATIONAL SETUP Research inspection requirements, local codes & regulations for your area Research, interview & hire plumbers, electricians & handymen Create salon layout & design plan Map out electrical & plumbing Apply for business licenses & building permits STEP 2b: OPERATIONAL SETUP Arrange any needed financing Obtain business insurance coverage Contact utility providers (power, security, water, waste, etc.) Choose a phone & internet provider Choose suppliers for wet goods & consumables Choose a credit card processing company Purchase point of sale equipment Purchase computers & appointment-booking software Purchase & set up accounting & record-keeping software Purchase business cards Purchase outdoor & indoor signage STEP 3: PURCHASING YOUR EQUIPMENT Note: Start purchasing these items 8 - 12 weeks before your grand opening day. You'll want to give yourself plenty of time to get shampoo bowls plumbed in, electrical finalized, etc. STYLING CHAIRS DRYERS/STEAMERS/HAIR PROCESSORS Salon Styling Chair Dryer Unit: Hooded
    [Show full text]
  • Liberalizing Art. Evidence on the Impressionists at the End of the Paris Salon
    European Journal of Political Economy 62 (2020) 101857 Contents lists available at ScienceDirect European Journal of Political Economy journal homepage: www.elsevier.com/locate/ejpe Liberalizing art. Evidence on the Impressionists at the end of the Paris Salon Federico Etro *, Silvia Marchesi, Elena Stepanova University of Florence, University of Milan Bicocca and St. Anna School of Advanced Studies-Pisa, Italy ARTICLE INFO ABSTRACT JEL classification: We analyze the art market in Paris between the government-controlled Salon and the post-1880 C23 system, when the Republican government liberalized art exhibitions. The jury of the old Salon Z11 decided on submissions with a bias in favor of conservative art of the academic insiders, erecting Keywords: entry barriers against outsiders as the Impressionists. With a difference-in difference estimation, Art market we provide evidence that the end of the government-controlled Salon contributed to start the price Liberalization increase of the Impressionists relative to the insiders. Market structure Insider-outsider Hedonic regressions Impressionism 1. Introduction For more than two centuries the Paris Salon organized the art exhibition where French artists selected by an official jury could display their works. Such a system controlled by the on-going regime ended with the liberalization of 1880, which started the creation of a variety of privately organized salons. The artistic innovations of Impressionist painters, such as Claude Monet, Pierre Auguste Renoir, Camille Pissarro, Alfred Sisley, Edgar Degas, Paul Cezanne as well as Edouard Manet, had been marginalized in the government- controlled Salon and in the Paris art market, which were dominated by more traditional Academic artists.
    [Show full text]
  • Herman Bavinck's Theological Aesthetics: a Synchronic And
    TBR 2 (2011): 43–58 Herman Bavinck’s Theological Aesthetics: A Synchronic and Diachronic Analysis Robert S. Covolo PhD candidate, Fuller Theological Seminary In 1914 Herman Bavinck wrote an article for the Almanak of the Vrije Universiteit entitled, “Of Beauty and Aesthetics,” which has recently been translated and republished for the English-speaking world in Essays on Religion, Science, and Society.1 While this is not the only place where Bavinck treats the subject of beauty, this article stands out as a unique, extended glimpse into Bavinck’s theological aesthetics.2 In it we see that Bavinck was conversant with philosophical aesthetics and aware of the tensions of doing theological aesthetics from both a small “c” catholic and a distinctly Reformed perspective. There are many ways to assess Bavinck’s reflections on aesthetics. For example, one could look at the intimations in Bavinck’s works of the aesthetics formulations of later Dutch Reformed writers such as Rookmaker, Seerveld, or Wolterstorff.3 1. Herman Bavinck, “Of Beauty and Aesthetic” in Essays on Religion, Science and Society, ed. John Bolt, trans. Harry Boonstra and Gerrit Sheeres (Grand Rapids, MI: Eerdmans, 2008), 245–60. 2. See also Herman Bavinck, Reformed Dogmatics, vol. 2, God and Creation, ed. John Bolt, trans. John Vriend (Grand Rapids, MI: Baker, 2004), 252–55. 3. This in itself would prove to be a very interesting study. In one section of the essay Bavinck entertains an idea by a “Mister Berland” who maintains “the characterization of an anarchist situation in the arts.” See Bavinck, “Of Beauty and Aesthetics,” 252.
    [Show full text]
  • Kant's Aesthetic Judgment of Taste, Yogācāra, and Open
    THESIS BEAUTY AND OPENNESS: KANT’S AESTHETIC JUDGMENT OF TASTE, YOGĀCĀRA, AND OPEN PRESENCE MEDITATION Submitted by Kate Brelje Department of Philosophy In partial fulfillment of the requirements For the Degree of Master of Arts Colorado State University Fort Collins, Colorado Summer 2014 Master’s Committee: Advisor: Jane Kneller Co-Advisor: Matthew MacKenzie Kathleen Kiefer Copyright by Katherine Brelje 2014 All Rights Reserved ABSTRACT BEAUTY AND OPENNESS: KANT’S AESTHETIC JUDGMENT OF TASTE, YOGĀCĀRA, AND OPEN PRESENCE MEDITATION This paper provides a comparative analysis of Kant’s aesthetic judgment of taste and Open Presence meditation interpreted through a Yogācāra philosophical framework. I begin with an expository analysis of Kant’s cognitive and aesthetic judgments, highlighting the presence of attention, form of reflection, and structure of purposeless purposiveness in the judgment. Next, I address the Buddhist idealist Yogācāra philosophical tradition. Through this theoretical lens, I examine Open Presence meditation, with an emphasis on meditative non-dualism, attention, and meditative goals. In the final chapter, I tie together the groundwork laid in the first two chapters into a comparative analysis identifying points of compatibility and contention within the general areas of judgment, attention, purposeless purposiveness, and transformation. Finally, I suggest that, given the results of this analysis, Kant’s aesthetic judgment of taste might benefit from being construed as a type of meditation. ii ACKNOWLEDGEMENT I would like to thank my advisors, Dr. Jane Kneller and Dr. Matthew MacKenzie, for their support throughout the process of crafting this thesis. Their expertise, patience, and guidance were essential for bringing this project to fruition.
    [Show full text]
  • CUBISM and ABSTRACTION Background
    015_Cubism_Abstraction.doc READINGS: CUBISM AND ABSTRACTION Background: Apollinaire, On Painting Apollinaire, Various Poems Background: Magdalena Dabrowski, "Kandinsky: Compositions" Kandinsky, Concerning the Spiritual in Art Background: Serial Music Background: Eugen Weber, CUBISM, Movements, Currents, Trends, p. 254. As part of the great campaign to break through to reality and express essentials, Paul Cezanne had developed a technique of painting in almost geometrical terms and concluded that the painter "must see in nature the cylinder, the sphere, the cone:" At the same time, the influence of African sculpture on a group of young painters and poets living in Montmartre - Picasso, Braque, Max Jacob, Apollinaire, Derain, and Andre Salmon - suggested the possibilities of simplification or schematization as a means of pointing out essential features at the expense of insignificant ones. Both Cezanne and the Africans indicated the possibility of abstracting certain qualities of the subject, using lines and planes for the purpose of emphasis. But if a subject could be analyzed into a series of significant features, it became possible (and this was the great discovery of Cubist painters) to leave the laws of perspective behind and rearrange these features in order to gain a fuller, more thorough, view of the subject. The painter could view the subject from all sides and attempt to present its various aspects all at the same time, just as they existed-simultaneously. We have here an attempt to capture yet another aspect of reality by fusing time and space in their representation as they are fused in life, but since the medium is still flat the Cubists introduced what they called a new dimension-movement.
    [Show full text]
  • SALON DES REFUSÉS 2016 the Alternative Archibald and Wynne Prize Selection 16 July – 18 September
    SALON DES REFUSÉS 2016 The alternative Archibald and Wynne Prize Selection 16 July – 18 September The Salon des Refusés was initiated by the S.H. Ervin Gallery in 1992 in response to the large number of works entered into the Archibald Prize which were not selected for display in the official exhibition. The Archibald Prize is one of Australia’s most high profile and respected awards which attracts hundreds of entries each year and the S.H. Ervin Gallery’s ‘alternative’ selection has become a much anticipated feature of the Sydney art scene. Each year our panel is invited to go behind the scenes of the judging process for the annual Archibald Prize for portraiture and Wynne Prize for landscape painting and figure sculpture at the Art Gallery of New South Wales, to select an exhibition from the many hundreds of works entered in both prizes but not chosen for the official award exhibition. The criteria for works selected in the Salon are quality, diversity, humour and innovation. Our panel viewed 830 Archibald Prize and 710 Wynne Prize entries at the Art Gallery of New South Wales to select the 64 works for this alternative exhibition. The 2016 selection panel: Catherine Benz curator, Delmar Gallery Kon Gouriotis editor, Artist Profile & curator Jane Watters director, S.H. Ervin Gallery The Salon des Refusés exhibition at the S.H. Ervin Gallery has established an excellent reputation that rivals the selections of the ‘official’ exhibition with works selected for quality, diversity, humour and experimentation which examine contemporary art practices, different approaches to portraiture and responses to the landscape.
    [Show full text]
  • Beauty Salon and Barber Shop Product Claim Examples
    Beauty Salon and Barber Shop Product Claim Examples u General Liability u Property A patron at a nail salon was receiving a manicure. As she The nail salon’s pipe broke from the pedicure chair, causing stood up, she fainted from the fumes causing fractures to damage to the insured’s property. The cost to replace the her face. Medical costs were $150,000 after reconstructive damaged items was $5,000. facial surgery. A stylist did not unplug his hair dryer when he left the salon. A hair stylist was providing hair cutting services to her The dryer short-circuited and caused $20,000 in damages to customer. As it was very busy that day, the stylist was the salon. not able to sweep up the hair before accepting the next customer. The next customer slipped and broke his wrist when he tried to catch himself. Because he was a computer programmer, he was not able to perform his duties. Medical and lost wage costs totaled $50,000. u Professional Liability A patron came in to receive a pedicure. Unknown to the nail technician, the patron had a skin disease. The pedicure procedure aggravated the skin, which caused an infection resulting in $25,000 in medical costs for the patron. The hair stylist used her normal hair dying solution on a new customer. The customer had a severe allergic reaction to the chemicals and was hospitalized for two days. The medical and loss wage costs were $20,000. Policyholders have access to many services through our Business Resource Center that will assist in growing and protecting their business.
    [Show full text]
  • INSPIRATION DERIVATION &In the Work of ELIE NADELMAN
    Illus. 1. Elie Nadelman (1882-1946), Classical Figure, 1909-10. Marble, 345/8 x 13½ x 15 in. Hirshhorn Museum and Sculpture Garden. Gift of Joseph H. Hirshhorn, 1966. Photography by Lee Stalsworth. INSPIRATION DERIVATION &in the Work of ELIE NADELMAN 50 Nadelman’s work offers an ideal lens through which to explore the concepts of borrowed sources and artistic innovation By Thomas Colville his article is about discovering the unique voice in a work of art through T an examination of the transformative interplay between inspiration and derivation: sources borrowed and transformed by an artist. It assumes the basic knowledge of artistic traditions necessary to make qualitative judgements. The sculpture of Elie Nadelman is ideal for this discussion as his stylistic evolution was inspired by the language of clear, yet quite different artistic traditions. Given the multiplicity of directions in the art world today, formerly accepted art historical theories are no longer effective and a fresh approach to understanding works of art is needed. Placing Elie Nadelman’s work within the once popular “Grand Narrative” that traced the evolution of style from the Renaissance through Abstract Expressionism is no longer relevant (Danto, Arthur C. 1997. After the End of Art: Contemporary Art and the Pale of History. Princeton, Princeton University Press, p. xix). Current writings in social psychology investigating visual perception and aesthetic pleasure suggest a focus on how the human brain perceives works of art and derives pleasure from them (Bloom, Paul. 2010. How Pleasure Works: The New Science of Why We Like What We Like. New York, W.W.
    [Show full text]
  • NGA | 2017 Annual Report
    N A TIO NAL G ALL E R Y O F A R T 2017 ANNUAL REPORT ART & EDUCATION W. Russell G. Byers Jr. Board of Trustees COMMITTEE Buffy Cafritz (as of September 30, 2017) Frederick W. Beinecke Calvin Cafritz Chairman Leo A. Daly III Earl A. Powell III Louisa Duemling Mitchell P. Rales Aaron Fleischman Sharon P. Rockefeller Juliet C. Folger David M. Rubenstein Marina Kellen French Andrew M. Saul Whitney Ganz Sarah M. Gewirz FINANCE COMMITTEE Lenore Greenberg Mitchell P. Rales Rose Ellen Greene Chairman Andrew S. Gundlach Steven T. Mnuchin Secretary of the Treasury Jane M. Hamilton Richard C. Hedreen Frederick W. Beinecke Sharon P. Rockefeller Frederick W. Beinecke Sharon P. Rockefeller Helen Lee Henderson Chairman President David M. Rubenstein Kasper Andrew M. Saul Mark J. Kington Kyle J. Krause David W. Laughlin AUDIT COMMITTEE Reid V. MacDonald Andrew M. Saul Chairman Jacqueline B. Mars Frederick W. Beinecke Robert B. Menschel Mitchell P. Rales Constance J. Milstein Sharon P. Rockefeller John G. Pappajohn Sally Engelhard Pingree David M. Rubenstein Mitchell P. Rales David M. Rubenstein Tony Podesta William A. Prezant TRUSTEES EMERITI Diana C. Prince Julian Ganz, Jr. Robert M. Rosenthal Alexander M. Laughlin Hilary Geary Ross David O. Maxwell Roger W. Sant Victoria P. Sant B. Francis Saul II John Wilmerding Thomas A. Saunders III Fern M. Schad EXECUTIVE OFFICERS Leonard L. Silverstein Frederick W. Beinecke Albert H. Small President Andrew M. Saul John G. Roberts Jr. Michelle Smith Chief Justice of the Earl A. Powell III United States Director Benjamin F. Stapleton III Franklin Kelly Luther M.
    [Show full text]
  • Famous Paintings of Georgia O'keeffe
    Georgia O’Keeffe ArtStart – 5 Dr. Hyacinth Paul https://www.hyacinthpaulart.com/ The genius of Georgia O’Keeffe • Georgia O’Keefe was a visual artist and is recognized as a “Mother of American Modernism.” • Born November 15, 1887 in Sun Prairie, Wisconsin • Spent time in Wisconsin, Chicago, Virginia, New York, New Mexico • Died in Santa Fe, NM 6th Mar 1986, Age 98 Painting education • School of Art Institute of Chicago • Attended Arts Student’s league in NYC • William Merritt Chase, Kenyan Cox, Luis Mora were her mentors • Most famous for her flower paintings Famous paintings of Georgia O’Keeffe Jimson Weed (1936) Indianapolis Museum of Art, Indianapolis Famous paintings of Georgia O’Keeffe • Black Iris (1926) MET, NYC Famous paintings of Georgia O’Keeffe Oriental Poppies (1928) Weisman Art Museum, Minneapolis, Minnesota Famous paintings of Georgia O’Keeffe An Orchid (1941) Museum of Modern Art, NYC Famous paintings of Georgia O’Keeffe Sunflower from Maggie (1937) Museum of Fine Arts, Boston Famous paintings of Georgia O’Keeffe Jack in the Pulpit No. IV (1930) Alfred Stieglitz Collection Famous paintings of Georgia O’Keeffe My Shanty Lake George (1922) The Phillips Collection Famous paintings of Georgia O’Keeffe The Lawrence Tree (1929) Wadsworth Atheneum, Hartford, CT Famous paintings of Georgia O’Keeffe Blue (1916) Brooklyn Museum, NYC Famous paintings of Georgia O’Keeffe Sky above Clouds IV (1965) Art Institute of Chicago Building Famous paintings of Georgia O’Keeffe Black, White & Blue (1929) National Gallery of Art, DC Famous paintings
    [Show full text]
  • Miró's Prints
    JOAN MIRÓ MIRÓ'S PRINTS FORMIRO, PRINTMAKING WAS A TECHNIQUE, LIKE PAINTING OR SCULPTURE, RULED BY LAWS OF ITS OWN. FROMCHISEL TO DRY-POINT, FROM ETCHING TO AQUATINT, FROM SOFT VARNISH TO CARVING, THE ARTIST EXPERIMENTED EXHAUSTIVELY, INVENTING VARIATIONS AND TECHNIQUES WHICH HE OFTEN COMBINED, IN A PROCESS THAT WENT FROM THE FIG-URATIVE ART OF THE THIRTIES TO PURE ABSTRACTION. MARlA LLU~SABORRAS ART CRITIC print can have al1 the beauty much his own. It was like starting from combined, in a process that went from and dignity of a good painting," scratch and travelling a long road the figurative art of the thirties to pure wrote Joan Miró, and indeed, from engraving at the service of figur- abstraction; from the etching Dafnis i printmaking was an important aspect of ative art to that which explores the few Cloe (1933), with its painstaking tech- his art and made up a large part of his but sufficient formal resources, to cap- nique, to the resounding explosion of production, as a technique governed by ture the renovatory ideas of the art of this 1963, when he produced aquatints like laws of its own, just like painting and century. From chisel to dry-point, from Lluna i vent, Fons marí and L'ocell del sculpture. When he first took up print- etching to aquatint, from soft varnish to paradís, colour lithographs of great making, Miró was thirty-seven years old carving, the artist experimented exhaus- energy and power he called Dansa (bar- and had already made a name for him- tively, at the same time inventing varia- barous, nuptial fire-dancing), or else self as a painter with a language very tions and techniques which he often combinations of etching and aquatint in JOAN MIRÓ AUTORETRA T.
    [Show full text]