DOCSLIB.ORG

Momaexh 1122 Masterchecklist March 26-June I, 1976

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Momaexh 1122 Masterchecklist March 26-June I, 1976 ElCH. MoMAExh_1122_MasterChecklist March 26-June I, 1976 The Museum of Modern Art, New York The exhibition has been made.possible with the aid of generous grants fron1' SCM Corporation and the National Endowment for the Arts. , ; Checklist of the Exhibition A date is enclosed in parentheses when it does not appear on the 7C..l",Cf 15. Gomposition (I.:Aged'or). (1905). Oil, 681/2 x 741f2". The Museum work of art. Unless otherwise indicated, works are on canvas. of Modern Art, Ternan Dimensions are given in inches, height preceding width. 1,.tt5 16. Effects of Sunlight on the Water. 119051. Oil, 3J3/.1x 39112".Musee de I'Annonciade, Saine-Tropea "1' JD3 17. Fishermen at Collioure. (1905). Oil, 181/8 x 2H~".Perls Galleries, New York GEORGES BRAQUE 7b.l.)t 18. The Mountains, Gollioure. (1905). Oil, 3114 x 3914". Collection 1 7b.l23 1. Canal Saint-Martin, Paris. (19061· Oil, 20 x 24 /<1". Collection Mr. Mr. and Mrs. John Hay Whitney, New York and Mrs. Norbert Schimmel, New York 7".71, 19. Portmit oi Matisse. (1905). Oil, 18l1a x 133!4".The Trustees of The ~.tl 2. L'E.staque. 1906. Oil, 19114 x 230/8". Centre National d'Art er de Tate Gallery, London Culture Georges Po~pidou. Musk National d'Art Moderne, Paris ~.%20. The River Seine at Chatou. (1905). Oil, 273/.1 x 43lfa". Kimbell Art Museum, Fort Worth '76J0I3. The Great Trees, L'Estaque. (1906-07). Oil, 313/8 x 270/8". The Museum of Modern Art, New York. Promised Gift of Mr. and 21. Bacchic Dance. (l906}. Watercolor and pencil on paper, 19lJ2 MoMAExh_1122_MasterChecklist C.\.~ x Mrs. David Rockefeller 25 112". The Museum of 1Vkxlern Art, New York. Gift of Abby Aldrich Rockefeller 7 "'rJ 4. Still Liie with Pitchers. (1906-07; dated 1906 on verso). Oil, 20314 b ""1 x 25". Private' collection 7'-('3322. Cbaring Cross Bridge. London. (1906). Oil, 32 x 39112". Collection 373k75"5. Landscape at La Ciotat. (1907]. Oil, 28 x 23W'. The Museum of Mr. and Mrs. John Hay Whitney, New York Modern Art, New York. Purchase 7".~ 23. The Dance. (l906). Oil, 727/a x 821J.i". Private collection, Switzer- 71O.~1 6. Seated Nude, (1907). Oil, 241;8 x 20". Milwaukee Art Center Col- land lection. Gift of Harry Lynde Bradley, 1953 1b.1~24. Hyde Park (lS()6). Oil, 26 x 39". Collection Pierre Levy, France CHARLES CAMOIN 7b.~ 25. Landscape at L'Estaque. (1906). Oil, 32VIl x 40". Collection Mr. and Mrs. William S. Paley, New York ".117 7. Portrait of Marquet. (1904). Oil, 363/11 x 287/l:l". Centre National d'Art et de Culture Georges Pompidou. Musee National d'Art 16.'1'5 26. The Pool of London. (1906). Oil, 26 x 39". The Trustees of The Moderne, Paris. Gift of Mme Albert Marquet Tate Gallery, London 8. Mme Matisse Doing Needlework (J905). Oil, 255/8 x 3 17/8". Musee 16.lfIa 27. Regent Street. 1906. Oil, 26 x 39". Collection Mr. and Mrs. Jacques 7&.f?J7 d'Art Moderne, Strasbourg Gelman, Mexico City HENRI-EDMOND CROSS 7t.«n.. 28. Seine &rges. (1906). Oil, 3WH x 38112". Centre National d'Art et de Culture Georges Pompidou. Musee National d'Art Moderne. 9. Bather. 1906. Oil, 36 \4 x 287/8". Musee d'Art et d'Histotre. Geneva " s, Paris not IVI Ny e'l~. ANDRE DERAlN 7'J.5129. The Turning Road, l'Estaque. (1906). Oil, 51 x 76%". The Museum of Fine Arts, Houston. John A. and Audrey Jones Beck Collection """VI 10. Self-Portrait wifh Soft Hal. (1904). Oil, 14 x 10". Collection Mr. and Mrs. Nathan Smooke, Los Angeles 7O.n 30. Three Figures Seated on the Grass. (1906-Dn Oil, 147/8 x 2We". Musee d'Art Moderne de la Ville de Paris IL The Old Tree. (1904--05). Oil, 161,4 x 13". Centre National d'Art et de C~lture Georges Pompidou. Musee National d'Art Moderne, '7S"(('~ 31. Bathers. (1907). Oil, 51!4 x 757At. Private collection, Switzerland Paris 7,,-rn32. The Crouching lvtan. (l907). Stone, 13 x 1Pis". Museum des 2D. 12. Big Ben. (I905). Oil, 311/a x 33Va". Collection Pierre Levy, France jahrhunderts, Vienna 76.10Cf 13. Charing Gross Bridge. (905). Oil, 32J.h x 39lf;t. Private collec- tion, New York KEES VAN DONGEN 14. Collioure (The White Horse). (1905). Oil, 283/a x 35Va". Collec- 1".f1h 33. "Caoutchouc" at the Cirque Medrano. (1905). Oil, 25V2 x 2111.1". tion Pierre uvy, France Collection Evelyn Sharp ""','-2.34. The Dancer. (ca. 1905). Oil, SPA x 381/1". Private collection; Switzerland 7"~ 35. The Hussar (Liverpool Night House). (1906). Oil, 393/8 x 3J7Al". Private collection, Switzerland l~55'36. Modiesko, Soprano Singer, (l908). Oil, 39J/8 x 32", The Museum of Modem Art, New York. Gift of l\I1.r. and Mrs. Peter A. Rubel RAOULDUFY 7',13137. The Railway Wagon. (1905). Oil, 16 x 12314". Private collection, Great Britain 7SI~8. Fete nautioue. 1906. Oil, 233,/,1 x 283A". Galerie Beyeler, Basel 76.'''''39. Old Houses at Honfleur. (1906). Oil, 2.30/8 x 283/<1". Private collec- tion, Switzerland ""Jf5 40. Sainte-Adresse-The Jetty. (1906). Oil, 2SV2 x 31112". Collection MoMAExh_1122_MasterChecklist Mrs. Harry Lynde Bradley, Milwaukee Street Decked with Flags at Le Havre. 1906. Oil, 31;;.'8 x 25Ifz". Centre National d'Art et de' Culture Georges Pompidou. Musee National d'Art Modeme, Paris. Bequest of Mme Raoul Dufy, 1962 ~.5J 42. Sunshades (The Three Umbrellas). (1906). Oil, 23V2 x 29". Col- lection John A. and Audrey Jones Beck, Houston '6.C."'43. Ttouville. (1906). Oil, 21:Vg x 25:v.{'. Private collection, Switzer- land 7~,''''44. vestibule with Stoined-Ctass Window. (1906). Oil, 3Flt4 x 2SI//'. Perls Galleries, New York EMlLE·OTHON FRIESZ 76.'5"'45. Fauve Landscape with Trees. (1907). Oil, 123;-4 x 16". Private col- lection, Switzerland 76.fc&46. Landscape al 1.Ll Ciotat. jl907). Oil, 131,4 x 161/.1". Private collec- tion, Switzerland 76,7If 47. Lnndscapeat 1.Ll Crorcr. 1907.Oil, 24V2 x 303,4". Collection Pierre Levy, France 76~48. POrtrait of Fernand Pleuret. 1907. Oil, 283A x 235/8". Centre National d'Art et de Culture Georges Pornpidou. Musee National d'Art Moderne, Paris VlNCENT VAN GOGH Oil, 20 x 28". St. Louis Art Museum ALEXEYJAVVLENSKY "lIQ SO.Still Life with Round Table. (1910). Oil on composition board, 22 x 20". Pri va te collection, New York WASSILY KANDINSKY 66. Marquet (or Manguin) Painting a Nude (formerly attributed to 85. Brook with Aloes, Collioure. (1907). Oil, 287·s x 235s". Private "1,"~Matisse). (l904-{)5). Oil, 357;8 x 285/8". Centre National d'Art et ~.I'13 collection, U.S.A 51. White Sound. (1908). Oil on cardboard, 281/.1 x 28\/.1". Collection de Culture Georges Pompidou. Musee National d'Art Moderne, .,1".47 Mr. and Mrs. Ben [. Fortson, Fort V\brth 86. Le Luxe, I. /1907). Oil, 82V2 x 54v,t. Centre National d'Art et de Paris 7'.9b Culture Georges Pompidou. Musee d'Art Moderne, Paris 67. Bord de Mer. (1905). Oil on panel, 95;8 x 123,1.1".San Francisco ERNST-LUDWIG KIRCHNER 87. Reclining Nude, /. (1907). Bronze, 13112 x 19:Y.." The Museum of ".(17 Museum of Modern Art. Mildred B. Bliss Bequest 52. Friinzi with: Bow and Arrow (1909-11; dated 1907 on recto). Oil, 1lfS.S1 Modern Art, New York. Acquired through the Lillie P- Bliss 1ti.70 271/2 x 31W'. Private collection 68. Landscape at Ccllicure. (1905). Oil, ISV8 x 183'8". Collection Mrs. Bequest 1"-1S"Sertram Smith, New York 88. Girl with Green Eyes (1908). Oil, 26 x 20". San Francisco Mu- HENRI MANGUIN 1 69. Marine (In Moulade). (1905). Oil on panel, 93/a x 12 /.1". San 7'"Uq seum of Modern Art. Harriet Lane Levy Bequest '7b.l2b Francisco Museum of Modern Art. Mildred B. Bliss Bequest 53. Nude. (1905). Brush and ink on paper, lSVe x 11%".The Museum '3f,b.'I of Modern Art, New York. Gift of Mrs. Gertrud A. Mellon 70. The Open Window, CoI/ioure. (1905). Oil, 2H4 x 18Va".Collee- PIET MONDRIAN tion Mr. and Mrs. John Hay Whitney, New York 54. The Sleeping Girl. (1905). Oil, 12V<lx 16118",Collection Lucile 76,t~6 89. Church at Zoutelande. 1909-10. Oil, 351.. x 241::!". Collection 7'.7' Mangum. Paris 71. Portrait of Detain. 11905). Oil, 15VIl x Ill/a". The Trustees of The 7b.'f.tPhyllis Lambert, Montreal 7(;)."17 Tate Gallery, London 55. The Vale, Saint-Trcpez. (1905). Oil, 193A x 24W', Private collec- ",.eo tion, Paris MoMAExh_1122_MasterChecklist 72. Portrait of Mme Mntisse. (1905). Oil, 18V8x IS", Musee Matisse, CLAUDE MONET 1b.flj Nice 56. &thers. (1906). Pen, brush, and ink on paper, 12% x 17I/l1.".The 90. The Thames and Parliament, Effect of Sunlight. 1903. Oil, 32 x 51Sl6 Museum of Modern Art, New York. Gift of Mr. and Mrs. Eugene 73. View of Collioure at the Church. (1905). Oil, 13Vs x 16Vs". The ~. 36 \/,1". The Brooklyn Museum. Bequest of Mrs. Grace Underwood Victor Thaw El- Museum of Modern Art, New York. Extended Loan and Promised Barton 7'd%D Gift from Kate Steichen in Memory of Edward Steichen 57. The Cork Caks. (1906). Oil, 15 x 18". Collection Andre Mart inais, 31f5}e"~~"""e O1;l,I"",-uy,o)oa,~.,. ''lI'l1''I\e 11.. 7f:>~78Paris 74. VVoman before the Window. (1905]. Oil, 12Vz x I Pd'. Private . MAX PECHSTEIN al't\oct .....
Load more

Recommended publications
  • Teachers' Resource
    TEACHERS’ RESOURCE BECOMING PICASSO: PARIS 1901 CONTENTS 1: INTRODUCTION TO THE EXHIBITION 2: ‘I WAS A PAINTER AND I BECAME PICASSO’ 3:THE ARTIST AS OUTSIDER: THE HARLEQUIN IN PICASSO’S EARLY WORK 4: PAINTING LIFE AND DEATH: PICASSO’S SECULAR ALTARPIECE 5: THE SECRET LIFE OF A PAINTING 6: PAINTING THE FIGURE: A CONTEMPORARY PRACTICE PERSPECTIVE 7: PICASSO’S BELLE ÉPOQUE: A SUBVERSIVE APPROACH TO STYLE AND SUBJECT 8: GLOSSARY 9: TEACHING RESOURCE CD TEACHERS’ RESOURCE BECOMING PICASSO: PARIS 1901 Compiled and produced by Sarah Green Design by Joff Whitten SUGGESTED CURRICULUM LINKS FOR EACH ESSAY ARE MARKED IN ORANGE TERMS REFERRED TO IN THE GLOSSARY ARE MARKED IN PURPLE To book a visit to the gallery or to discuss any of the education projects at The Courtauld Gallery please contact: e: [email protected] t: 0207 848 1058 Cover image: Pablo Picasso Child with a Dove, 1901 Oil on canvas 73 x 54 cm Private collection © Succession Picasso/DACS, London 2013 This page: Pablo Picasso Dwarf-Dancer, 1901 Oil on board 105 x 60 cm Museu Picasso, Barcelona (gasull Fotografia) © Succession Picasso/DACS, London 2013 WELCOME The Courtauld is a vibrant international centre for the study of the history of art and conservation and is also home to one of the finest small art museums in the world. The Public Programmes department runs an exceptional programme of activities suitable for young people, school teachers and members of the public, whatever their age or background. We offer resources which contribute to the understanding, knowledge and enjoyment of art history based upon the world-renowned art collection and the expertise of our students and scholars.
    [Show full text]
  • LA FASCINANTE HISTOIRE DU CIRQUE L’Histoire Des Cirques
    LA FASCINANTE HISTOIRE DU CIRQUE L’histoire des cirques Réalisée à partir des collections du Docteur Alain Frère Vice-président du Conseil général CATALOGUE DE L’EXPOSITION ITINÉRANTE ARCHIVES DÉPARTEMENTALES Conseil général des Alpes-Maritimes Édition 2000 LES ORIGINES DU CIRQUE Depuis l'Antiquité on connaissait des spectacles d'exaltation de la force et de l'adresse. L'Egypte nous a légué des représentations de jongleurs, d'équilibristes et d'acrobates à cheval. A Rome, le cirque était un édifice avec une longue piste ovale plus propice aux courses de chars qu'à la voltige. Le plus ancien, le Circus Maximus, mesurait 670 mètres de long. En Chine, les exercices acrobatiques constituent une tradition vieille de 2 000 ans. L'Europe médiévale ne reprit pas cette tradition si l'on excepte le cas très particulier des arènes tauromachiques en Espagne. Par contre, les jeux d'adresse, très prisés, étaient pratiqués dans les foires par des troupes ambulantes. Ces gens du voyage, les banquistes, étaient acrobates, jongleurs, parfois dresseurs d'animaux, funambules. Au XVIIIe siècle, leurs compagnies se multiplièrent. Cette époque fut également marquée par un engouement pour les exercices et courses hippiques. 1 Le cirque antique : gravure représentant le cirque Maximus à Rome par Johannes Orlandi, 1602 2 L’acrobatie chez les Egyptiens 3 Il ballo dell'orso. Gravure représentant un montreur d'ours et de chiens, 1815 4 Gravure représentant des exercices d'équilibristes, XVIIIe siècle 5 Imagerie flamande représentant des exercices équestres, XIXe siècle 6 Danseurs de corde. Image d'Epinal, XIXe siècle 7 La danse des chiens.
    [Show full text]
  • Exhibition of the Mrs. L.L. Coburn Collection : Modern Paintings
    EXHIBITION OF THE MRS. L. L. COBURN COLLECTION MODERN PAINTINGS & WATER COLORS AUSPICES OF THE ANTIQUARIAN SOC IETY OF THE ART INSTITUTE OF CHICAGO APRIL 6, 1932 TO OCTOBER 9, 1932 THE MRS. 1. 1. COBURN COLLECfION FOR a number of years those who know pictures have heard of the enviable collection of modern masters which Mrs. 1. 1. Coburn has been forming in Chicago. More than once in a New York gallery the salesman has pointed out some particularly important work by uzanne or Degas and remarked, "Mrs. Coburn has just bought that," and occasionally a fin e van Gogh or a Manct has fou nd its way into an exhibition labeled, "Lent from the Coburn Collection," Scholars, museum di rectors, and critics, who have seen the paintings in her apartment at the Blackstone Hotel, have invariably come awav praising the hi.':h quality of the collection and the collector's taste and acumen. Of late. indeed, the Coburn Collection has gained con­ siderable fame abroad; I can still remember with what eagerness a Hungarian Baron. himself one of the world's important picture buyers, asked if he miRht be permitted to see the Coburn R enoi r .~ . many of which he had known in European collections. All such visitors have been welcomed by Mrs. Coburn in a remarkably gener­ ous spirit; loving her pictures. she has been happy to share them with others, and it is this same generosity which now prompts their public exhibition under the auspices of the Antiquarian Society. The public, coming upon the loan of a collection, does not realize some of the trepidations which beset the mind of a collector, before be can bring himself to exhibit his treasures.
    [Show full text]
  • The Evelyn Sharp Collection
    The Evelyn Sharp Collection Digitized by the Internet Archive in 2012 with funding from Metropolitan New York Library Council - METRO http://archive.org/details/evelynsOOsolo The Evelyn Sharp Collection THE SOLOMON R. GUGGENHEIM MUSEUM, NEW YORK The Solomon R. Guggenheim Foundation president Peter O. Lawson-Johnston trustees H. H. Arnason, The Right Honorable Earl Castle Stewart, Joseph W. Dormer, John Hilson, Eugene W. Leake, Frank R. Milliken, A. Chauncey Newlin, Mrs. Henry Obre, Albert E. Thiele, Michael F. Wettach The Solomon R. Guggenheim Museum director Thomas M. Messer STAFF Henry Berg, Deputy Director Susan Halper, Executive Assistant; Vanessa Jalet, Secretary to the Director Louise Averill Svendsen, Curator; Diane Waldman, Curator of Exhibitions; Margit Rowell, Curator of Special Exhibitions; Angelica Zander Rudenstine, Research Curator; Linda Konheim, Curatorial Administrator; Linda Shearer, Assistant Curator; Carol Fuerstein, Editor; Mary Joan Hall, Librarian; Ward Jackson, Archivist; Susan Ferleger, Philip Verre, Clair Zamoiski, Curatorial Assistants; Susan Hirschfeld, Editorial Assistant Mimi Poser, Public Affairs Officer; Miriam Emden, Membership Department Head Jane E. Heffner, Development Officer; Carolyn Porcelli, Development Associate Agnes R. Connolly, Auditor; Philip Almeida, Restaurant Manager; Elizabeth McKirdie, Business Assistant; Charles Hovland, Sales Supervisor; Darrie Hammer, Katherine W. Briggs, Information David Roger Anthony, Technical Officer; Orrin H. Riley, Conservator; Lucy Belloli, Associate Conservator; Dana L. Cranmer, Technical Manager; Elizabeth M. Funghini, Cherie A. Summers, Associate Registrars; Jack Coyle, Registrars' Assistant; Saul Fuerstein, Preparator; Scott A. Wixon, Operations Coordinator; David Mortensen, Carpenter; Robert E. Mates, Photogapher; Mary Donlon, Associate Photographer; Lola T. Fiur, Photography Coordinator David A. Sutter, Building Superintendent; Guy Fletcher, Jr., Assistant Building Superin- tendent; Charles F.
    [Show full text]
  • Picasso the Early Years 1892–1906 N Ational Gallery of Art Was H I N G to N March 30 –July 27, 1997
    Picasso The Early Years 1892–1906 n ational gallery of art was h i n g to n March 30 –July 27, 1997 Bell Atlantic is proud to sponsor this great exhibition Pablo Picasso’s impact on the history of mo d e r n art has been profound. His early development was complex and innova- tive, constituting a subject of surprising depth. This exhibition is the first com- pr ehensive survey of Picasso’s art before cubism, from the academic and rea l i s t work of his youth to his emergence as a brilliant stylist in late 1906. Early Youth Pablo Ruiz Picasso was born on October 25, 1881, in the Spanish coastal town of Málaga, where his father, José Ruiz Blasco, was an art instructor at a provincial school. Picasso began to draw under his father’s tutelage and studied in various art schools between 1892 and 1897, including academies in Barcelona and Madrid. Working from live models as well as plaster casts of Greek and Roman sculpture (no. 2), the young artist displayed a precocious com- mand of academic draftsmanship that would be evi- dent throughout his career, later serving as the ve- hicle for some of his most original work. In addition to academic classicism, Picasso’s stu- dent work manifested a less idealized manner of representation in genre subjects and portraiture. The artist executed many family portraits at this time and depictions of local figures such as an old sailor named Salmerón (no. 7), who was hired as a model by Picasso’s wealthy uncle in Málaga.
    [Show full text]
  • The Influence of Parisian Popular Entertainment on the Piano Works of Erik Satie and Francis Poulenc
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely, event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are availabie for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. lJ·M·I University Microfilms InternatiOnal A Bell & Howelllnformat1on Company 300 North Zeeb Road. Ann Arbor. M148106-1346 USA 3131761-4700 800:521-0600 Order Number 9502'109 The influence of Parisian popular entertainment on the piano works of Erik Satie and Francis Poulenc McKinney, David Conley, D.M.A.
    [Show full text]
  • Article Images De Cirque Entre
    Images de cirque, entre classicisme et avant-garde Léa de Truchis de Varennes « Messieurs les acrobates du cirque Medrano […] semblent les seuls spectacles qui vaillent la peine d’être regardés et écoutés » Guillaume Apollinaire, « Décadence ou renaissance du cirque ? », Gil Blas, 11/07/1911. Le cirque du début du XXe siècle Le cirque, en tant qu’art du spectacle, né en 1768 en Angleterre. Sa popularité et ses formes se sont enrichies tout au long du 19ème siècle. Le tournant du 20ème siècle marque autant son apogée comme divertissement de masse que son déclin dû à la concurrence du cinéma dans l’industrie des loisirs. Dans les années 1910, Paris est la capitale mondiale des arts, et notamment du cirque avec cinq établissements permanents. Rappelons que le cirque en Europe s’est surtout développé dans des cirques en dur (en pierre ou en bois), à l’image des théâtres ; contrairement au cirque aux Etats- Unis qui s’est épanoui sous la toile du chapiteau. Cependant, ce modèle du chapiteau séduit le public européen lorsque Phineas Barnum vient faire sa tournée du Greatest Show On Earth en 1902 sur le vieux continent. L’idée de l’itinérance est adoptée, et le cirque sort de ses établissements en dur, poussé par la concurrence du cinéma puis par la Première Guerre Mondiale. Aussi, même si le cirque reste un spectacle très populaire chez toutes les couches de la population, il n’en reste pas moins que dès les années 1910, il perd de son éclat et son statut hégémonique en termes de divertissement.
    [Show full text]
  • Expressart Us!
    Generació Plurilingüe (GEP) – 2018-2021 ExpressART us! Sant Julià School Iñaki Ibargoyen Vergara Generació Plurilingüe (GEP) Year 2 2018-2019 Adapted from CLIL-SI 2015. More information at: http://grupsderecerca.uab.cat/clilsi/ Generació Plurilingüe (GEP) – 2018-2021 Index Identification of the GEP project: 3 1. OUR PROJECT 4 3. CURRICULUM CONNECTIONS 6 4. 21st CENTURY COMPETENCES 10 5. KEY COMPETENCES 11 6. CONTENT (Knowledge and Skills) 12 7. REFERENCES 13 8. COMMENTS 14 9. ACKNOWLEDGEMENTS 14 10. UNIT OVERVIEW 15 11. SESSION PLANNING 18 SESSION 1: First contact (After working on Picasso’s life for 2 sessions in cat) 18 SESSION 2: Learn, play, rotate! 24 SESSION 3: Now you tell me 28 SESSION 4: Tell me what you feel 30 EXTRA SESSION: The big opening 33 SELF-ASSESSMENT CHECKLIST 34 Teaching Materials 36 Adapted from CLIL-SI 2015. More information at: http://grupsderecerca.uab.cat/clilsi/ Generació Plurilingüe (GEP) – 2018-2021 PROJECT PLANNING TEMPLATE for CLIL and Content-Rich Environments Identification of the GEP project: Title L​et’s find ways to express ourselves!/ ExpressART us! Authorship Iñaki Ibargoyen Vergara School Escola Sant Julià Students’ CEFR Level Beginners (A1, A2...) Grade 6th Content area(s) English, arts and crafts, social values. Number of sessions 4 Teacher(s) involved Iñaki Ibargoyen Vergara Keywords Picasso, feelings, art, expression, periods, history Adapted from CLIL-SI 2015. More information at: http://grupsderecerca.uab.cat/clilsi/ Generació Plurilingüe (GEP) – 2018-2021 1. OUR PROJECT Introduction:​ Kids at this age, like many adults, are not good handling their emotions. This happens in many cases because they are not able to understand them.
    [Show full text]
  • Download Lot Listing
    IMPRESSIONIST & MODERN ART POST-WAR & CONTEMPORARY ART Wednesday, November 15, 2017 NEW YORK IMPRESSIONIST & MODERN ART EUROPEAN & AMERICAN ART POST-WAR & CONTEMPORARY ART AUCTION Wednesday, November 15, 2017 at 11am EXHIBITION Saturday, November 11, 10am – 5pm Sunday, November 12, Noon – 5pm Monday, November 13, 10am – 6pm LOCATION Doyle New York 175 East 87th Street New York City 212-427-2730 www.Doyle.com Catalogue: $40 EUROPEAN ART INCLUDING PROPERTY CONTENTS FROM THE ESTATES OF IMPRESSIONIST & MODERN ART Elsie Adler European 1-58 Rhoda Blumberg American 59-87 Charles Austin Buck Helen Getler POST-WAR & CONTEMPORARY ART Dr. Paul Hershenson Post-War 88-132 Rita Hirsch Contemporary 133-159 Mary Kettaneh The Collection of Willa Kim and William Pène du Bois Eve G. Kingsland Glossary I Ellin Jane Krinsly Trust Conditions of Sale II Eugene M. Lang Terms of Guarantee IV Dorothy Lewis 2013 Irrevocable Trust Information on Sales & Use Tax V A New York Private Estate Buying at Doyle VI Harry Oppenheimer Selling at Doyle VIII A Private New York Estate Auction Schedule IX Miriam and Howard Rand, Beverly Hills, California Company Directory X Stanley Silverstein, New York Absentee Bid Form XII The I. A. Victor III Trust The James P. and Joan M. Warburg Collection INCLUDING PROPERTY FROM Formerly in the inventory of Berry-Hill Galleries, New York A New York Collection A New York Collector The Collection of Faith Stewart-Gordon Lot 12 1 3 Jean-Joseph Benjamin Constant Sir John Lavery, R.A. French, 1845-1902 British, 1856-1941 Lady with a Jewel Box (Prima Donna Marguerite in “Jewel Song” of Gounod’s ‘Faust’ Portrait of the Artist’s Wife Signed Benj.
    [Show full text]
  • Picasso and the Theatre in France Picasso and the Theatre in France
    PICASSO AND THE THEATRE IN FRANCE PICASSO AND THE THEATRE IN FRANCE by Suzanne Sinclair, B.I.D., B.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster Gniversity April, 1984 Master of Arts (1984) McMaster University (Romance Languages) Hamilton, Ontario Title: Picasso and the Theatre in France Author: Suzanne Sinclair, B.I.D. (Manitoba) B.A. (McMaster) Supervisor: Dr. B.S. Pocknell Number of Pages: 176, v ii ABSTRACT The aim of this study is twofold. We begin by tracing Picasso's involvement in the theatre in France, his collaboration as a designer with important artistic avant-gardistes of his day. Secondly we study Picasso's work as a dramatist, analysing his two plays in detail and relating them to his work as an artist. We offer two appendices to supplement the research with pertinent information about his life and work in the theatre. The study undertaken here shows how the artist adapted his cubist precepts to theatrical subjects and thereby came to influence not only the art world, but the world of theatre as well. iii I am most grateful for the help of Dr. B.S. Pocknell who has been encou­ raging and patient from first to last. I should also like to thank Dr. Elaine Nardocchio for her careful reading and helpful suggestions. iv TABLE OF CONTENT Page INTRODUCTION - Picasso the Artist 1 CHAPTER I - Picasso the Artist 6 - Part I - Early Contacts with the Theatre 6 (a) His ~anish Origins 6 (b) The Cabarets 6 (c) Le Cirque Medrano 7 - Part II - Picasso, Apollinaire and 9 Jarry.
    [Show full text]
  • The Haiku of Julien Vocance (Part II)
    Essays 29 essays The Haiku of Julien Vocance (Part II) Paul Miller; haiku translated by Paul Miller and Petra Jenkins fer World War I, in 1919, Paul-Louis Couchoud, by then a physi- Acian, held a reunion with some of the earlier French haikuists, but journal Nouvelle Revue Francaise, who published haiku by the group in the September 1920 issue. Te issue would come to be known as a land- mark in French japonisme. Jan Hokenson goes so far as to say that “the NRF volume marks the passage of the haiku from a Japanese genre into sustained French literary practice and poetic tradition.”19 However, with rather than the form itself—that had any lasting impression upon French poetry. An introduction to the genre was written by Jean Paulhan in the Sep- tember issue. Vocance’s contribution was a sequence of eleven haiku ti- tled “Au Cirque” (“A Circus”). Similar to the fnal poems in “Fantōmes d’hier et d’aujourd’hui,” “Au Cirque” was diferent from Vocance’s previ- ous haiku that focused on war. Te poems narrate a family outing to the famous Cirque Medrano, where artists such as Pablo Picasso, Georges Braque, and Cornelis Kees van Dongen were regulars, and it illustrated - isfying sequence; gone are the sentimental overtures that muddied the Two from “Au Cirque.” Te clown triggered frantic laughter: He sat down, sounding A light air of music. 29 30 Modern Haiku 50.2 Afer the glare We bring back, in the dark night, Both haiku contain nice comparisons. In the frst: between the crowd’s laughter and the orchestral accompaniment to the clown’s pratfall.
    [Show full text]
  • VAN DONGEN ET LE BATEAU-LAVOIR Le Montmartre De Van Dongen
    exposition VAN DONGEN ET LE BATEAU-LAVOIR Le Montmartre de Van Dongen village bohème de Montmartre, fréquenté par des artistes étrangers, l’Italien Modigliani, le Russe Apollinaire, l’Espagnol Picasso, devient le berceau de l’Art moderne. Van Dongen y fera un séjour bref mais intense, réalisant dans cette cité d’artistes ses meilleures toiles… Kees van Dongen et sa femme Guus habitent d’abord rue Ordener puis au septième étage mansardé du 10, impasse Girardon, puis au 35 rue Lamarck. A la naissance de la petite Dolly en 1906, le peintre, en manque d’espace et de tranquillité, loue l’atelier de son ami van Rees au Bateau-Lavoir. Une certaine complicité lie Dolly, la fille de van Dongen à «Tablo Picasso», surnom affectueux que l’enfant donne au «rival» voisin du «Bateau». L’écrivain Roland Dorgelès, auteur d’un célèbre canular pictural réalisé au Lapin Agile, avec l’âne Lolo, décrit ainsi Kees van Dongen : «Un homme en salopette bleue, pieds nus dans des van-dongen et le bateau-lavoir sandales, la barbe rouge agrémentée d’une pipe et d’un sourire». En 1949, l’ouvrage de Dorgelès Dans le cadre de l’année culturelle des Pays-Bas «Au beau Temps de la Butte» sera illustré par en France, le Musée de Montmartre, à deux van Dongen. Vingt lithographies évoquent la période bohème de leur jeunesse montmar- pas du Bateau-Lavoir, expose le peintre van troise. Dongen, d’origine hollandaise, contemporain Cette nostalgie de Montmartre poursuivra des «Demoiselles d’Avignon», tableau avant- le peintre jusqu’à Monaco dans sa dernière gardiste du Cubisme, peint au Bateau-Lavoir demeure, une villa qu’il a baptisée «le Bateau- par Picasso en 1907.
    [Show full text]