Artists by Exhibition, 1903-1993
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Friedlander Dog's Best Friend PR March 2019
Andrew Smith Gallery Arizona, LLC. Masterpieces of Photography LEE FRIEDLANDER SHOW TITLE: Dog’s Best Friend Dates: April 27 - June 15, 2019 Artist’s Reception: DATE/TIME: Saturday April 27, 2019 2-4 p.m. “I think dogs are happy because people feed them fancy food, treat them nicely, pedicure and wash them, take them into their homes.” Lee Friedlander Andrew Smith Gallery, in its new location at 439 N. 6th Ave., Suite 179, Tucson, Arizona 85705, opens an exhibit by the eminent American photographer Lee Friedlander. The exhibit, Dog’s Best Friend, contains 18 prints of dogs and their owners, one of Friedlander’s ongoing “pet projects.” Lee and Maria Friedlander will attend the opening on Saturday, April 27, 2019 from 2 to 4 p.m., where the public is invited to visit with America’s most celebrated photographer and view “the dogs.” The exhibit continues through June 15, 2019. Lee Friedlander is one of America’s legendary photographers. Now in his eighties, he still photographs and makes his own prints in the darkroom as he has been doing for 60 years. In the 1950s he began documenting what he called “the American social landscape,” making pictures that showed how the camera sees reality (different from how the eye sees). In his layered compositions, what are normally understood to be separate objects; buildings, window displays, people, cars, etc., are perpetually interacting with reflective, opaque and transparent surfaces that distort, fragment and bring about surprising, often humorous conjunctions. Friedlander has been photographing virtually non-stop these many decades, expanding the vocabulary of such traditional artistic themes as family, nudes, gardens, trees, self-portraits, landscapes, cityscapes, laborers, artists, jazz musicians, cars, graffiti, statues, parks, advertising signs, and animals. -
Félix Fénéon, “Neo-Impressionism” (1887) I. Impressionism, Merely
Félix Fénéon, “Neo-Impressionism” (1887) I. Impressionism, merely latent in Turner and Delacroix (the Chapel of the Holy Angels at Saint- Sulpice), tried to turn itself into a system under Edouard Manet, MM. Camille Pissarro, Renoir, Claude Monet, Sisley, Cezanne and Ludovic Piette. These painters are distinguished by their extraordinary sensitivity to their own reactions to color, by a tendency to decompose tones, and by their attempts to imbue their canvases with intense light: In their choice of subjects, they proscribe history, anecdote and dream, and, as their working method, they promote rapid and direct execution from nature: If we want the word “Impressionism” to have any reasonably precise meaning, we have to reserve this term for the “luminists” alone: This immediately eliminates Miss Mary Cassatt, MM. Degas, Forain and Raffaelli, whom a mistaken public included under the same heading as MM. Camille Pissarro and Claude Monet: although it is true that all of them sought the sincere expression of modern life, scorned the traditions of the schools, and exhibited together. Let us recall the first Impressionist exhibitions: Given the innate stupidity of the public, the idea of choosing between well-finished paintings and wild daubings left them dumbfounded: They found it crazy that a color should produce its complementary, ultramarine giving yellow, red giving blue-green, since all the most learned Physicists would have affirmed in scholarly tones that the definitive effect of darkening all the colors of the spectrum is virtually -
The Role of Ansel in Tracy Letts' Killer Joe: a Production Thesis in Acting
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2003 The oler of Ansel in Tracy Letts' Killer Joe: a production thesis in acting Ronald William Smith Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Theatre and Performance Studies Commons Recommended Citation Smith, Ronald William, "The or le of Ansel in Tracy Letts' Killer Joe: a production thesis in acting" (2003). LSU Master's Theses. 3197. https://digitalcommons.lsu.edu/gradschool_theses/3197 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. THE ROLE OF ANSEL IN TRACY LETTS’ KILLER JOE: A PRODUCTION THESIS IN ACTION A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the Requirements for the degree of Master of Fine Arts in The Department of Theatre by Ronald William Smith B.S., Clemson University, 2000 May 2003 Acknowledgements I would like to thank my professors, Bob and Annmarie Davis, Jo Curtis Lester, Nick Erickson and John Dennis for their knowledge, dedication, and care. I would like to thank my classmates: Deb, you are a friend and I’ve learned so much from your experiences. Fire, don’t ever lose the passion you have for life and art, it is beautiful and contagious. -
Monet and American Impressionism
Harn Museum of Art Educator Resource Monet & Impressionism About the Artist Claude Monet was born in Paris on November 14, 1840. He enjoyed drawing lessons in school and began making and selling caricatures at age seventeen. In 1858, he met landscape artist Eugène Boudin (1824-1898) who introduced him to plein-air (outdoor) painting. During the 1860s, only a few of Monet’s paintings were accepted for exhibition in the prestigious annual exhibitions known as the Salons. This rejection led him to join with other Claude Monet, 1899 artists to form an independent group, later known as the Impressionists. Photo by Nadar During the 1860s and 1870s, Monet developed his technique of using broken, rhythmic brushstrokes of pure color to represent atmosphere, light and visual effects while depicting his immediate surroundings in Paris and nearby villages. During the next decade, his fortune began to improve as a result of a growing base of support from art dealers and collectors, both in Europe and the United States. By the mid-1880s, his paintings began to receive critical “Everyone discusses my acclaim. art and pretends to understand, as if it were By 1890, Monet was financially secure enough to purchase a house in Giverny, a rural town in Normandy. During these later years, Monet began painting the same subject over and over necessary to understand, again at different times of the day or year. These series paintings became some of his most when it is simply famous works and include views of the Siene River, the Thames River in London, Rouen necessary to love.” Cathedral, oat fields, haystacks and water lilies. -
The Salon of Mabel Dodge
DIVISION OF THE HUMANITIES AND SOCIAL SCIENCES CALIFORNIA INSTITUTE OF TECHNOLOGY PASADENA, CALIFORNIA 91125 THE SALON OF MABEL DODGE Robert A. Rosenstone To be published in Peter Quennell, ed., Salon (London: Weidenfeld and Nicolson, 1980). HUMANITIES WORKING PAPER 24 January 1979 THE SALON OF ~WillEL DODGE Robert A. Rosenstone Mabel Dodge's salon ••• burst upon New York like a rocket. Margaret Sanger It was the only successful salon I have ever seen in America. Lincoln Steffens Many famous salons have been established by women of wit or beauty; Mabel's was the only one ever established by pure will power. And it was no second-rate salon; everybody in the ferment of ideas could be found there. Max Eastman 2 It is indeed the happy woman who has no history, for by happy we mean the loving and beloved, and by history we designate all those relatable occurences on earth caused by the human energies seeking other outlets than the biological one. • . That I have so many pages to write signifies, solely, that I was unlucky in love. Most of the pages are about what I did instead •. Mabel Dodge 1 Mabel Dodge was rich and attractive and more than a little lucky. For two years -- from 1912 to 1914 -- she played hostess to the most famous and no doubt the most interesting salon in American history. This success was no accident, but the result of a subtle interplay between her individual needs and ambitions and the historical moment. It was a very special period in the cultural life of the United States, one when expatriate Irish painter John Butler Yeats cocked an ear and heard "the fiddles • tuning as it were allover America. -
Ansel Adams by Ross Loeser February 2010
Ansel Adams By Ross Loeser February 2010 Ansel Adams is one of the most fascinating people of the 20th Century… a photography pioneer whose art captured the imagination of millions of ordinary people. Most of the information in this paper is from his autobiography – written in the last five years of his life. I found the book a joy to read. Adams (1902-1984) was born in San Francisco and lived most of his life in that area. For his last 22 years he lived in Carmel Highlands. Some key formative events in his early life were: In 1916, when he was 14, he influenced his family to go on vacation in Yosemite after reading the book, In the Heart of the Sierras by J.M. Hutchens. During that trip, he received his first camera – a Kodak Box Brownie. He returned to Yosemite every year of his life thereafter.1 He was hired as a “darkroom monkey” by a neighbor who operated a photo finishing business in 1917, which enabled him to learn about making photographic prints. As he grew up, one major focus was music – the piano. “By 1923 I was a budding professional pianist…”2 On a bright spring Yosemite day in 1927, Adams made a photograph that was to “change my understanding of the medium.” The picture was of Half Dome, and titled “Monolith, The Face of Half Dome.” The full story is included later in this paper, but, in a nutshell, he captured how he felt about the scene, not how it actually appeared (e.g. -
43066321.Pdf
Expediente A Revista Brasileira de Física Médica (RBFM) é Corpo editoral uma publicação editada pela Associação Brasileira de Física Médica. Criada em 2005, tem como objetivo publicar trabalhos originais nas áreas de Radioterapia, Editor Científico Medicina Nuclear, Radiologia Diagnóstica, Proteção Marcelo Baptista de Freitas – Universidade Federal de São Paulo (UNIFESP) Radiológica e Dosimetria das Radiações, incluindo Editores Associados modalidades correlatas de diagnóstico e terapia com Ana Maria Marques da Silva – Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS) radiações ionizantes e não-ionizantes, além de Ensino Denise Yanikian Nersissian – Instituto de Eletrotécnica e Energia da Universidade de São Paulo e Instrumentação em Física Médica. (IEE/USP) Lorena Pozzo – Instituto de Pesquisas Energéticas e Nucleares (IPEN-CNEN) Os conceitos e opiniões emitidos nos artigos são de Patrícia Nicolucci - Faculdade de Filosofia, Ciências e Letras de Ribeirão Preto da Universidade inteira responsabilidade de seus autores. É permitida de São Paulo (FFCLRP/USP) a reprodução total ou parcial dos artigos, desde que mencionada a fonte e mediante permissão expressa da RBFM. Conselho editorial Adilton de Oliveira Carneiro – Faculdade de José Willegaignon de Amorim de Carvalho – Filosofia, Ciências e Letras de Ribeirão Preto Centro de Medicina Nuclear (HC-FMUSP) da Universidade de São Paulo (FFCLRP/USP) Kayo Okazaki – Instituto de Pesquisas Alberto Saburo Todo – Instituto de Pesquisas Energéticas e Nucleares, Comissão Nacional Energéticas -
The Founders of the Woodstock Artists Association a Portfolio
The Founders of the Woodstock Artists Association A Portfolio Woodstock Artists Association Gallery, c. 1920s. Courtesy W.A.A. Archives. Photo: Stowall Studio. Carl Eric Lindin (1869-1942), In the Ojai, 1916. Oil on Board, 73/4 x 93/4. From the Collection of the Woodstock Library Association, gift of Judy Lund and Theodore Wassmer. Photo: Benson Caswell. Henry Lee McFee (1886- 1953), Glass Jar with Summer Squash, 1919. Oil on Canvas, 24 x 20. Woodstock Artists Association Permanent Collection, gift of Susan Braun. Photo: John Kleinhans. Andrew Dasburg (1827-1979), Adobe Village, c. 1926. Oil on Canvas, 19 ~ x 23 ~ . Private Collection. Photo: Benson Caswell. John F. Carlson (1875-1945), Autumn in the Hills, 1927. Oil on Canvas, 30 x 60. 'Geenwich Art Gallery, Greenwich, Connecticut. Photo: John Kleinhans. Frank Swift Chase (1886-1958), Catskills at Woodstock, c. 1928. Oil on Canvas, 22 ~ x 28. Morgan Anderson Consulting, N.Y.C. Photo: Benson Caswell. The Founders of the Woodstock Artists Association Tom Wolf The Woodstock Artists Association has been showing the work of artists from the Woodstock area for eighty years. At its inception, many people helped in the work involved: creating a corporation, erecting a building, and develop ing an exhibition program. But traditionally five painters are given credit for the actual founding of the organization: John Carlson, Frank Swift Chase, Andrew Dasburg, Carl Eric Lindin, and Henry Lee McFee. The practice of singling out these five from all who participated reflects their extensive activity on behalf of the project, and it descends from the writer Richard Le Gallienne. -
Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. -
Picturing France
Picturing France Classroom Guide VISUAL ARTS PHOTOGRAPHY ORIENTATION ART APPRECIATION STUDIO Traveling around France SOCIAL STUDIES Seeing Time and Pl ace Introduction to Color CULTURE / HISTORY PARIS GEOGRAPHY PaintingStyles GOVERNMENT / CIVICS Paris by Night Private Inve stigation LITERATURELANGUAGE / CRITICISM ARTS Casual and Formal Composition Modernizing Paris SPEAKING / WRITING Department Stores FRENCH LANGUAGE Haute Couture FONTAINEBLEAU Focus and Mo vement Painters, Politics, an d Parks MUSIC / DANCENATURAL / DRAMA SCIENCE I y Fontainebleau MATH Into the Forest ATreebyAnyOther Nam e Photograph or Painting, M. Pa scal? ÎLE-DE-FRANCE A Fore st Outing Think L ike a Salon Juror Form Your Own Ava nt-Garde The Flo ating Studio AUVERGNE/ On the River FRANCHE-COMTÉ Stream of Con sciousness Cheese! Mountains of Fra nce Volcanoes in France? NORMANDY “I Cannot Pain tan Angel” Writing en Plein Air Culture Clash Do-It-Yourself Pointillist Painting BRITTANY Comparing Two Studie s Wish You W ere Here Synthétisme Creating a Moo d Celtic Culture PROVENCE Dressing the Part Regional Still Life Color and Emo tion Expressive Marks Color Collectio n Japanese Prin ts Legend o f the Château Noir The Mistral REVIEW Winds Worldwide Poster Puzzle Travelby Clue Picturing France Classroom Guide NATIONAL GALLERY OF ART, WASHINGTON page ii This Classroom Guide is a component of the Picturing France teaching packet. © 2008 Board of Trustees of the National Gallery of Art, Washington Prepared by the Division of Education, with contributions by Robyn Asleson, Elsa Bénard, Carla Brenner, Sarah Diallo, Rachel Goldberg, Leo Kasun, Amy Lewis, Donna Mann, Marjorie McMahon, Lisa Meyerowitz, Barbara Moore, Rachel Richards, Jennifer Riddell, and Paige Simpson. -
Ficha Técnica Jogo a Jogo, 1992 - 2011
FICHA TÉCNICA JOGO A JOGO, 1992 - 2011 1992 Palmeiras: Velloso (Marcos), Gustavo, Cláudio, Cléber e Júnior; Galeano, Amaral (Ósio), Marquinhos (Flávio Conceição) e Elivélton; Rivaldo (Chris) e Reinaldo. Técnico: Vander- 16/Maio/1992 Palmeiras 4x0 Guaratinguetá-SP lei Luxemburgo. Amistoso Local: Dario Rodrigues Leite, Guaratinguetá-SP 11/Junho/1996 Palmeiras 1x1 Botafogo-RJ Árbitro: Osvaldo dos Santos Ramos Amistoso Gols: Toninho, Márcio, Edu Marangon, Biro Local: Maracanã, Rio de Janeiro-RJ Guaratinguetá-SP: Rubens (Maurílio), Mineiro, Veras, César e Ademir (Paulo Vargas); Árbitro: Cláudio Garcia Brás, Sérgio Moráles (Betinho) e Maizena; Marco Antônio (Tom), Carlos Alberto Gols: Mauricinho (BOT); Chris (PAL) (Américo) e Tiziu. Técnico: Benê Ramos. Botafogo: Carlão, Jefferson, Wilson Gottardo, Gonçalves e André Silva; Souza, Moisés Palmeiras: Marcos, Odair (Marques), Toninho, Tonhão (Alexandre Rosa) e Biro; César (Julinho), Dauri (Marcelo Alves) e Bentinho (Hugo); Mauricinho e Donizete. Técnico: Sampaio, Daniel (Galeano) e Edu Marangon; Betinho, Márcio e Paulo Sérgio (César Ricardo Barreto. Mendes). Técnico: Nelsinho Baptista Palmeiras: Velloso (Marcos), Gustavo (Chris), Roque Júnior, Cléber (Sandro) e Júnior (Djalminha); Galeano (Rodrigo Taddei), Amaral (Emanuel), Flávio Conceição e Elivél- 1996 ton; Rivaldo (Dênis) e Reinaldo (Marquinhos). Técnico: Vanderlei Luxemburgo. 30/Março/1996 Palmeiras 4x0 Xv de Jaú-SP 17/Agosto/1996 Palmeiras 5x0 Coritiba-PR Campeonato Paulista Campeonato Brasileiro Local: Palestra Itália Local: Palestra Itália Árbitro: Alfredo dos Santos Loebeling Árbitro: Carlos Eugênio Simon Gols: Alex Alves, Cláudio, Djalminha, Cris Gols: Luizão (3), Djalminha, Rincón Palmeiras: Velloso (Marcos), Gustavo (Ósio), Sandro, Cláudio e Júnior; Amaral, Flávio Palmeiras: Marcos, Cafu, Cláudio (Sandro), Cléber e Júnior (Fernando Diniz); Galeano, Conceição, Rivaldo (Paulo Isidoro) e Djalminha; Müller (Chris) e Alex Alves. -
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.