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Adolf Fleischmann (1892—1968)
ADOLF FLEISCHMANN (1892—1968) snoeck ADOLF FLEISCHMANN An American Abstract Artist? Themen, Kontext und Rezeption des US-amerikanischen Spätwerks 1952 bis 1967 Themes, Context and Reception of Fleischmann’s late American period 1952 to 1967 Herausgegeben von / Edited by Renate Wiehager für die / for the Daimler Art Collection D AC Vorwort 7 Preface 11 RENATE WIEHAGER Adolf Fleischmann. An American Abstract Artist? Themen, Kontext und Rezeption des amerikanischen Spätwerks 1952–1967 15 Themes, Context and Reception of Fleischmann’s Late American Period 1952–1967 39 Historische Texte zum Spätwerk 1952–1976 86 Historical Texts on the Late Period 1952–1976 177 JULIAN ALVARD / R.V. GINDERTAEL [1952] 86/177 MICHEL SEUPHOR [1952] 89/180 DARIO SURO [1955] 90/181 DARIO SURO [1956] 94/184 BENEDICT FRED DOLBIN [1957] 96/187 SANSON FLEXOR [1957] 98/188 MICHEL SEUPHOR [1959] 119/189 RAYMOND BAYER [1964] 120/190 KURT LEONHARD [1967] 130/196 ALBERT SCHULZE VELLINGHAUSEN [1967] 135/199 CARLO BELLOLI [1970] 136/201 EUGEN GOMRINGER [1971] 139/205 EUGEN GOMRINGER [1972] 141/206 MICHEL SEUPHOR [1976] 145/208 THOMAS SCHNALKE Anatomie in Bewegung. Annäherungen an den medizinischen Illustrator und abstrakten Künstler Adolf Fleischmann 163 Anatomy in Motion. Some Remarks on the Medical Illustrator and Abstract Artist Adolf Fleischmann 169 Biografie/Biography 213/220 Einzelausstellungen/Solo Exhibitions 254 Gruppenausstellungen/Group Exhibitions 255 Werke in öffentlichen Sammlungen/Works in Public Collections 263 Literaturverzeichnis/Bibliography 266 Impressum/Imprint 280 VORWORT Adolf Fleischmann (1892–1968), mit einer bedeutenden Werkgruppe in der Daimler Art Collection vertreten, ist einer der herausragenden abstrakten Maler in Deutsch- land und den USA nach 1945. -
Hans Hofmann (German-American Painter, 1880-1966)
237 East Palace Avenue Santa Fe, NM 87501 800 879-8898 505 989-9888 505 989-9889 Fax [email protected] Hans Hofmann (German-American Painter, 1880-1966) Hans Hofmann is one of the most important figures of postwar American art. Celebrated for his exuBerant, color-filled canvases, and renowned as an influential teacher for generations of artists— first in his native Germany, then in New York and Provincetown—Hofmann played a pivotal role in the development of ABstract Expressionism. As a teacher he Brought to America direct knowledge of the work of a celebrated group of European modernists (prior to World War I he had lived and studied in Paris) and developed his own philosophy of art, which he expressed in essays which are among the most engaging discussions of painting in the twentieth century, including "The Color ProBlem in Pure Painting—Its Creative Origin." Hofmann taught art for over four decades; his impressive list of students includes Helen Frankenthaler, Red Grooms, Alfred Jensen, Wolf Kahn, Lee Krasner, Louise Nevelson and Frank Stella. As an artist Hofmann tirelessly explored pictorial structure, spatial tensions and color relationships. In his earliest portraits done just years into the twentieth century, his interior scenes of the 1940s and his signature canvases of the late 1950s and the early 1960s, Hofmann brought to his paintings what art historian Karen Wilkin has descriBed as a "range from loose accumulations of Brushy strokes…to crisply tailored arrangements of rectangles…But that somehow seems less significant than their uniform intensity, their common pounding energy and their consistent physicality." Hofmann was Born Johann Georg Hofmann in WeissenBerg, in the Bavarian state of Germany in 1880 and raised and educated in Munich. -
Exhibition Brochure, Alfred Jensen, Concordance.Pdf
Alfred Jensen Concordance September 20, 2001-June 16, 2002 site map and checklist Born in 1903 in Guatemala City, Alfred Jensen studied fine art in San Diego ( ( (1924-1925), Munich (1926-1927), and Paris (1929). After traveling extensively 14 throughout Europe and northern Africa, Jensen took up residency in New York in the early 1950s, after which he devoted himself to painting full time. He exhibited widely 7. Das Bild der Sonne: The Square's Duality, following his first solo show at John Heller Gallery in New York in 1952. Among 13 Progression and Growth, and Squaring the 360 Day Calendar, 1 966 numerous group exhibitions, he was included in the Venice Biennial (1964), oil on canvas Documenta IV (1968) and Documenta V (1972), the Whitney Biennial (1973, 1977), 7 110 84 x 336 inches 12 Collection of Michael and Judy Ovitz, the Sii.o Paulo Biennial (1977), and "Bilderstreit" (1989). One-person exhibitions Los Angeles included venues such as the Guggenheim Museum, New York ( 1961 ), Stedelijk 8. The Sun Rises Twice, Per I-Per IV, 1 973 Museum, Amsterdam (1964), Kunsthalle Basel (1975), and the Newark Art Museum 11 oil on canvas (1994). Traveling retrospective tours were organized in 1973 by the Kestner 96 x 192 inches Collection of the Hirshhorn Museum and Gesellschaft, Hannover (traveled to Humlebaek, Baden-Baden, Dusseldorf, and Bern), Sculpture Garden, Smithsonian Institution, Washington. Joseph H. Hirshhorn Purchase and in 1978 by the Albright-Knox Gallery, Buffalo (traveled to New York, Chicago, La Fund, 1990. Jolla, Boulder, and San Francisco). Four years after Jensen's death in 1981, the 9. -
Noble Collections at Christie’S London in April
PRESS RELEASE | LONDON F O R I M M E DIATE RELEASE: 24 M a r c h 2 0 1 4 NOBLE COLLECTIONS AT CHRISTIE’S LONDON IN APRIL - Properties from Royal, Princely, Noble and Private European Families, including the properties of S.H. Erbprinz von Anhalt, Elisabeth Princess zur Lippe, the Iklé Collection and the late Peter Lehmann-Bärenklau - A wide selection of Chinese export from European Collections and fine tapestries from the 16th century to the 18th century London - The sales of European Noble and Private Collections at Christie’s King Street and South Kensington salerooms on 16 & 17 April 2014 bring together a remarkable variety of continental works of art with an emphasis on noble and private provenance. The selection of over 400 lots, including paintings, furniture, clocks, sculpture, tapestries, carpets, silver and European and Asian porcelain and works of art, date from the medieval period to the early 20th century and reflect the broad and cosmopolitan collecting of Europe’s aristocracy and offers a fascinating voyage through their changing tastes across generations. In conjunction with the private properties, the sales will include important and fine tapestries from the 16th century to the 18th century. KING STREET, 16 APRIL 2014 An Empire ormolu twelve-light A Louis XV ormolu and patinated-bronze A Herrengrund gilt-copper embossed candelabrum, by Pierre-Philippe striking mantel clock, Julien Le Roy and cup and cover, Hungary, first half 18th Thomire, circa 1810 Jean-Joseph de Saint-Germain, Paris, mid- century Estimate: £40,000-60,000 -
How the World Is, and Has Been Controlled by the Same Families for Millennia
How the World is, and has been controlled by the same Families for Millennia These are the Secret Elite Families that rule the world from behind the scenes and what WE can do to change society for the better Let us begin with a quick look at the current (as of May 2015) British Prime Minister David Cameron; Aristocracy and politics Cameron descends from King William IV and his mistress Dorothea Jordan through their illegitimate daughter Lady Elizabeth FitzClarence to the fifth female generation Enid Agnes Maud Levita. His father's maternal grandmother, Stephanie Levita (née Cooper) was the daughter of Sir Alfred Cooper and Lady Agnes Duff (sister of Alexander Duff, 1st Duke of Fife) and a sister of Duff Cooper, 1st Viscount Norwich GCMG DSO PC, the Conservative statesman and author. His paternal grandmother, Enid Levita, who married secondly in 1961 a younger son of the 1st Baron Manton, was the daughter of Arthur Levita and niece of Sir Cecil Levita KCVO CBE, Chairman of London County Council in 1928. Through the Mantons, Cameron also has kinship with the 3rd Baron Hesketh KBE PC, Conservative Chief Whip in the House of Lords 1991–93. Cameron's maternal grandfather was Sir William Mount, 2nd Baronet, an army officer and the High Sheriff of Berkshire, and Cameron's maternal great-grandfather was Sir William Mount Bt CBE, Conservative MP for Newbury 1910–1922. Lady Ida Feilding, Cameron's great-great grandmother, was third daughter of William Feilding, Earl of Denbigh and Desmond GCH PC, a courtier and Gentleman of the Bedchamber. -
System Polityczny Księstwa Liechtensteinu
Książka dofi nansowana przez Uniwersytet Jagielloński ze środków Wydziału Studiów Międzynarodowych i Politycznych oraz Instytutu Europeistyki RECENZENT prof. zw. dr hab. Marek Bankowicz PROJEKT OKŁADKI Anna Sadowska © Copyright by Krzysztof Koźbiał & Wydawnictwo Uniwersytetu Jagiellońskiego Wydanie I, Kraków 2013 All rights reserved Niniejszy utwór ani żaden jego fragment nie może być reprodukowany, przetwarzany i rozpowszechniany w jakikolwiek sposób za pomocą urządzeń elektronicznych, mechanicznych, kopiujących, nagrywających i innych oraz nie może być przechowywany w żadnym systemie informatycznym bez uprzedniej pisemnej zgody Wydawcy. ISBN 978-83-233-3523-8 www.wuj.pl Wydawnictwo Uniwersytetu Jagiellońskiego Redakcja: ul. Michałowskiego 9/2, 31-126 Kraków tel. 12-631-18-81, 12-631-18-82, fax 12-631-18-83 Dystrybucja: tel. 12-631-01-97, tel./fax 12-631-01-98 tel. kom. 506-006-674, e-mail: [email protected] Konto: PEKAO SA, nr 80 1240 4722 1111 0000 4856 3325 SPIS TREŚCI Wykaz skrótów ................................................................................................................... 7 Wstęp .................................................................................................................................. 9 Rozdział 1. Zarys historii politycznej Liechtensteinu ................................................... 15 1.1. Ziemie współczesnego Liechtensteinu do końca XVII w. Przemiany polityczne i ustrojowe ........................................................................................... 15 1.2. W rękach -
Chemnitz - Is It a City of Industry Or a City of Art? Or Both?
Chemnitz - is it a city of industry or a city of art? Or both? Report by Ingeborg Morgner We created interesting presentations about our city in the last weeks. It has been demonstrated, such as the textile machinery, the textile manufacturing and other industries like the automotive have shaped the face of our city. An interesting comparison with Manchester was also done. Norbert showed us in his presentation that our city is getting more and more an artistic face. The Robert- Schumann – Symphony – Orchestra has been developed into an important flagship for Chemnitz during last years. A lot of famous operas were staged on our opera house. First of all, I would say that the State Art Collection marks the face of our city more and more. This developed into an important cultural centre of our city in the last years under the direction of Mrs. Mössinger. The Art Collections hold more than 170,000 works of art distributed over four associated museums, the King Albert Museum on the Theatre Square, the Gunzenhauser Museum, the Schlossbergmuseum and the Henry van der Velde Museum. What can you see there? At first, I will speak about the King Albert Museum, where the most famous paintings are exhibited. The Chemnitz Art Gallery with it‟s about 70. 000 objects, dating from the 16th to the 21st century is located on the King Albert Museum. This Museum was built in 1909 at the Theatre Square and was designed by Richard Möbius. Since the restoration in 1993 it is one of the most modern museums in Saxony. -
ISSN 1611-0153 Urn: Nbn: De: 101-ND14 2013-9
Neuerscheinungsdienst Jahrgang: 2013 ND 14 Stand: 04. April 2013 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main) 2013 ISSN 1611-0153 urn:nbn:de:101-ND14_2013-9 2 Hinweise Der Neuerscheinungsdienst ist das Ergebnis der Ko- blikation in der Deutschen Nationalbibliografie; de- operation zwischen der Deutschen Nationalbibliothek und taillierte bibliografische Daten sind im Internet über der MVB Marketing- und Verlagsservice des Buchhandels http://dnb.d-nb.de abrufbar. GmbH. Ziel dieser Kooperation ist zum einen die Hebung Bibliographic information published by the Deut- des Qualitätsstandards des Verzeichnisses lieferbarer sche Nationalbibliothek Bücher (VLB) und zum anderen die Verbesserung der The Deutsche Naitonalbibliothek lists this publication in Aktualität und Vollständigkeit der Deutschen Nationalbi- the Deutsche Nationalbibliografie; detailed bibliographic bliografie. In der Titelaufnahme wird der entsprechende data are available in the Internet at http://dnb.d-nb.de. Link zu den Verlagsangaben direkt geschaltet; ebenso Information bibliographique de la Deutsche Natio- alle anderen möglichen Links. nalbibliothek Die Verleger melden ihre Titel in einem einzigen Vor- La Deutsche Nationalbibliothek a répertoiré cette publi- gang für das VLB und den Neuerscheinungsdienst der cation dans la Deutsche Nationalbibliografie; les données Deutschen Nationalbibliothek. Dieser zeigt somit alle bibliographiques détaillées peuvent être consultées sur Neumeldungen von Titeln an, die auch in das VLB ein- Internet à l’adresse http://dnb.d-nb.de gehen. Die VLB-Redaktion leitet die Meldungen an die Deutsche Nationalbibliothek weiter. Die Titel werden oh- Die Verleger übersenden gemäß den gesetzlichen Vor- ne weitere Änderungen im Neuerscheinungsdienst der schriften zur Pflichtablieferung zwei Pflichtexemplare je Deutschen Nationalbibliothek angezeigt. Die Titelanzei- nach Zuständigkeit an die Deutsche Nationalbibliothek gen selbst sind, wie auf der Sachgruppenübersicht an- nach Frankfurt am Main oder nach Leipzig. -
Oral History Interview with Clark Richert, 2013 August 20-21
Oral history interview with Clark Richert, 2013 August 20-21 Funding for this interview was provided by the Stoddard-Fleischman Fund for the History of Rocky Mountain Area Artists. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Clark Richert on August 20-21, 2013. The interview took place in Denver, Colo., and was conducted by Elissa Auther for the Archives of American Art, Smithsonian Institution. This interview is part of the Stoddard-Fleischman History of Rocky Mountain Area Artists project. [Narrator] and the [Interviewer] have reviewed the transcript. Their corrections and emendations appear below in brackets appended by initials. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ELISSA AUTHER: This is Elissa Auther interviewing Clark Richert at the Museum of Contemporary Art, Denver, on August 20th, for the Smithsonian Institution, Archives of American Art, card one. Clark, when did you decide to become an artist and what led up to that decision? CLARK RICHERT: I think I know almost the exact moment when I decided to become an artist. I was living in Wichita, Kansas, going to high school, Wichita East High, and was at a local bookstore perusing the books and I saw this book on the shelf that really puzzled me. The name of it was the Dictionary of Abstract Art. And I opened up the book and flipped through the pages, and I came to this painting by Rothko which really puzzled me. -
Constitution of the Principality of Liechtenstein of 5 October 1921
Constitution as adopted in LGBl. 1921 No. 15 issued on 24 October 1921 and amended LGBl. 2003 No. 101 - issued on 15 September 2003 LGBl. 2005 No. 267, LGBl. 2007 No. 346, LGBl. 2008 No. 145, LGBl. 2009 No. 227, LGBl. 2010 No. 372, LGBl. 2011 No. 50 As of: 1 February 2014 Constitution of the Principality of Liechtenstein of 5 October 1921 We, John II, by the Grace of God, Prince Regnant of Liechtenstein, Duke of Troppau, Count of Rietberg, etc. etc. etc. make known that the Constitution of 26 September 1862 has been modified by Us with the assent of Our Diet as follows: Chapter I - The Principality Art. 1 1) The Principality of Liechtenstein is a State consisting of two regions with eleven communes. It is based upon the principle of enabling the people residing within its borders to live in peace and freedom. The region of Vaduz (Oberland) consists of the communes of Vaduz, Balzers, Planken, Schaan, Triesen and Triesenberg; the region of Schellenberg (Unterland) consists of the communes of Eschen, Gamprin, Mauren, Ruggell and Schellenberg. 2) Vaduz is the capital and the seat of the Diet and the Government. Art. 2 The Principality is a constitutional, hereditary monarchy on a democratic and parliamentary basis (Arts. 79 and 80), the power of the State is inherent in and issues from the Prince Regnant and the People and shall be exercised by both in accordance with the provisions of the present Constitution. Art. 3 The succession to the throne, hereditary in the Princely House of Liechtenstein, the coming-of-age of the Prince Regnant and of the Heir Apparent, as well as any guardianship which may be required, are to be determined by the Princely House in the form of a dynasty law. -
Jahrbuch 2011(8
Kulturstiftung des Freistaates Sachsen K d F S D D D J A H R D D D B U C H D D D 2 0 1 1 ¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤ Dresden 2012 Inhalt I. DIE KULTURSTIFTUNG DES FREISTAATES SACHSEN 1. GELEITWORT ....................... 9 2. HEIMAT GESTALTEN, KULTUR- INFARKT VERHINDERN ............ 15 3. UNSERE VORHABEN – IMPULSE FÜR DIE KULTUR ................... 39 4. PROJEKTFÖRDERUNG: 292 MAL KUNST UND KULTUR IN SACHSEN . 83 Projektförderung 2011 . 137 Bildende Kunst ..................... 137 Darstellende Kunst und Musik . 141 Film ............................. 154 Literatur .......................... 157 Soziokultur ........................ 160 Spartenübergreifende Projekte .......... 162 5. STIPENDIEN IM ÜBERBLICK . 175 Berichte und Erfahrungen . 183 Die Stipendiaten . 205 6. ANKÄUFE . 211 7. DIE MENSCHEN Das Kuratorium .................... 226 Der Vorstand . 227 Die Fachbeiräte . 228 Die Geschäftsstelle .. 232 8. DIE ZAHLEN Einnahmen und Ausgaben . 234 9. RECHTLICHE GRUNDLAGEN Gesetz über die Errichtung der Kultur- stiftung des Freistaates Sachsen . 241 Förderrichtlinie der Kulturstiftung des Freistaates Sachsen .. 246 II. DER SÄCHSISCHE KULTURSENAT 1. DIE AKTIVITÄTEN .. 255 2. DIE MITGLIEDER . 265 3. RECHTLICHE GRUNDLAGEN Gesetz über die Errichtung des Sächsischen Kultursenats . 269 IMPRESSUM ..................... 272 I Die Kulturstiftung des Freistaates Sachsen Die Schriftstellerin Brigitte Kronauer spricht im Alten Rathaussaal in Leipzig, Schreibweisen der Gegenwart – Leipziger Poetikvorlesungen, Foto: Christoph Busse — 8 — 1 Geleitwort In den nächsten Jahren steht die Kulturförderung in Sachsen vor großen Herausforderungen. Der demographische Wandel wird das Leben in den Städten und auf dem Land grundsätzlich verändern. Die Strategien der Förderung der Kultur werden sich diesen Änderungen stellen müssen. Die Befunde der Wissenschaft sind vieldeutig und mitunter widersprüchlich. Fest steht aber: Unsere Gesellschaft wird weniger, älter und bunter, zugleich aber auch reicher und ärmer, weltläufiger und ortsgebundener, quali- fizierter und bildungsferner. -
New York State Office of General Services Art Conservation and Restoration Services – Solicitation Number 1444
Request for Proposals (RFP) are being solicited by the New York State Office of General Services For Art Conservation and Restoration Services January 29, 2009 Class Codes: 82 Group Number: 80107 Solicitation Number: 1444 Contract Period: Three years with Two One-Year Renewal Options Proposals Due: Thursday, March 12, 2009 Designated Contact: Beth S. Maus, Purchasing Officer NYS Office of General Services Corning Tower, 40th Floor Empire State Plaza Albany, New York 12242 Voice: 1-518-474-5981 Fax: 1-518-473-2844 Email: [email protected] New York State Office of General Services Art Conservation and Restoration Services – Solicitation Number 1444 Table of Contents 1. INTRODUCTION ........................................................................................................................ 4 1.1 Overview ..................................................................................................................................... 4 1.2 Designated Contact..................................................................................................................... 4 1.3 Minimum Bidder Qualifications.................................................................................................... 4 1.4 Pre-Bid Conference..................................................................................................................... 5 1.5 Key Events .................................................................................................................................. 5 2. PROPOSAL SUBMISSION.........................................................................................................