Timeline / Before 1800 to After 1930 / FINE and APPLIED ARTS
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Issues of Gender Representation in Modern Greek Art the Case of Thaleia Flora-Caravia’S Photographic Images and Self-Portraits
p Issues of Gender Representation in Modern Greek Art The Case of Thaleia Flora-Caravia’s Photographic Images and Self-Portraits Despoina Tsourgianni ABSTRACT There is a recent trend, mainly in the fi eld of historiography but also in art history, toward the exploration of female autobiographical discourse, whether it concerns writ- ten (autobiographies, correspondence), painted (self-portraits), or photographic data. On the basis of the highly fruitful gender perspective, this article seeks to present and interpret the numerous photographs of the well-known Greek painter Thaleia Flora- Caravia. These photographic recordings, taken almost exclusively from the painter’s unpublished personal archive, are inextricably linked to the artist’s self-portraits. This kind of cross-examination allows the reader to become familiar with the mosaic of roles and identities that constitutes the subjectivity of female artists in Greece in the late nineteenth and early twentieth centuries. KEYWORDS: autobiography, female artist, modern Greek art, photography, self-portrait p Introduction No opening words could be more appropriate to introduce a study on twentieth- century artist representation than the verses of Rainer Maria Rilke on the painter Paula Modersohn-Becker: So free of curiosity your gaze had become, so unpossessive, of such true poverty, it no longer desired even you yourself; it wanted nothing: holy.1 aspasia Volume 13, 2019: 31–64 doi:10.3167/asp.2019.130105 32 DESPOINA TSOURGIANNI It is of key importance to note the way in which this emblematic poet of modernity perceives the ideal depiction of oneself: as one being stripped of any vanity that leads to the beautifi cation of physical characteristics. -
From Azulejos to Zaguanes: the Islamic Legacy in the Built
From Azulejos to Zagutmes: The Islamic Legacy in the Built Environment of Hispano-America R. Brooks Jeffery They lack our faith, but we lack their works. - Cardinal Ximenez de Cisneros Prior to the Spanish colonization of the Americas, beginning at the end of the fifteenth century, Spain was completing the final chapters of the Reconquest of the Iberian Peninsula after eight centuries of Islamic rule and cultural dominance. Although often ignored in the histories of the Spanish colonial period, people of Muslim descent traveled to Hispano- America1 during its initial colonization. Evidence of this cultural assim- ilation can be seen in the profound legacy of Islamic architectural characteristics in the Hispano-American built environment that is still evident today. This paper attempts to recognize this Islamic legacy through an analysis of three levels of the Hispano-American built envi- ronment: ornamentation, architectural form, and open space. Historical Background Beginning in 711, a succession of Islamic dynasties ruled the Iberian Peninsula, including the Umayyads (711-750), Abbasids (750-1082), Almoravids (1082-1147), Almohads (1147-1184), and the Nasrids (1184-1492), producing many of Islamic architecture's finest monu- ments: the Great Mosque of Cordoba (786-991), the rural palatial complex of Medinat az-Zahra (936), and the Alhambra (1238-1492). Not long after the Islamic Empire reached its northernmost expansion at the Pyrenees Mountains of Spain in the eighth century, Christian R. Brooks Jeffrey earned Bachelor of Architecture and Master of Library Science degrees from the University of Arizona. He is the coordinator of the Preservation Studies Program in the College of Architecture and Landscape Architecture, University of Arizona. -
At the Confluence of Art Nouveau and Ecclectic Early Modernism in Riga's
ZDZISŁAWA TOŁŁOCZKO* AT THE CONFLUENCE OF ART NOUVEAU AND ECCLECTIC EARLY MODERNISM IN RIGA’S METROPOLITAN ARCHITECTURE U ZBIEGU ART NOUVEAU I EKLEKTYCZNEGO WCZESNEGO MODERNIZMU W ARCHITEKTURZE METROPOLITALNEJ RYGI Abstract The aim of this paper was to draw attention to the coincidence of streets intersections ending, in general, in corner buildings making up typical and picturesque parts of the townscape of the 19th c. European cities, including the central quarter of Riga. This type of town-planning establishments perfectly compose with the art and aesthetics of Art Nouveau in Riga. An additional and very important component of the town- planning-architectonic solutions is the decorative finial of the corner houses (not only inJugendstil , but also the Latvian national romanticism) creating a harmonious composition in respect of art and town-planning, ideally completing the townscape of this Baltic metropolis. Keywords: Latvia, Riga, Cracow, New York, London, Berlin, history of architecture and city-planning, Art Nouveau, Modern Art, Jugendstil, National Romanticism Streszczenie Celem prezentowanego artykułu jest zwrócenie uwagi na koincydencję zbiegów ulic zakończonych na ogół wyraźnymi narożami, tworzącymi typowe, a jednocześnie malownicze, fragmenty krajobrazu dziewiętna- stowiecznych miast europejskich, w tym również śródmieścia Rygi. Tego rodzaju założenia urbanistyczne doskonale komponują się ze sztuką i estetyką Art Nouveau w Rydze. Dodatkową i jednocześnie niezwy- kle ważną komponentą rozwiązań urbanistyczno-architektonicznych są umieszczone na narożach ozdobne zwieńczenia (nie tylko w stylu Jugendstil’u, ale także łotewskiego narodowego romantyzmu) komponujące się wspólnie i harmonijnie pod względem artystycznym i urbanistycznym, uzupełniając znakomicie pejzaż tej nadbałtyckiej metropolii. Słowa kluczowe: Łotwa, Ryga, Kraków, Nowy Jork, Londyn, Berlin, historia architektury i urbanistyki, Art Nouveau, Modern Art, Jugendstil, Narodowy Romantyzm DOI: 10.4467/2353737XCT.15.154.4191 * Prof. -
Modernism Without Modernity: the Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F
University of Pennsylvania ScholarlyCommons Management Papers Wharton Faculty Research 6-2004 Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F. Guillen University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/mgmt_papers Part of the Architectural History and Criticism Commons, and the Management Sciences and Quantitative Methods Commons Recommended Citation Guillen, M. F. (2004). Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940. Latin American Research Review, 39 (2), 6-34. http://dx.doi.org/10.1353/lar.2004.0032 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/mgmt_papers/279 For more information, please contact [email protected]. Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Abstract : Why did machine-age modernist architecture diffuse to Latin America so quickly after its rise in Continental Europe during the 1910s and 1920s? Why was it a more successful movement in relatively backward Brazil and Mexico than in more affluent and industrialized Argentina? After reviewing the historical development of architectural modernism in these three countries, several explanations are tested against the comparative evidence. Standards of living, industrialization, sociopolitical upheaval, and the absence of working-class consumerism are found to be limited as explanations. As in Europe, Modernism -
Japanese Aesthetics and Gustav Klimt: in Pursuit of a New Voice Svitlana Shiells
Strand 2. Art Nouveau and Politics in the Dawn of Globalisation Japanese Aesthetics and Gustav Klimt: In Pursuit of a New Voice Svitlana Shiells Abstract At the end of the nineteenth century, Japonisme—an artistic lingua franca—became one of the most organic, overarching components of Gustav Klimt’s new art. This paper draws parallels between Gustav Klimt’s Portrait of Sonja Knips and It ō Jakuch ū’s print Golden Pheasant and Bamboo in Snow . The discovery of an unexpectedly close dialogue between Klimt and Jakuch ū and the striking similarity of the formal language of the two works supports the paper’s thesis that It ō Jakuch ū’s print is the primary source of influence behind the conception and execution of the portrait and, by extension, that Klimt’s engagement with Japanese stimuli is one of the main engines behind his creative pursuit, starting at the end of the 1890s. This discovery challenges preconceived notions and existing concepts and illustrates the impossibility of understanding Klimt’s heritage comprehensively and adequately without examining the role of Japonisme in it. Keywords: Gustav Klimt, Japonisme, It ō Jakuch ū, the Vienna Secession, ukiyo-e prints. 1 In the wake of the World Fair of 1873 in Vienna, a strong wave of Japonisme permanently re- shaped the capital of the Austro-Hungarian Empire. According to Hermann Bahr, the Viennese encountered the presence of “Japonisme in all the arts,” which were “impossible to understand without bearing in mind the influence of Japanese art.” 1 Japonisme indeed became a Zeitgeist in fin de siècle Vienna and, in the visual arts, Gustav Klimt was its main advocate. -
The Architectural Style of Bay Pines VAMC
The Architectural Style of Bay Pines VAMC Lauren Webb July 2011 The architectural style of the original buildings at Bay Pines VA Medical Center is most often described as “Mediterranean Revival,” “Neo-Baroque,” or—somewhat rarely—“Churrigueresque.” However, with the shortage of similar buildings in the surrounding area and the chronological distance between the facility’s 1933 construction and Baroque’s popularity in the 17th and 18th centuries, it is often wondered how such a style came to be chosen for Bay Pines. This paper is an attempt to first, briefly explain the Baroque and Churrigueresque styles in Spain and Spanish America, second, outline the renewal of Spanish-inspired architecture in North American during the early 20th century, and finally, indicate some of the characteristics in the original buildings which mark Bay Pines as a Spanish Baroque- inspired building. The Spanish Baroque and Churrigueresque The Baroque style can be succinctly defined as “a style of artistic expression prevalent especially in the 17th century that is marked by use of complex forms, bold ornamentation, and the juxtaposition of contrasting elements.” But the beauty of these contrasting elements can be traced over centuries, particularly for the Spanish Baroque, through the evolution of design and the input of various cultures living in and interacting with Spain over that time. Much of the ornamentation of the Spanish Baroque can be traced as far back as the twelfth century, when Moorish and Arabesque design dominated the architectural scene, often referred to as the Mudéjar style. During the time of relative peace between Muslims, Christians, and Jews in Spain— the Convivencia—these Arabic designs were incorporated into synagogues and cathedrals, along with mosques. -
Klirnt and Schiele Stephan Kleinschuster May 6, 1997 AR592
The Evolution of Expressionism In Turn-of-the-Century Vienna: Klirnt and Schiele Stephan Kleinschuster May 6, 1997 AR592 1 1 Until 1897, Classicism in Viennese high art had served as a mimetic construct of the elite society who were both art's staunchest supporters and the purveyors of moral and philosophical values that served as it's staple of judgment. In the following years, from 1898 to 1918, were revolutions of both natures, political and philosophical. The artistic transformation from the Classicism of the Habsburg Monarchy to the expressionism of the Cafe "Nihilism" could be seen most obviously in two of Vienna's foremost artists of the time, Gustav Klimt and Egon Schiele. This paper seeks to compare and contrast the works of these two artists who seem to crystallize the moral, social, political, and artistic upheaval of early Twentieth Century Vienna. It lS fitting that Gustav Klimt and Egon Schiele died six months from one another, both of the Spanish influenza, and both in 1918. It is important to note that even though stylistic variables call for their ultimate contrast, they loved and admired one another, and they both stood for the values that defined Secessionism. Their proximity in philosophy makes it all the more profound to discover their differences. In Klimt came classical objectivity housed in a contemporary conceptual framework. In Schiele came the shift to brutal subjectivity that pushed the limits of this framework. Even though, as will be discussed, the similarity of the subject matter seems to remain a constant, the execution becomes the variable upon which the change becomes dependent. -
Oil Sketches and Paintings 1660 - 1930 Recent Acquisitions
Oil Sketches and Paintings 1660 - 1930 Recent Acquisitions 2013 Kunsthandel Barer Strasse 44 - D-80799 Munich - Germany Tel. +49 89 28 06 40 - Fax +49 89 28 17 57 - Mobile +49 172 890 86 40 [email protected] - www.daxermarschall.com My special thanks go to Sabine Ratzenberger, Simone Brenner and Diek Groenewald, for their research and their work on the text. I am also grateful to them for so expertly supervising the production of the catalogue. We are much indebted to all those whose scholarship and expertise have helped in the preparation of this catalogue. In particular, our thanks go to: Sandrine Balan, Alexandra Bouillot-Chartier, Corinne Chorier, Sue Cubitt, Roland Dorn, Jürgen Ecker, Jean-Jacques Fernier, Matthias Fischer, Silke Francksen-Mansfeld, Claus Grimm, Jean- François Heim, Sigmar Holsten, Saskia Hüneke, Mathias Ary Jan, Gerhard Kehlenbeck, Michael Koch, Wolfgang Krug, Marit Lange, Thomas le Claire, Angelika and Bruce Livie, Mechthild Lucke, Verena Marschall, Wolfram Morath-Vogel, Claudia Nordhoff, Elisabeth Nüdling, Johan Olssen, Max Pinnau, Herbert Rott, John Schlichte Bergen, Eva Schmidbauer, Gerd Spitzer, Andreas Stolzenburg, Jesper Svenningsen, Rudolf Theilmann, Wolf Zech. his catalogue, Oil Sketches and Paintings nser diesjähriger Katalog 'Oil Sketches and Paintings 2013' erreicht T2013, will be with you in time for TEFAF, USie pünktlich zur TEFAF, the European Fine Art Fair in Maastricht, the European Fine Art Fair in Maastricht. 14. - 24. März 2013. TEFAF runs from 14-24 March 2013. Die in dem Katalog veröffentlichten Gemälde geben Ihnen einen The selection of paintings in this catalogue is Einblick in das aktuelle Angebot der Galerie. Ohne ein reiches Netzwerk an designed to provide insights into the current Beziehungen zu Sammlern, Wissenschaftlern, Museen, Kollegen, Käufern und focus of the gallery’s activities. -
Ceramics in Portuguese Architecture (16Th-20Th Centuries)
CASTELLÓN (SPAIN) CERAMICS IN PORTUGUESE ARCHITECTURE (16TH-20TH CENTURIES) A. M. Portela, F. Queiroz Art Historians - Portugal [email protected] ABSTRACT The purpose of this paper is to present a synoptic view of the evolution of Portuguese architectural ceramics, particularly focusing on the 19th and 20th centuries, because the origins of current uses of ceramic tiles in Portuguese architecture stem from those periods. Thus, the paper begins with the background to the use of ceramics in Portuguese architecture, between the 16th and 18th centuries, through some duly illustrated paradigmatic examples. The study then presents examples of the 19th century, in a period of transition between art and industry, demonstrating the diversity and excellence of Portuguese production, as well as the identifying character of the phenomenon of façade tiling in the Portuguese urban image. The study concludes with a section on the causes of the decline in the use of ceramic materials in Portuguese architecture in the first decades of the 20th century, and the appropriation of ceramic tiling by the popular classes in their vernacular architecture. Parallel to this, the paper shows how the most erudite route for ceramic tilings lay in author works, often in public buildings and at the service of the nationalistic propaganda of the dictatorial regime. This section also explains how an industrial upgrading occurred that led to the closing of many of the most important Portuguese industrial units of ceramic products for architecture, foreshadowing the current ceramic tiling scenario in Portugal. 1 CASTELLÓN (SPAIN) 1. INTRODUCTION In Portugal, ornamental ceramics used in architecture are generally - and almost automatically - associated only with tiles, even though, depending on the historical period, one can enlarge considerably the approach, beyond this specific form of ceramic art. -
Renoir, Impressionism, and Full-Length Painting
FIRST COMPREHENSIVE STUDY OF RENOIR’S FULL-LENGTH CANVASES BRINGS TOGETHER ICONIC WORKS FROM EUROPE AND THE U.S. FOR AN EXCLUSIVE NEW YORK CITY EXHIBITION RENOIR, IMPRESSIONISM, AND FULL-LENGTH PAINTING February 7 through May 13, 2012 This winter and spring The Frick Collection presents an exhibition of nine iconic Impressionist paintings by Pierre-Auguste Renoir, offering the first comprehensive study of the artist’s engagement with the full-length format. Its use was associated with the official Paris Salon from the mid-1870s to mid- 1880s, the decade that saw the emergence of a fully fledged Impressionist aesthetic. The project was inspired by Renoir’s La Promenade of 1875–76, the most significant Impressionist work in the Frick’s permanent collection. Intended for public display, the vertical grand-scale canvases in the exhibition are among the artist’s most daring and ambitious presentations of contemporary subjects and are today considered masterpieces of Impressionism. The show and accompanying catalogue draw on contemporary criticism, literature, and archival documents to explore the motivation behind Renoir’s full-length figure paintings as well as their reception by critics, peers, and the public. Recently-undertaken technical studies of the canvases will also shed new light on the artist’s working methods. Works on loan from international institutions are La Parisienne from Pierre-Auguste Renoir (1841–1919), Dance at Bougival, 1883, oil on canvas, 71 5/8 x 38 5/8 inches, Museum of Fine Arts, Boston, Picture Fund; photo: © 2012 Museum the National Museum Wales, Cardiff; The Umbrellas (Les Parapluies) from The of Fine Arts, Boston National Gallery, London (first time since 1886 on view in the United States); and Dance in the City and Dance in the Country from the Musée d’Orsay, Paris. -
Rafael Bordalo Pinheiro, a Portuguese Art Nouveau Artist Rita Nobre Peralta, Leonor Da Costa Pereira Loureiro, Alice Nogueira Alves
Strand 2. Art Nouveau and Politics in the Dawn of Globalisation Rafael Bordalo Pinheiro, a portuguese Art Nouveau artist Rita Nobre Peralta, Leonor da Costa Pereira Loureiro, Alice Nogueira Alves Abstract The Art Nouveau gradual appearance in the Portuguese context it’s marked by the multidimensional artist Rafael Bordalo Pinheiro, and by his audacious affirmation as an avant- garde figure focused upon the industrial modernity, that is able to highlight some of the most original artistic solutions of his time. He manages to include in his production a touch of Portuguese Identity alongside with the new European trends of the late 19th century, combining traditional production techniques, themes and typologies, which are extended to artistic areas as varied as the press, the decorative arts and the decoration of cultural events. In this article, we pretend to analyse some of his proposals within Lisbon's civil architecture interior design and his participation in the Columbian Exhibition, held in Madrid in 1892, where he was a member of the Portuguese Legation, co-responsible for the selection and composition of the exhibition contents. Keywords: Art Nouveau, Cultural heritage, Portuguese identity, 19 th Century, interior and exterior design, Decorative arts, ceramics, tiles, furniture, Colombian Exposition of Madrid 1892 1 THE FIRST YEARS - PRESS, HUMOR AND AVANT-GARDE Rafael Augusto Prostes Bordalo Pinheiro (1846-1905) was born on March 21, 1846, in Lisbon, Portugal. His taste for art has always been boosted up by his father, Manuel Maria Bordalo Pinheiro who, together with his occupation as a civil servant, was also known as a painter and an external student of the Academy of Fine Arts of Lisbon. -
Timeline / 1860 to 1900
Timeline / 1860 to 1900 Date Country Theme 1860 - 1900 Tunisia Cities And Urban Spaces Following development of the Port of La Goulette, new districts relating to trade and industrial activities are born. The neighbourhood is given the name of “Little Sicily”, which is suggestive of its role as host to a poor immigrant population mainly from southern Italy. 1860 Tunisia Great Inventions Of The 19th Century The restoration of the Aqueduct of Zaghouan is completed, running water arrives in Tunis. 1860 - 1863 Tunisia Economy And Trade Restoration of the Zaghouan Aqueduct, Tunisia’s largest water-service network, allows supply to the capital and its suburbs. 1860 Romania Fine And Applied Arts 7 November: on the initiative of painter Gheorghe Panaitescu-Bardasare, a School of Fine Arts and an art gallery are founded in Ia#i. 1860 France Travelling First trip by Napoleon III to Algeria; the second will take place in 1865. 1860 - 1870 Jordan Reforms And Social Changes By the 1860s, population density has decreased drastically. The border of the sawn cultivated land had been pushed westwards under the pressure of the nomadic tribes from the east. Several reasons are suggested for this decline, including maladministration and the taxation policies of the Ottoman Empire. Some of the regions south of Ajlun, including Amman area, and along the escarpment of the Jordan valley were almost completely abandoned. Recovery starts during the last quarter of the 19th century. 1860 Italy Cities And Urban Spaces The unification of Italy leads to urban expansion outside the old city walls, which have lost their defensive value.