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Tate Report 2010-11: List of Tate Archive Accessions
Tate Report 10–11 Tate Tate Report 10 –11 It is the exceptional generosity and vision If you would like to find out more about Published 2011 by of individuals, corporations and numerous how you can become involved and help order of the Tate Trustees by Tate private foundations and public-sector bodies support Tate, please contact us at: Publishing, a division of Tate Enterprises that has helped Tate to become what it is Ltd, Millbank, London SW1P 4RG today and enabled us to: Development Office www.tate.org.uk/publishing Tate Offer innovative, landmark exhibitions Millbank © Tate 2011 and Collection displays London SW1P 4RG ISBN 978-1-84976-044-7 Tel +44 (0)20 7887 4900 Develop imaginative learning programmes Fax +44 (0)20 7887 8738 A catalogue record for this book is available from the British Library Strengthen and extend the range of our American Patrons of Tate Collection, and conserve and care for it Every effort has been made to locate the 520 West 27 Street Unit 404 copyright owners of images included in New York, NY 10001 Advance innovative scholarship and research this report and to meet their requirements. USA The publishers apologise for any Tel +1 212 643 2818 Ensure that our galleries are accessible and omissions, which they will be pleased Fax +1 212 643 1001 continue to meet the needs of our visitors. to rectify at the earliest opportunity. Or visit us at Produced, written and edited by www.tate.org.uk/support Helen Beeckmans, Oliver Bennett, Lee Cheshire, Ruth Findlay, Masina Frost, Tate Directors serving in 2010-11 Celeste -
The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Fall 1-5-2021 The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020 Denali Elizabeth Kemper CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/661 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020 By Denali Elizabeth Kemper Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History, Hunter College The City University of New York 2020 Thesis sponsor: January 5, 2021____ Emily Braun_________________________ Date Signature January 5, 2021____ Joachim Pissarro______________________ Date Signature Table of Contents Acronyms i List of Illustrations ii Introduction 1 Chapter 1: Points of Reckoning 14 Chapter 2: The Generational Shift 41 Chapter 3: The Return of the Repressed 63 Chapter 4: The Power of Nazi Images 74 Bibliography 93 Illustrations 101 i Acronyms CCP = Central Collecting Points FRG = Federal Republic of Germany, West Germany GDK = Grosse Deutsche Kunstaustellung (Great German Art Exhibitions) GDR = German Democratic Republic, East Germany HDK = Haus der Deutschen Kunst (House of German Art) MFAA = Monuments, Fine Arts, and Archives Program NSDAP = Nationalsozialistische Deutsche Arbeiterpartei (National Socialist German Worker’s or Nazi Party) SS = Schutzstaffel, a former paramilitary organization in Nazi Germany ii List of Illustrations Figure 1: Anonymous photographer. -
Ketterer Kunst
Home Categories Submit Release Archive News / Feeds About Us 09-26-2014 08:14 PM CET - Arts & Culture Print PDF Email Search GO 60th Anniversary Auction – Modern Classics to Today - Fantastic Finale Press release from: Ketterer Kunst More Releases from Ketterer Kunst Rare Books Auction Biblical Rarities Pop Art 60th Anniversary Special Auction Legendary Andy Warhol Jubilee Auctions Modern A. Macke, Unter den Lauben von Thun. Gouache, 1913. Contemporary Art Top art at top 14.4 x 19.4 in. Estimate: EUR prices 600.000-800.000 All 84 Releases Christian Louboutin The finest edit of luxury fashion. €475.00 Comments about openPR Munich, 26 September, 2014, (kk) – The jubilee auctions on December 5 and 6 make for the grand finale of the company's I can't but agree to the positive anniversary year. Masterpieces with estimates in 5- to 6-digit realms by renowned artists such as Macke, statements about your portal: Nolde, Kirchner, Richter and Shiraga are the highlights of this auction which has the following sections: easy to use, clear layout, very 1) Modern Classics good search function, and quick 2) Post War editing! 3) Contemporary Art Jens O'Brien, Borgmeier Media Communication on 1) Modern Classics This section is led by August Macke's gouache 'Unter den Lauben von Thun (Ein Spaziergängermotiv)' which carries an estimate of EUR 600,000-800,000. Macke had already used the theme of promenading people under the arcaded sidewalks of Thun in earlier works. However, the mere focus on the colors' Your Press Releases on values and their importance for the optical effect was new and had decisive impact on the expression’s Google News density. -
Degenerate Art – 80 Years: Repercussions in Brazil (São Paulo, 25-27 Apr 18)
Degenerate Art – 80 Years: Repercussions in Brazil (São Paulo, 25-27 Apr 18) São Paulo, Museu de Arte Contemporânea, Apr 25–27, 2018 Deadline: Mar 9, 2018 Erika Zerwes In 1937 the German government, led by Adolf Hitler, opened a large exhibition of modern art with about 650 works confiscated from the country's leading public museums entitled Degenerate Art (Entartete Kunst). Marc Chagall, Otto Dix, Max Ernst, George Grosz, Wassily Kandinsky, Paul Klee, László Moholy-Nagy, Piet Mondrian and Lasar Segall were among the 112 artists who had works selected for the show. Conceived to be easily assimilated by the general public, the exhibition pre- sented a highly negative and biased interpretation of modern art. The Degenerate Art show had a rather large impact in Brazil. There have been persecutions to modern artists accused of degeneration, as well as expressions of support and commitment in the struggle against totalitarian regimes. An example of this second case was the exhibition Arte condenada pelo III Reich (Art condemned by the Third Reich), held at the Askanasy Gallery (Rio de Janeiro, 1945). The event sought to get support from the local public against Nazi-fascism and to make modern art stand as a synonym of freedom of expression. In the 80th anniversary of the Degenerate Art exhibition, the University of São Paulo’s Museum of Contemporary Art, in partnership with the Lasar Segall Museum, holds the International Seminar “Degenerate Art – 80 Years: Repercussions in Brazil”. The objective is to reflect on the repercus- sions of the exhibition Degenerate Art (Entartete Kunst) in Brazil and on the persecution of mod- ern art in the country in the first half of the 20th century. -
Maurice Allemand OR HOW MODERN ART CAME to SAINT-ÉTIENNE (1947-1966) a Story of the Collections / Nov
maurice allemand OR HOW MODERN ART CAME TO SAINT-ÉTIENNE (1947-1966) A STORY OF THE COLLECTIONS / NOV. 30TH 2019 - JAN. 3RD 2021 press kit PRESS CONTACT Lucas Martinet [email protected] Tél. + 33 (0)4 77 91 60 40 Agence anne samson communications Federica Forte [email protected] Tel. +33 (0)1 40 36 84 40 Clara Coustillac [email protected] Tél. +33 (0)1 40 36 84 35 USEFUL INFO MAMC+ Saint-étienne Métropole rue Fernand Léger 42270 Saint-Priest-en-Jarez Tél. +33 (0)4 77 79 52 52 mamc.saint-etienne.fr Maurice Allemand in 1960 in front of the Musée d’Art et d’Industrie de Saint-Étienne with Reclining Figure by Henry Moore (1958), temporary [email protected] exhibition One Hundred Sculptors from Daumier to the Present Day. Photo credit: Geneviève Allemand / MAMC+ OR HOW MODERN maurice allemand the Curator’s foreword ART CAME TO SAINT-ÉTIENNE (1947-1966) The foundations of the exceptional collection of modern art at the MAMC+ were laid after the Second World War A STORY OF THE COLLECTIONS by Maurice Allemand (1906-1979), director of the musée d’Art et d’Industrie from 1947 to 1966, at that time the NOV. 30TH 2019 - JAN. 3RD 2021 only museum in Saint-Étienne. This art collection is now part of the MAMC+, created in 1987, and a pioneer of regional modern art museums. The story recounting the genie of the institution is retraced from largely unpublished archives. They provide an alternative understanding of the founding of the collection and allow to rediscover, next to the masterpieces, artists who are little known today, and some one hundred works which have not been on display for twenty years. -
REMIX the Collection the COLLECTION
REMIX The Collection THE COLLECTION Edited by Christoph Grunenberg Dorothee Hansen Eva Fischer-Hausdorf Texts by Christoph Grunenberg Dorothee Hansen Eva Fischer-Hausdorf Hartwig Dingfelder Manuela Husemann Mara-Lisa Kinne Jennifer Smailes REMIX WIENAND KUNSTHALLE BREMEN FROM ICON TO WORK OF ART Painting on the Eve of the Renaissance ITALY completely new genre; they were devoid of Until the early 15th century, panel painting any religious function and became extremely almost exclusively served religious purposes. attractive to the nobility and wealthy mer Small domestic altars and Florentine Ma don chants. Ancient mythology also provided nas were an invitation to private prayer. Their material for new pictorial subjects. One of shapes reference late Gothic architecture Cranach’s successful subjects was the Rest- and their precious gold backgrounds imbue ing Nymph ( fig., p. 35). She is reminiscent of Christ, Mary and the Saints with a heavenly a naked Venus and accompanied by a Latin glory. inscription. Such pictures offered aesthetic In the first half of the 15th century, the pleasure and at the same time posed an in Renaissance was already under way. It was tellectual challenge to humanistic collectors. not simply a “rebirth” of antiquity; it also With works like these, painting emancipated implied a new view of nature. In 1435, Leon itself from its predominantly religious func Battista Alberti published his treatise on tions. The painters, who had previously seen cen tral perspective and, ever since, paintings themselves primarily as craftsmen, developed have been understood as windows into the into artists who proudly signed their works. world. Gold backgrounds were substituted with representations of landscapes and inte riors were given measurable dimensions. -
Volume 7. Nazi Germany, 1933-1945 Hitler's Speech at the Opening Of
Volume 7. Nazi Germany, 1933-1945 Hitler’s Speech at the Opening of the House of German Art in Munich (July 18, 1937) On the day before the start of the “Degenerate Art” exhibition, Hitler concurrently opened the House of German Art in Munich, a new museum designed by architect Paul Ludwig Troost (1873-1934), and its first show, the “Great German Art Exhibition.” The House of German Art was built on the former site of the Glass Palace, a grandly conceived iron and glass exhibition hall dating from the mid-nineteenth century. The Glass Palace had been destroyed in a fire, reportedly the result of arson, on June 6, 1931. At the time of its destruction, the Glass Palace housed an extensive exhibition of German Romantic paintings by masters Caspar David Friedrich (1774-1840), Phillipp Otto Runge (1777-1810), and others. In his opening speech, Hitler referred to the destruction of both the Glass Palace and the works exhibited therein. He mourned the loss of paintings that he perceived as genuinely “German,” the point of comparison being the modern artworks that Hitler reviled and disparaged as Bolshevist, Jewish, foreign, etc. For Hitler, the rehabilitation of Germany in the wake of 1918 was not just a matter of politics or economics but also, and even primarily, a matter of culture and art. Hitler saw the construction of the House of German Art and the organization of the “Great German Art Exhibition” as an opportunity for the Third Reich to define a new concept for a great and truly “German” art. -
Cathedrals, Stained Glass, and Constructive Painting in Joaquín Torres-García and in the European Avant-Garde
The Medieval in Modernism: Cathedrals, Stained Glass, and Constructive Painting in Joaquín Torres-García and in the European Avant-garde Begoña Farré Torras Tese de Doutoramento em História da Arte (versão corrigida) Novembro 2019 Tese apresentada para cumprimento dos requisitos necessários à obtenção do grau de Doutor em História da Arte, realizada sob a orientação científica da Prof. Doutora Joana Cunha Leal e a coorientação científica da Prof. Doutora Joana Ramôa Melo Apoio financeiro da FCT e do FSE no âmbito do III Quadro Comunitário de Apoio. Declaro que esta tese/ Dissertação /Relatório /Trabalho de Projecto é o resultado da minha investigação pessoal e independente. O seu conteúdo é original e todas as fontes consultadas estão devidamente mencionadas no texto, nas notas e na bibliografia. O candidato, ____________________ Lisboa, 11 de Novembro de 2019 To Rogério, Marc and Ana (in no particular order) ACKNOWLEDGEMENTS My deepest gratitude to my thesis supervisor, Professor Joana Cunha Leal, for her unfailing support for my project, rigourous and constructive critique of it, and personal encouragement along the way. Many thanks, too, to my thesis co-supervisor, Professor Joana Ramôa Melo, for her incisive reading of my work and encouraging support for it. THE MEDIEVAL IN MODERNISM: CATHEDRALS, STAINED GLASS, AND CONSTRUCTIVE PAINTING IN JOAQUÍN TORRES-GARCÍA AND IN THE EUROPEAN AVANT-GARDE O MEDIEVAL NO MODERNISMO: CATEDRAIS, VITRAIS, E PINTURA CONSTRUTIVA EM JOAQUÍN TORRES-GARCÍA E NA AVANGUARDA EUROPEIA BEGOÑA FARRÉ TORRAS KEYWORDS: -
Modern Art and Politics in Prewar Germany
Stephanie Barron, “Modern Art and Politics in Prewar Germany,” in Barron (ed.), Degenerate Art: The Fate of the Avant-Garde in Nazi Germany (Los Angeles: Los Angeles County Museum of Art, 1991): 9-23. In 1937 the National Socialists staged the most virulent attack ever mounted against modern art with the opening on July 19 in Munich of the Entartete Kunst (Degenerate art) exhibition, in which were brought together more than 650 important paintings, sculptures, prints, and books that had until a few weeks earlier been in the possession of thirty-two German public museum collections. The works were assembled for the purpose of clarifying for the German public by defamation and derision exactly what type of modern art was unacceptable to the Reich, and thus “un-German.” During the four months Entartete Kunst was on view in Munich it attracted more than two million visitors, over the next three years it traveled throughout Germany and Austria and was seen by nearly one million more On most days twenty thousand visitors passed through the exhibition, which was free of charge; records state that on one SundayAugust 2, 1937-thirty- six thousand people saw it.1 The popularity of Entartete Kunst has never been matched by any other exhibition of modern art. According to newspaper accounts, five times as many people visited Entartete Kunst as saw the Grosse Deutsche Kunstaussiellung (Great German art exhibition), an equally large presentation of Nazi-approved art that had opened on the preceding day to inaugurate Munich's Haus der Deutschen Kunst (House of German art), the first official building erected by the National Socialists. -
Gurlitt: Status Report «Degenerate Art» – Confiscated and Sold
Press Documentation Gurlitt: Status Report «Degenerate Art» – confiscated and sold November 2, 2017, to March 4, 2018 GURLITT: STATUS REPORT «Degenerate Art» – confiscated and sold November 2, 2017, to March 4, 2018 Table of contents 1. General information ...................................................................... 2 2. The exhibition .............................................................................. 3 3. Chronology of the Gurlitt Art Trove .................................................. 5 4. Short Biographies of the Members of the Advisory Board .................... 7 5. Accompanying volume published for the exhibition ............................ 9 6. Supporting program of the exhibition............................................. 10 Contact Maria-Teresa Cano, Head of Communication and Public Relations, Kunstmuseum Bern – Zentrum Paul Klee [email protected] 1/11 Press Documentation Gurlitt: Status Report «Degenerate Art» – confiscated and sold November 2, 2017, to March 4, 2018 1. General information Duration of the exhibition 02.11.2017 – 04.03.2018 Team of curators Dr. Nina Zimmer, Director Kunstmuseum Bern – Zentrum Paul Klee Dr. Matthias Frehner, Director of Collections Kunstmuseum Bern – Zentrum Paul Klee Dr. Nikola Doll, Head of Provenance Research Kunstmuseum Bern Prof. (em.) Dr. Georg Kreis, Historian, Universität Basel Simultaneously at the Bundeskunsthalle in Bonn Gurlitt: Status Report. Nazi Art Theft and its Consequences November 3, 2017 – March 11, 2018 The patrons of the exhibition are -
Maurice Allemand Or How Modern Art Came to Saint-Étienne (1947-1966) a History of the Collections 30 November 2019 – 3 January 2021
MAURICE ALLEMAND OR HOW MODERN ART CAME TO SAINT-ÉTIENNE (1947-1966) A HISTORY OF THE COLLECTIONS 30 NOVEMBER 2019 – 3 JANUARY 2021 Maurice Allemand in 1960 in front of the Musée d’Art et d’Industrie de Saint-Étienne with Reclining Figure by Henry Moore (1958), temporary exhibition One Hundred Sculptors from Daumier to the Present Day. Photo credit: Geneviève Allemand / MAMC+ Lajos Kassák, Motifs populaires [Popular Motifs], 1921, gouache on paper, 26.3 x 19.8 cm. On long-term loan from the Centre national des arts plastiques – ministère de la Culture et de la Communication, MAMC+, 1966. Photo credit: Y. Bresson / MAMC+ © Kassák Estate THE CURATOR’S FOREWORD Modern art in France was not always subject to Michel Seuphor and Tristan Tzara came to Saint- unequivocal unanimity. There was a time not Étienne. Maurice Allemand surrounds himself so long ago when French museums had hardly with the greatest artists, gallery owners and any works of Picasso; where Dada, international collectors of the time. Their donations and constructivism, Bauhaus, abstract paintings, the purchases of their works transformed the the avant-garde, at least were inaccessible and collection. These major players set down the unheeded for the majority of them. After Vichy, bases of future developments and provided after the Nazi destruction, to defend such works all the originality of the museum. Few other was a form of combat, a conquest. French museums could pretend to have acquired a grand mobile of Calder in 1955, an Abstract Considering the founding of current modern composition of Aurélie Nemours in 1959, or a art museums in France, Saint-Étienne holds a work of Enrico Baj in 1964. -
Hitler and Picasso - Searching for 'The Degenerate'
The Peter A. Allard School of Law Allard Research Commons Faculty Publications (Emeriti) Allard Faculty Publications 1999 Hitler and Picasso - Searching for 'the Degenerate' Robert K. Paterson Allard School of Law at the University of British Columbia, [email protected] Follow this and additional works at: https://commons.allard.ubc.ca/emeritus_pubs Part of the Property Law and Real Estate Commons Citation Details Robert K Paterson, “Hitler and Picasso - Searching for 'the Degenerate'” (1999) 33:1 UBC L Rev 91-102. This Article is brought to you for free and open access by the Allard Faculty Publications at Allard Research Commons. It has been accepted for inclusion in Faculty Publications (Emeriti) by an authorized administrator of Allard Research Commons. HITLER AND PICASSO-SEARCHING FOR "THE DEGENERATE" ROBERT K. PATERSON t In 1939, Friedrich and Louise Gutmann consigned three French impressionist works of art for sale by a Paris gallery. Among them was a Degas pastel monotype.' These three works were afterwards apparently seized by the Nazis and later turned up in the possession of a German art dealer doing business in Switzerland. The Gutmann's were killed in a Nazi concentration camp in 1943. The Degas was purchased in 1951 by a New York collector. In 1987, Daniel Searle, the heir to a pharmaceutical fortune, purchased the Degas that had belonged to the Gutmanns for $U.S. 875,000 from a New York art dealer. Mr. Searle made this purchase on the advice of the Art Institute of Chicago, as the prospective recipient of the work by way of gift from Searle.